Friday, December 22, 2023

Hudson River Views from UWS Manhattan



Our apartment looks out over the Hudson River from a point in Manhattan roughly in-line with Lincoln Center (around 63rd street). I was pleasantly surprised to note regular traffic of tug boats, which make  great subjects for photos, as well as other working boats and air traffic. I thought it would be fun to start a "collection" of vessels that pass by. My self imposed rule is that to properly collect a vessel, I need to both snap a decent photo and identify the vessel by name and/or purpose. Below are the first entries in my collection.

The tug Pearl Coast pushing north on a barge designed to contain cement
The large bulk carrier Athena traveling north 
A US Army Corps of Engineers dredging vessel. 
Tug Dean Reinauer at anchor with a color-coordinated barge. 

A little info from https://www.marinetraffic.com/
DEAN REINAUER (IMO: 9653264) is a Towing Vessel that was built in 2013 (10 years ago) and is sailing under the flag of USAHer carrying capacity is 1163 t DWT and her current draught is reported to be 5 meters. Her length overall (LOA) is 35.64 meters and her width is 10.67 meters. 
For more info click here

Monday, April 09, 2007

The Preface to The Picture of Dorian Gray by Oscar Wilde

As my inaugural entry to this blog, I would like to, not only share an “unsolicited opinion”, but also share a brief piece of prose that I cannot recommend enough. As a pragmatic logic-based person, it is sometimes difficult for me understand the aesthetic motivations of my artistic friends. The succinct preface to The Picture of Dorian Gray by Oscar Wilde, which is less than 400 words, enabled me to better appreciate my friend’s aesthetic drive. Oscar Wilde brilliantly dissects the arguments of those who suggest that Art has no explicit utilitarian value. He provides exceptional insight into the motivation to create art and beauty. Furthermore, Wilde points to the links between aesthetics and morality in society. In the rest of the book, the arguments set forth in the preface are realized in a tale of a man obsessed with image.


The Preface to The Picture of Dorian Gray by Oscar Wilde

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things.

The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault.

Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty.

There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.

The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.

The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium.

No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything.

Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril.

Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.

All art is quite useless.

Sunday, March 18, 2007

The Corporation

The Corporation (2003) Directed byMark Achbar & Jennifer Abbott

3 out of 5 stars using Qi's 5-star system

I enjoyed watching The Corporation, a documentary about the impact on society made by the legal/business structure known as the corporation. The structure of the movie consists of a series of interviews with prominent thinkers from the fields of business law, management and ethics. The interviews are interlaced with a series of vignettes on corporate behavior and misbehavior. I was attracted by the luminaries among those interviewed, including Milton Friedman, Noam Chomsky and Peter Drucker. I was eager to see how the directors would combine material from such divergent viewpoints.

The directors begin by describing the fundamental legal definition of the corporation as a “legal person” that inherits many of the legal rights of an individual such as buying property, suing in court, borrowing money, etc. They provide a brief but interesting legal history tracing the modern rights of the corporation back to 19th century legal interpretations of the newly established 14th amendment of the U.S. Constitution, originally established to protect the rights of slaves freed after the civil war. The film cites legal rulings from the 19th century based on arguments that the corporation is a legal “person” and thus could avail itself of the individual rights provided by the 14th amendment.

Noam Chomsky says these legal persons we have created are “special kinds of persons who have no moral consciousness”. The directors tilt their focus significantly towards the pathological aspects of the corporation, most notably externalities such as pollution.

In a clever play on the legal definition of a corporation as a legal “person”, the directors conduct a psychological examination of the corporation as if it really were a person with a personality that we can analyze. They ask folks on the street about what the personalities of some well known corporations might be like. “GE is a kind old man with lots of stories” and “Nike is young and energetic“. Based on a review of corporate crime and misbehavior, the directors methodically evaluate a range of the corporation’s personality traits. The results lead the directors to categorize the corporation’s “personality” as that of a psychopath. One amusing device is the use of black and white film clips in the style of the naïve and oversimplified 1950’s high school Civics 101 material. These are used often in the film to introduce some characteristic of the corporation prior to interviews and examination of the characteristic.

One complaint I have is that the directors don’t establish a benchmark for organizational pathology against which we can evaluate corporate misbehavior relative to overall organizational misbehavior. If we think of the corporation as only one of the many forms of organization society employs to marshal its resources, then analysis of corporate pathology is only a subset of the overall analysis of organizational pathology. We should be able to benchmark corporate misdeeds against misdeeds by the other forms of organization such as government, partnerships, communes, individuals, etc. For example, I imagine we could establish a long list of horrible acts committed by business entities other than corporations. Perhaps by the overall standards of organizational behavior corporations are rather well behaved on a relative basis?

I'm disappointed that the directors don’t spend enough time developing and making accessible to viewers some of the potential solutions to externalities. One example is the idea of forcing corporations to face the costs of pollution they create by forcing them to buy the right to each “unit” of pollution in a market for pollution rights that allows anyone in the market to bid for the rights. To their credit, the directors do include this idea in their interviews but the interview limits comments on this idea to the observation that trading in these rights is a potential solution. The directors should realize that this proposal can easily remain abstract and puzzling without more elaboration. Anyone without an economics background will need to hear a few more simple details and think about this for a few minutes before the heart of the idea emerges. For example, they could have mentioned a scenario in which a private consortium of environmental activists enters the market for pollution rights and could conceivably bid up the price of pollution rights until the polluting corporations in the market are forced to realize the proper costs of their pollution, limit their production or even shut down and stop polluting altogether if the altruistic players in the market bid up the rights to a price above that which the corporation is willing to pay. This should be an exciting and visceral idea to activists desperate for a voice in the interplay between business and the environment, yet it is left as a dry and abstract scheme in the context of the interview in the movie.

Pattern Recognition by William Gibson

5 out of 5 stars using Qi's 5-star system

I just finished and most highly recommend Pattern Recognition (“PR”), the latest novel by William Gibson, a highly influential science fiction writer whose first book Nueromancer is considered groundbreaking because it spawned the “cyberpunk” sub-genre (it also achieved the popular honor of serving as the basis for the Matrix trilogy of movies). PR feels a bit like another great science fiction story, but it takes place just after 9/11 and makes use of strictly current technologies as familiar as Google and iBooks. Yet Gibson’s entertaining techno-nerd perspective on the symbiosis between technology and culture in our society makes our present look so exotic that he doesn’t need to invent wild new technologies to make the book read like good SciFi. It’s as if he’s telling us to stand up and notice that we’ve become akin to those “billions of consensual players” making up the Matrix in Nueromancer. How does Gibson make today in PR seem like his science fiction tomorrow in Neuromancer? For one, Gibson points out that if we shift our perspectives ever so slightly we’ll suddenly notice the existence of a technology, cheap and currently available to all of us, that’s so powerful it provides nearly instantaneous transport, with only a minor glitch that tends to leave the soul lagging far behind. Fortunately there’s a parallel technology, also cheap and currently available, that allows one to access one’s missing soul remotely until it catches up a couple of days later. Sounds like hard core SciFi, right? In fact it’s just Gibson’s riff on a bad case of jet lag and the comforting ubiquity of internet connections to home no matter where we are in the world. It’s representative of the twists in PR that take the everyday and shows it in an edgy, hyper sensitive light. In the case of jet lag, Gibson takes a mundane aspect of life and leads us to pause and consider its strangeness, the strangeness of the instantaneous movement from one culture to another that we take for granted, the potential psychic costs of skipping measures ahead in our circadian rhythms; “jet lag…it shrinks the frontal lobes. Physically. Clearly visible on a scan,” observes one of his characters.


This is one of many bizarrely entertaining, even enlightening, observations we share with the delightful characters Gibson has chosen to interact with his exotic perspective on our present day. We spend a lot of time in the head of the heroine, Cayce Pollard, a thirtyish woman who’s literally allergic to bad fashion and cheap logos. She first realized her condition during a childhood visit to Disneyland, breaking out in a rash when confronted with the brand name masquerading as Mickey Mouse. She feels ill at the sight of the Michelin Man to this day. (Cayce reveals to those of us who didn’t know that her tormentor the Michelin Man has a proper name, the rather ominous sounding Bibendum.) At the beginning of the story we learn she’s managed to her turn her allergy into a lucrative career as a consultant to the world’s leading advertising agencies and fashion houses, who pay her big money to see if she’ll break out in hives at the sight of their latest designs. Tommy Hilfiger’s entire product line doesn’t make the cut. “A glance to the right and the avalanche lets go. A mountainside of Tommy coming down in her head. My God, don’t they know? This stuff is simulacra of simulacra of simulacra. A diluted tincture of Ralph Lauren, who himself diluted the glory days of Brooks Brothers, who themselves had stepped on the Jermyn Street and Savile Row, flavoring their ready-to-wear with liberal lashings of polo kit and regimental stripes. But Tommy is surely the null point, the black hole. There must be some Tommy Hilfiger event horizon, beyond which it is impossible to be more derivative, more removed from source, more devoid of soul.”

Cayce is hired by a Belgian billionaire, name of Hubertus Bigend, to track down the maker of a mysterious sequence of video footage, 135 segments and counting, which have shown up on the web and engendered a passionate cult following of which Cayce is an obsessive member. Bigend, an advertising genius, regards the footage as “the single most effective piece of guerilla marketing ever”, is intent on using the footage to benefit his billions, even though he vows “I don’t count things in money. I count them in excellence.” Although highly suspicious of Bigend’s motives, she accepts Bigend’s backing to better pursue her own obsession with the footage. She’s soon joined on her hunt for the ‘maker’ by a set of partners in obsession, some virtual like a witty eccentric Cayce only knows by his nickname Parkaboy through an online forum devoted to the footage, and one named Boone Chu, a dashing tech wizard bouncing back from a spectacular but vague dot-com era venture that ended badly. The adrenaline starts to increase when Cayce finds her at first merely annoying professional rival has industrial espionage in her past and might be behind the break-in at Cayce’s apartment and Cayce’s alarming discovery that someone is tracking her every move, both virtual and physical.

I found the characters very appealing. One aspect that most characters in the book share that I really enjoyed is acute obsession, a condition which has always had a strong perverse appeal to me. After all, surrendering to a great obsession has some major benefits, as many of those annoying obligations of everyday life, e.g. financial responsibility, punctuality, personal hygiene, etc. fall by the wayside in favor of that singular all powerful focus. Pathological, yes, but amazingly comforting too. I had great fun embracing the well crafted obsession that Gibson has provided in compulsion-soaked abundance. Case and Parkaboy obsessed with interpreting the footage for its own sake. Bigend obsessed with exploiting the footage for financial gain. A stray acquaintance named Voyteck obsessed with building a sprawling work of art out of decaying scaffolding and a collection of obscure mechanical calculators invented under duress by an inmate in a Nazi concentration camp. Cayce’s best friend Damien obsessed with spending a fortune (not his own, of course) filming the excavation of WWII carnage from a fetid Russian swamp. Another character, obsessed with early computer technology, is currently “negotiating to buy Stephen King’s Wang.” The characters’ collection of obsessions drives the narrative along at an addictively manic pace.

Beyond the great characters, which are obviously very funny by design, the repartee between the characters is as hilarious as it is thought inspiring. The humor can be clinical, detached and cynical yet one might argue it is the most appropriate, even healthiest, reaction by characters who feel alienated from a world dissociated from its psychic core and left to compensate with the internet and a wealth of cell phone spectrum. Gibson delivers his humor with real compassion for his characters using precisely crafted language and superb pacing that I find a joy to read, and re-read.

The last thing I want to share about PR is the rather amazing critical reaction. The kudos arrive from every quarter, with the Washington Post critic describing PR as “…one of the first authentic and vital novels of the twenty-first century” and the Seattle Times critic describing it as a “defying all the usual superlatives…Pattern Recognition is more than the sum of these parts. It’s a whole that examines the wholeness and its lack in the debris-filled light of our post 9/11 lives” [note: Wow, I never realized how silly that review was until I typed it out just now! “a whole that examines the wholeness”. You must be joking!]. Although I found PR tremendously entertaining and highly recommend it I must say that I find the level of critical acclaim very surprising. I say this because I found PR entertaining in the way one enjoys overhearing a debate between accomplished coffeehouse intellectuals, albeit in this case the coffeehouse has WiFi, the debaters have iBooks and they frequently pause to check their Wittgenstein facts on Wikipedia. In other words, while I find Gibson’s “nerd intensity” (words he uses to describe one of his characters) very cool and fun, perhaps we should leave the compliments at that level.

Here’s a link to a collection of reviews.

If you read it, please let me know if you share my impressions!

Andy J

Thursday, March 15, 2007

My Recent Read Feb - April 2007

The Whole World Over, Julia Glass (** 2 Star)
This is a very disappointing followup of the excellent Three Junes. It is long, cluttered, self-indulgent and drippy.
Read in March 2007

Moon and Sixpence, W. Somerset Maugham (**** 4 Star)
Some people go for the moon in the sky, some people go for the sixpence on the ground.
Read in March 2007

The Painted Veil , W. Somerset Maugham (**** 4 Star)
It is a good story told through the view point of a shallow young woman who finally discovered her emotional growth. Very compelling.
Read in Feb 2007

The Poisonwood Bible, Barbara Kingsolver (**** 4 Star)
Deep in the Congo jungle, a family is trying to survive the elements, people and themselves.
Read in Feb 2007.

A Widow for a Year, John Irving (*** 3 Star)
Epic story of living through loss and pain in the eyes of a strong female character Ruth.
Read in Feb 2007.

Larry's Party, Carol Shields (**** 4 Star)
A good story about an average guy's life.
Read in Jan 2007

To the Hermitage, Malcolm Bradury (**** 3 Star)
500 pages of rambling -- some parts interesting, some parts puzzling. I did not really learn much about Diderot or Catherine the Great, but enjoyed its many wonderful turn of phrases.
Read in Jan 2007

Monday, March 05, 2007

Renew our effort in book reading -- what about speed reading?

One of the most painful conversation topics that I have had over the last few months is speed reading. There are always people mentioning about its wonders but I am a bit sceptical.

I have been traumatized by my previous experience in trying to learn such exulted skills but walked off with weary eyes and wearier spirit. (Those who put me through such ordeal know their blames).

What is your opinoin on this? What is the best way to read faster without sacrifice pleasure in reading?

Monday, July 17, 2006

"Marriage, A History"

This book is by Stephanie Coontz, a professor of history and family studies at Evergreen State College in Olympia WA. The crucial ideas in the book are effectively summarized in her subtitle, which is "From obedience to intimacy, or how love conquered marriage."

The book says that prior to the 18th century, marriage was generally something which was arranged between two families rather than between two individuals. Marriage had two essential social purposes -- it was an indication of adulthood and independence, and it was intended to create a suitable environment for raising children. However, since the beginning of the Romantic era, society has generally accepted the view that marriage should occur because two individuals love each other, and that any other basis for marriage is unacceptably trivial or mercenary.

None of this is at all radical. Coontz acknowledges when she was in graduate school, it was generally believed that love-based marriages only began in the 19th century, but that she now believes that such marriages started to happen during the 18th century. She dismisses, without much discussion, the views of other scholars that love-based marriages might have begun much earlier, perhaps in the 16th century or even back in medieval times.

Coontz says that in the US, most people's views of "marriage" are still strongly based on the 1950s, when the social expectation was that a man would work while his wife would stay home with the kids. But she notes that such a pattern was quite unusual historically -- even in the US prior to the 1950s and subsequently, it would not have been possible for a family to be supported by a single male worker.

Nevertheless, she comments that the idea of a "male breadwinner" and a "female homemaker" has been powerfully attractive, and many of the arguments and disagreements about marriage are based on the idea that the 1950s represented some kind of social ideal. Many of the social and political arguments about "how marriage should work" are based on a very specific period, and analysis of a longer period of history suggests that the 1950s were a very strange and anomalous period which is unlikely to recur.

Coontz ends the book with some thoughts about how marriage is likely to develop in the future. She notes that most people continue to want to marry for love, and mentions the current debates about whether same-sex couples should be allowed to marry, as an indication of the continuing desire to have a socially accepted indication that people are committed to life together. But she also notes that more and more marriages end in divorce, because people aren't as willing to accept an imperfect relationship as they would have been in the past. Consequently, marriage continues to be socially desirable, but each individual marriage has a much greater chance of failure than in the past.

So overall, the book provides a competent synthesis of what seems to be generally known and believed. It focuses mainly on Europe and North America, though the first few chapters have some interesting comments on marriage customs in different ancient societies. Given the scope of her research, it's entirely understandable that she is relying on secondary and tertiary sources -- this is intended to be a synthesis rather than a monograph. And it's quite nicely written in terms of style.

I thought the book was interesting, but in my view it has four important weaknesses.

Firstly, the book really doesn't talk at all about marriage in the modern world outside the US and Western Europe. Globally, there are still plenty of societies where young people have marriages arranged by their parents or families. But young people in these societies are well aware that their counterparts in the West are mostly marrying for love, and at least some of them would like to be able to do the same.

I personally know several people from other countries who have been educated in the US, and who would like to be able to choose their own spouse, but whose parents want to pick out a partner for them. In some cases these people have tried to resist, but it's very difficult to do so when their local culture treats unmarried people as being little better than children. What is going to happen in those societies in the future? Will they become more like the US?

Secondly, the book doesn't really explain why politicians decided to make divorce easier, in the US and in many other countries. Even after the idea of love-based marriage was generally accepted, during the 19th century, most people found it very hard to get a divorce. The idea seemed to be that people should marry for love, and that love should be forever, and that if love wasn't forever then the couple who had married for love should stay married anyway.

But then during the 1960s and 1970s, politicians in many countries seem to have decided that no-fault divorce could be considered as a logical corollary to love-based marriage. Why?

Thirdly, the book notes that ordinary people and politicians in the US (and the rest of the western world) generally consider that the 1950s is a reasonable baseline for how marriages should be structured. However, the book doesn't provide any explanation for why this might have happened.

I think one possible explanation is television. The 1950s was the decade in which large numbers of Americans started watching TV, and the plots and characters from 1950s television shows have been endlessly recycled subsequently -- though with minor variations over time. Hence, the social conventions underlying television shows from the 1950s have become widely accepted as "how people behave."

But I admit that I'm not completely satisfied with my own hypothesis. After all, even before the introduction of television, people were receiving ideas about social conventions from other sources -- from their own families, of course, but also from plays, poetry, novels, radio, and the movies. In particular, I wonder what is the difference between television as a medium versus radio and the movies, which were also mass media, and which were also subject to pressures from politicians and opinion leaders to promote respect for the institution of marriage -- see, for instance, the Wikipedia discussion of the Hays Code.

Thinking about this a bit more, it seems possible that television has characteristics which would have caused it to be more influential in setting social conventions than either radio or the movies. For most people, going to the movies was probably the sort of activity which would be done once a week or less, but television could be watched every day at home. And for most people, radio is far less "immersive" than television, because it's possible to do something else while listening to the radio, but much more difficult to combine television watching with any other activity. But I'm not fully convinced by these suggestions.

And finally, I think that the book relies too heavily on what is currently accepted within the historical canon, and that Coontz gives too little attention to the importance of culture and specifically to literature.

For instance, just looking at Shakespeare's romance plays, there seems to be clear acceptance that love and intellectual compatibility are a necessary -- and perhaps even sufficient? -- basis for marriage. Were those plays only intended to be amusements, rather than indications of how people should behave?

And similarly, with regard to poetry, there are centuries of poems which celebrate love, and which indicate that romantic attachment is genuine and valid and a source of joy. Were those poems also intended purely as a sort of fantasy world, with no reference to how real people would behave?

Now admittedly, Shakespeare doesn't provide many examples of love after marriage, and I don't know enough about pre-19th century poetry to be able to cite examples of poems which talk about love-based marriage.

But to me, it seems that Coontz is just ignoring all of these other potential sources of information, in favor of secondary and tertiary analysis which is mainly based on sources such as "marriage manuals" whose explicit intent was normative. After all, what sort of picture of modern American society would emerge from a study which focused solely on the self-help section of the average bookstore?

(For another critique of the book, which makes additional comments about Coontz's particular views and sources, see www.slate.com/id/2118816/)

Monday, March 20, 2006

"The Dead Beat" by Marilyn Johnson

During the 19th century, obituaries were lengthy, overblown, and often wildly partisan. But subsequently the form declined in popularity and impact, until during the 1970s it was common for the obituary page to be the last stopping place for burned-out journalists just prior to retirement.

Since the mid-1980s, there has been an amazing revival of the obituary form. In the UK, newspapers started to write much longer and quirkier obits. In the US, there was a sudden move towards writing extended obituaries of "ordinary people" -- those whose lives would never previously have been celebrated.

Marilyn Johnson is clearly a fan, and indeed has worked as a freelance obit writer herself -- though she says that she was always preparing them ahead of time, rather than doing what "real" obit writers do, which is to write an intelligent and perceptive overview of someone's life on tight deadline.

This book got excellent reviews, and I think they are generally well merited. I know more about the UK papers than the US ones, and I think that Johnson gives a fair and balanced assessment of the strengths and weaknesses of the big four London newspapers. I didn't know so much about the US obituary tradition, and so I found that part of the book more interesting. For anyone who is interested in contemporary journalism, this book should be considered essential reading.

The book is well written and attractively printed. But it's a little bit superficial in analysis, focusing more on excerpts from obituaries than on why the form has become so much more popular over the last couple of decades. There are several areas that I wish she had considered in greater depth.

Firstly, to what extent is the resurgence of the modern obituary a reflection of libel laws? I believe that both in the UK and the US, it's impossible for someone to libel the dead -- the "de mortuis nil nisi bonum" principle (though Wikipedia points out that actually this particular tag has two contradictory meanings).

Thus, the obituary of a famous person is the first time that a journalist can actually come out and say that the deceased was a drunk or a plagiarizer or a bigamist or something else, without fear of being involved in a multi-million lawsuit. Johnson notes that there is a widely recognized and understood set of euphemisms attached to obituaries, presumably to spare the feelings of the family. But she also notes that there has been a steady loosening of the rules, and that it's now possible to find extremely outspoken obituaries which talk with astounding candor about what the deceased was really like.

Secondly, are her views of the "American" and "British" traditions affected by the specific publications that she is considering? Her description of the British tradition seems to be based entirely on the London press, whereas her analysis of American trends refers both to the big behemoths with national pretensions (the NYT, LA Times, Washington Post) and also to numerous local newspapers. It looks as though the "ordinary" obituaries don't appear in the big publications in either country. But I think there are plenty of "ordinary" obituaries in the city newspapers outside London, as far as I remember. I think what Johnson has identified is not really a US-UK distinction, but a national-local distinction.

Thirdly, is there any link at all between the increased attention to obituaries of "ordinary" people and the more general move in historiography and the social sciences towards attention to the non-famous? This trend began in France with the members of the Annales school, but has become one of the most important themes of the post-WW2 tradition in Anglo-American historical writing too. The move away from "kings and battles" is one of the most important trends identified in "Inventing the Middle Ages" by Norman Cantor (who died in September 2004), which is a fine introduction to how historians think about their own discipline.

From Johnson's description, it seems that the journalist who was responsible for developing the "ordinary" obituary, Jim Nicholson of the Philadelphia Daily News, was not motivated by any deep theoretical ideas. But it would be fascinating to know whether some of his disciples and followers saw things from a more political perspective. I wish that Johnson had also talked more about why the "ordinary" obituary has been such a success in the US, but has not (apparently) ever been emulated in the UK -- at least not in such a visible and important way.

Fourthly, she notes that virtually every major Anglo-American newspaper has an obituary page, except the Wall Street Journal. She comments that the WSJ could certainly have a world-class obits page if it wanted one, so why doesn't it? I can think of a couple of possibilities.

The first possibility is that the WSJ considers its role to be business themes which are at least potentially universal, rather than particular individuals who are mortal and thus can only ever be exemplars of more general trends (though this wouldn't be consistent with the weekly hagiographies directed towards Reagan). The second possibility is that the WSJ's core audience probably skews older and richer than is true for any other major newspaper. Maybe a daily reminder of mortality and "you can't take it with you" would be particularly unwelcome for this audience.

And finally... for anyone who is interested in obituaries and/or popular music, I would also recommend the novel "Basket Case" by Carl Hiaasen -- the main character is supposed to be an obituary writer who stumbles across the murder of a minor guitarist from the 1970s. A good introduction to Hiaasen's work, for anyone who hasn't previously been exposed to his particular variety of comedy thriller. And there are some reasonably good musical jokes there too.