The Most Contentious Patch of Land In Human History

“The situation in Palestine” has become something of a cliche; the definitive example of terribly serious discussion taking place during a dinner party talked about by middle class men with glasses and a humanities degree. It also happens to be about the single most politically delicate and contentious issue in the world today, and indeed concerns a patch of earth that could be said to have spilt more blood and caused more destruction in fighting over it than any other. Palestine’s is a long and bloody history, but it is a story often presumed rather than explained in full: so here is my effort to explain, in about as much fullness as a blog post will allow, what ‘the situation in Palestine’ actually is.

Palestine is an old geographical term that originally referred to a Roman province in the area in and around what is now the country of Israel (although that statement is contentious enough on its own, for reasons that will become clear later). However, included within its borders is the city of Jerusalem and many of the holiest sites of the religions of Christianity, Islam and Judaism, and having three conflicting and very… forceful ideologies trying to share the same space was just never going to work. When Islam began to realise the potential of several hundred zealots and a lot of swords put together, the Holy Land (which included Palestine) came under Islamic rule and, as my previous posts on the Crusades explained, two thousand years of throwing the military might of Christendom against it failed to make any long-term difference. In time, Palestine was to come under the control of the mighty Ottoman Empire that would come to dominate the Middle East right up until the end of the nineteenth century. However, prior to the First World War what was left of the Empire, by that time a relatively technologically backward state compared to the industrialised powers of western Europe, threw its lot in with the Triple Alliance (ie the Germans), and during the war itself Palestine was invaded by the British. Post-war, the British were given a mandate to manage the region by the short-lived League of Nations as it attempted to organise the remnants of the Empire, and thus the territory effectively became part of the British Empire.

Prior to that, and with Muslims proving difficult opponents for Christianity to fight, successions of Christian rulers turned on a far easier target: Jews. The New Testament forbade moneylending, but it was such an economically useful practice that Jews were often able to make a good living out of providing the service to Christians. This meant the Jewish population was rich and sinful by Christian ruling, and combining that with their ethnic differences and the fact that they had no distinct nations or military power made them very, very easy for the Christian world to hate and persecute. During the Norman period (and probably quite a while since then), the main entertainment for residents of London appears to have been trashing the Jewish quarter every time a significant effect of some sort occured/they got bored on a Friday evening. People have come up with all sorts of regions for why Hitler and his ilk had such a vehement hatred of Jewish people, but the simplest explanation is also the most likely; that anti-Semitism was just, very, very common at the time and Hitler was just one Jew-hater of many.

However, it was actually prior to the Second World War that tensions in the region of Palestine began to intensify. The British had promised the Jewish population of the world in general a homeland in the area, perhaps as a retroactive apology for the years of persecution they’d suffered at the hands of the British and others, and hoped that the Jews and Arabs could live side-by-side with one another. This didn’t really work, mostly since the Muslim population in the area was (at the time) ten times that of the Jewish one, and tensions in the region escalated; there were three rebellions against British rule whilst they governed, partly in response to this Jewish repatriation policy. By the time the Second World War ended the western world was justifiably shocked at the sheer scale of genocide perpetuated by the Nazis, but a collective look back over their own history ended in cringes of guilt as they realised they had very little in the way of moral high ground. This guilt, combined with the very liberal, democratic and anti-imperialist sentiments gripping Britain at the time (its first labour government had, after all, just been installed), led Britain and the new United Nations, successor to the League of Nations who’d created the mandate in the first place, to push forwards with their plan to give the Jews a homeland. In 1947, the UN decided that having the two groups living alongside each other was just asking for even more trouble than was already present, and proposed a new, partitioned state of Palestine. Palestine would be divided, into one area governed by the Jews and three separate areas within the country’s borders that would be Muslim-controlled. Jerusalem was to be under the UN’s jurisdiction (this was back when this was something the UN would do) and would be a free city, available to everyone. Which all sounds great in theory, but the thought of giving up yet more of their land to the Jewish occupiers was the final straw for the Arabs. This new border lasted less than a week before war was in full swing.

The Arab Higher Commitee rejected the UN’s partition proposal, and civil war erupted in the new country, mostly thanks to disorganised groups of unofficial Arabic soldiers and snipers (there was no organised Israeli army and the politicians from other countries were still arguing in the UN). Thousands were killed, and thousands more left the country in search of pastures less violent (mostly Arabs, who at least had other homelands to go to). The British were supposed to be keeping order in the region during the transition phase, but were mainly interested in covering themselves whilst they evacuated as many troops as possible. By May 1948, the Jewish population in the region had got themselves sufficiently organised to declare the new, Jewish state of Israel over the entirety of Palestine, and the civil war segued into a more official conflict as the newly formed Israeli army began squaring up against the local Arab countries (mainly Jordan and Egypt). Supplied and trained by the USA (whose population have historically supported the state of Israel for an apparently bizarre reason concerning the Biblical prediction of Jesus’ second coming- I’m not even joking), the Jewish forces took control of much of the area originally allotted to the Palestinian Muslims (including most of Jerusalem) and left them only with the areas we now call the Gaza strip and the West Bank. Since the Arabs wouldn’t accept having control over only part of the country they considered theirs, and did not recognise the state of Israel anyway, no official Muslim state of Palestine was declared (since the Arabs believed the old one had never actually ended), hence why these different areas don’t show up separately on maps.

With the new Jewish state formed and many Arabs driven from their land (in total nearly one and a half million Arabs were displaced or left the area of their own volition as a result of the two-part war, a refugee crisis that has yet to fully resolve itself), a sizeable chunk of the Jewish population in the Arabian peninsula immigrated to Israel, with the consequence that over three quarters of the current population of Israel are Jewish. This did not help the smouldering tensions along the borders Israel had with its Arab neighbours, and for nearly two decades open hostility and sporadic outbreaks of fighting were the norm. On June 5 1967, the Israelis (in the latest of what was becoming a long series of aggressive political manoeuvres) launched a pre-emptive strike against their key enemies of Syria, Egypt and Jordan, using their US-made aircraft to annihilate the air forces of all three nations whilst they were still on the ground in what became known as the Six Day War (some people wonder how they ever got away with this. These people forget that this was the Cold War, and you did not go telling the USA’s allies what they could or couldn’t do). With control of the air now theirs, Israeli ground troops took full control of the city of Jerusalem, drove back Arab attempts at a counter-attack, took the Golan Heights from Syria, the Sinai desert from Egypt, increased fivefold in size (now it also had control of the West Bank and Gaza strip) and eventually destroyed around 80% of Egypt’s military capacity and killed around 30,000 Arab troops. In six days. It was one of the bloodiest, and militarily most impressive, weeks in modern history.

Now the Arab world was doubly furious, but there was little they, in their weakened state, could do about it. Israel hoped this would draw the Arabs to the negotiating table in pursuit of peace and prosperity, but (perhaps understandably), they still wouldn’t have anything to do with them, not even recognising the existence of the state of Israel. After six years of brooding and rebuilding their military strength, the Arab world launched an invasion of their own, called the Yom Kippur war after its timing to coincide with the holiest day of the Jewish Calendar and backed by the Soviet Union, and the Egyptian army* crossed the psychologically significant Suez Canal that had marked the border. Although the war eventually cost over 18,000 Arab lives to around 8,000 Israeli ones, with Israeli air power eventually winning them the day and forcing a UN-backed ceasefire (and nearly precipitating nuclear war, but that’s another story), it deeply damaged the Israeli’s confidence that their military might could be used to bully their Arab neighbours. In November 1977, Egypt recognised the state of Israel and in 1982, Israel gave back the Sinai desert.

On the map, very little has changed since then; but the fundamental argument as to who the land of Israel/Palestine belongs to has yet to be settled, and probably never will be. Indeed, the situation has only intensified as great barriers have been built by the Israelis and they have attacked Muslim communities (both, they say, in an effort to combat terrorism). Indeed, to this day, Israel and Syria are still technically at war, even though there is an Islamic . Some blame the Isrealis gung-ho attitude, whilst others claim they are only acting in response to Muslim aggression (and anyone who’s ever travelled into Israel via their national airline can tell you how stringent their security policy is). The only things that can safely be said without picking sides is that ‘the situation in Palestine’ has claimed thousands of lives, ruined countless others, has no side who are clearly on the ‘right’ side and doesn’t look like it will be ending any time soon. It is a sad state of affairs.

*The key instigator for the invasion was Egyptian president Anwar Sadat, who would be assassinated in 1981 by militants opposed to his peace treaty. His replacement was welcomed by the western world for bringing stability to Egypt; and Hosni Mubarak was still ‘bringing stability’ to his nation right up until the Arab Spring of two years ago. Another key ally was president Hafez al-Assad of Syria, who kept office from 1971 to 2000 when his son Bashar took over. This is the same Bashar al-Assad currently accused of using chemical weapons against Syrian rebels. I don’t know that this is relevant, just thought it was… interesting.

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FILM FORTNIGHT: The King’s Speech

Ah, Tom Hooper, whatever are we to do with you; a professional Oscar-bagger whose adherents’ vociferousness in their praise of his directorial skill is only matched by his critics slagging him off. This is not to say that he makes bad films (although I have seen one reviewer call Les Miserables the third worst film of 2012; a somewhat bold claim), but more a reflection of the fact that Hooper’s style of film making is pretty much what the Academy thinks is the cinematic equivalent of nirvana. This very… specific style has not endeared him to everyone, specifically those who think his films are all the more dull and predictable for it.

Where was I again? Oh yes; The King’s Speech, the most critically successful to date of Hooper’s films, bagging a Golden Globe, seven BAFTAs and four Oscars. For the four of you who never quite heard what the plot was about, our gaze is cast back to 1925 and onto the then Duke of York, Prince Albert (Colin Firth), second in line to the throne after his older brother David (Guy Pearce). Albert is among of the most interesting Royals in (relatively) recent history and was the father to our current Queen, but the part of his character we are most interested in now is his heavily pronounced stammer. This impediment is hardly conducive to him being comfortable in a heavily public role, and he tries multiple methods to cure himself; but this is the early 20th century, and we are yet to see the extraordinary advances in medical science that came along during the decades after the Second World War. As such, the treatments offered are somewhat Victorian in nature and don’t work, leading to increasing frustration from the Prince regarding the issue, to the point where he basically decides to give up. His wife Elizabeth (Helena Bonham Carter), however, is more determined, and puts him in touch with Lionel Logue (Geoffrey Rush), an Australian speech therapist with somewhat unconventional methods (and indeed mannerisms) for the time.

The changing relationship between Logue and the Prince is the central plot thread for the remainder of the film; one a rather bluntly-spoken commoner and the other who has spent his entire life being served in deference to with the complex rules of formality and tradition acting as his social bodyguard. That this is going to cause tension is obvious from the opening scene, and is indicative of one of the film’s most prominent flaws; the near-total lack of anticipation. This does not half to be a bad thing necessarily; many a good film has been so without any need to resort to tension or anticipation, but every scene of The King’s Speech can pretty much be calculated from the first five seconds, and sticking around to watch frequently doesn’t add anything to the central plotline.

It’s a shame really, because there are other aspects (and other scenes) that the film gets magnificently right, particularly those scenes that focus on the transitional state of the world at the time. This particular point in history was a turbulent one; times were changing, the new and old were trying (and in many cases failing) to coexist, and the establishment was frequently struggling to cope with all this newness. No establishment embodied this more than the royalty; these were the last days for nobility in all its pomp and finery, the days when it finally realised how much of its power had been stripped away and how it could not go on pretending to be a divine figure of authoritative power. As the film makes clear, monarchies had been falling across Europe, and others were to be reduced to puppets beneath new regimes, and while this theme is never explicitly mentioned or made a central part of the film, it subtly pervades all around it in a way that makes one feel genuine sympathy for the characters concerned. It is present in the way the prince treats the children and the stories he tells of how his father treated him, in the methods that work for him and the methods that don’t, even in the way characters address one another. All in all a wonderful piece of directing to work in there; I only wish it had taken centre stage more frequently. Perhaps then it wouldn’t perpetually feel as if it were 15 minutes away from finishing.

Mention must of course be made of the actors; Colin Firth took three ‘Best Actor’ prizes for his role as the king, and I found his portrayal incredibly interesting. Firth has always brought a particular brand of confidence, even cockiness, to the roles he plays and is frequently cast in controlling figures of power for this very reason; but here he is required to express both the power and authority of a monarch and the fragility of a patient. The film’s plot, and in particular Geoffrey Rush’s perfectly executed character of Logue, mean that these two opposing images must frequently share the limelight and come into conflict with one another, whilst all the while having to make themselves felt through the Prince’s stammer. This would be a mean task for even the most skilled of actors, and for someone such as Firth who I have never seen portray weakness in this way, it is a particularly interesting challenge. I wouldn’t say that he pulls it off perfectly, or that I find his performance massively compelling (he doesn’t quite manage to express how hard he’s trying, from my point of view), but it is nonetheless a good attempt at a very challenging role. This may have been somewhat hindered by the fact that, as usual, Bonham Carter manages to steal the show, once again showing her extraordinary versatility as an actress with a striking, and occasionally even funny, portrayal of the Duchess (a woman we would now refer to as the Queen Mother). That she and Rush only took home one ‘Supporting Actor/Actress’ role apiece is, to me, quite an eyebrow raiser, even if it was up against The Fighter. Some other performances, most notably Timothy Spall turning up as Winston Churchill for no readily explained reason, are less beneficial to the film and often feel as though they are taking screentime away from what’s important (there’s a fine line between ‘interesting cameo’ and ‘why the hell are they here?’), but thankfully they are not prevalent enough for this to be a massive problem.

To me, The King’s Speech is far from a perfect film; it is not terribly compelling all too frequently, large pieces of the plot seem to serve very little purpose, the script takes significant artistic liberties with historical fact (yes, I know that shouldn’t be important, but I’m too much of a nerd about these things), the plot is somewhat formulaic and predictable and it can’t quite seem to make up its mind over what it is, thematically speaking, about. However, it is executed so exquisitely that these flaws, in part, hardly matter; yes, they’re there, yes the film is imperfect, but that’s no reason not to sit back and enjoy the experience. Did The King’s Speech deserve two ‘Best Picture’ awards? Perhaps not. Is it a bad film? Not a chance. Perhaps not worth digging through to see, but certainly worth watching if you get the chance.

FILM FORTNIGHT: The Counterfeiters

Very few people I know have heard of this film, not that I’m terribly surprised; it takes something pretty special for any foreign language film (the film is Austrian, so spoken in German) to make it big in the somewhat saturated UK film market, and we are hardly short of films about Nazism in any language. Still, that’s no reason to malign it straight off the bat, and I managed well enough with just the subtitles.

The film’s story covers yet another of the ‘hidden tales’ of the Second World War; some small aspect of the war plan of either side that was in its own way, big or small, somehow critical to the war’s outcome. It is a constant source of amazement to me that we don’t run out of these stories at some point, since there were only so many people in Europe at the time to have an Amazing True Story happen to them, but happen they clearly did. This particular story concerns a wing of the concentration camp at Sachsenhausen, where tens of thousands of Jews and political enemies of the Nazi state died during the war, either by being worked to death or systematically exterminated; many others were transferred to Auschwitz to be killed. However, even in Germany at the time there was some dissidence to the state’s fanatical Jew-hating; the Jews were a successful sect of German society, with many skilled doctors, engineers, bankers and such among them, and it was a truth that (understandably) went unsaid that by locking up, driving away and killing all these people the Third Reich was hamstringing itself. Apparently, even the high-ups recognised the potential usefulness of some of these people, and here our film takes up the story; our main protagonist is career forger Salomon Sorowitsch (Karl Markovics), arrested for… well… being a career forger, as well as a Jew. However, his talents soon make themselves known and he is moved to Sachsenhausen along with as many other prisoners the Nazis can find with skills related to artwork, printing or forgery. Their task? Come up with a facility for the mass-production of dud British and American banknotes, with the aim to flood the market with them and thus destabilise the Allied economy through hyperinflation. Some might call this a slightly eccentric strategy, but after hyperinflation had totally annihilated the German economy in the early 1930s (paving the way for the Nazis’ rise to power in 1933) the Germans knew all too well how devastating this had the potential to be.

However, this complex historical context is all so much background noise, for the real meat of the film concerns our characters. Every one is representative of the complex mess of moral ambiguity and contradiction that the prisoners find themselves in; Sorowitsch is something of a cynical moneymaker, but finds himself in the role of leader and spokesperson for the band of forgers, and whether his priorities lie with his own survival or empathy for them becomes an increasingly grey area as the film progresses. Then there is the question of the act of collaboration; some are quite clearly happy to do whatever the Nazis want if it means they can stay alive, but others are quite plainly disgusted at the idea of working for those who would quite happily have seen them dead. This moral standpoint is personified by the character of Adolf Burger (August Diehl), whose memoirs the film is based upon; not only does he vehemently hate the Nazis and does everything he can to fight back against them, but his every action is indicative of his moral repulsion against their situation. Because of the importance of their work, the forgers live a relatively well-off existence, with decent clothes, good living conditions and sufficient food. By contrast, the life of a less lucky prisoner was horrific; fed on scraps when they were fed at all (there are several accounts of prisoners starving to death as concentration camps and factories argued over whose job it was to feed them), they were subjected to backbreaking labour and near-constant systematic abuse from their guards. The death rate was correspondingly horrific. This gulf in quality of life between them and their fellow prisoners, never seen until the very end of the film to provide a stark, brutal contrast, is of personal significance to Burger (his wife is imprisoned elsewhere), and whilst his comrades dress themselves in the clothes of the dead, he remains clad in prison wear, a constant and undoubtedly effective visual reminder of the moral mess the film finds itself in.

This moral quagmire is, really, the film’s underlying theme, the question of what is right versus what will keep you alive ever-present. Other films have addressed this message, but the setting of this one makes it especially poignant; across the vast expanse of German-controlled Europe, countless of ordinary people really did collaborate with the Nazi occupiers, and the shame associated with this act still lingers today. In some cases, collaborators may have believed in the Nazi ideals, but doubtless most were simply trying to make life a little less hard in whatever way they could. Was what they did right? What is worth sacrificing, worth accepting, in order to stay alive? Far better philosophers than me have pondered that question and failed to come to an answer.

However, for me the crowning moral contradiction of the lot comes in the form of the prisoner’s Nazi controller, Herzog (Devid Streisow; in real life the operation was headed by a man named Bernhard Kruger). A softly-spoken family man who is proud to say that he never beats his children, it is Herzog who is responsible for the prisoners’ comfortable existence; and an undoubtedly ruthless Nazi who threatens to start shooting prisoners if anyone conspires to sabotage the operation (adding another layer of moral quandary to Burger’s sabotage attempts). In more ways than one, Herzog is symbolic of the strange quirks of moral reasoning of the Nazi party as a whole; a political party who, whilst happy to gas millions upon millions of Jews for no good reason, had very strong objections to hunting, cruelty to animals and smoking (they were the first to show that smoking is unhealthy, although nobody took them seriously at the time). Herzog is a metaphor for the system he represents, just as the film is a metaphor for a thousand stories of small-time collaborators across the continent.

The Counterfeiters is most certainly not a perfect film. Whilst it is grim, gritty, realistic and deals with some genuinely meaningful subject matter, director Stefan Ruzowitsky doesn’t seem able to differentiate between the gravity of different scenes, making those that should have packed a powerful punch seem rather tired and listless. Whilst not taxing for the brain, it is rather hard to enjoy for this reason, and whilst the moral ambiguity of the characters gives them purpose it is not done in such a way as to make them seem sympathetic and likeable. No, I cannot definitely say that I enjoyed The Counterfeiters, but I respect the hell out of it for telling a story that tries to mean something, and for having the guts to be unconventional.

PS: Reading around some of the source material for this film, I came across the story of Bernhard Kruger, the real-life version of Herzog. His story and the story in the film do not apparently synch up (even Adolf Burger is on record as saying that the film does not portray events as they really happened), and he was apparently just as much of a murderer as the likes of Rudolf Hoess (the commandant of Auschwitz); according to Burger, he murdered six ill prisoners in the final days of the war to prevent them from talking when they went to hospital. However, his story becomes interesting when he was put on trial for war crimes; several former members of his unit apparently gave evidence of his good treatment of them during the war, and he was acquitted; because this film didn’t have quite enough moral ambiguity on its own…

Flying Supersonic

Last time (OK, quite a while ago actually), I explained the basic principle (from the Newtonian end of things; we can explain it using pressure, but that’s more complicated) of how wings generate lift when travelling at subsonic speeds, arguably the most important principle of physics affecting our modern world. However, as the second World War came to an end and aircraft started to get faster and faster, problems started to appear.

The first aircraft to approach the speed of sound (Mach 1, or around 700-odd miles an hour depending on air pressure) were WWII fighter aircraft; most only had top speeds of around 400-500mph or so whilst cruising, but could approach the magic number when going into a steep dive. When they did so, they found their aircraft began suffering from severe control issues and would shake violently; there are stories of Japanese Mitsubishi Zeroes that would plough into the ground at full speed, unable to pull out of a deathly transonic dive. Subsequent aerodynamic analyses of these aircraft suggest that if any of them had  in fact broken the sound barrier, their aircraft would most likely have been shaken to pieces. For this reason, the concept of ‘the sound barrier’ developed.

The problem arises from the Doppler effect (which is also, incidentally, responsible for the stellar red-shift that tells us our universe is expanding), and the fact that as an aircraft moves it emits pressure waves, carried through the air by molecules bumping into one another. Since this exactly the same method by which sound propagates in air, these pressure waves move at the speed of sound, and travel outwards from the aircraft in all directions. If the aircraft is travelling forwards, then each time it emits a pressure wave it will be a bit further forward than the centre of the pressure wave it emitted last, causing each wave in front of the aircraft to get closer together and waves behind it to spread out. This is the Doppler Effect.

Now, when the aircraft starts travelling very quickly, this effect becomes especially pronounced, wave fronts becoming compressed very close to one another. When the aircraft is at the speed of sound, the same speed at which the waves propagate, it catches up with the wave fronts themselves and all wave fronts are in the same place just in front of the aircraft. This causes them to build up on top of one another into a band of high-pressure air, which is experienced as a shockwave; the pressure drop behind this shockwave can cause water to condense out of the air and is responsible for pictures such as these.

But the shockwave does not just occur at Mach 1; we must remember that the shape of an aerofoil is such to cause air to travel faster over the top of the wing than it does normally. This means parts of the wing reach supersonic speeds, effectively, before the rest of the aircraft, causing shockwaves to form over the wings at a lower speed. The speed at which this first occurs is known as the critical Mach number. Since these shockwaves are at a high-pressure, then Bernoulli’s principle tells us they cause air to slow down dramatically; this contributes heavily to aerodynamic drag, and is part of the reason why such shockwaves can cause major control issues. Importantly, we must note that shockwaves always cause air to slow down to subsonic speeds, since the shockwave is generated at the point of buildup of all the pressure waves so acts as a barrier between the super- and sub-sonic portions of the airflow. However, there is another problem with this slowing of the airflow; it causes the air to have a higher pressure than the supersonic air in front of the shockwave. Since there is always a force from high pressure to low pressure, this can cause (at speeds sufficiently higher above the critical Mach number) parts of the airflow close to the wing (the boundary layer, which also experience surface friction from the wing) to change direction and start travelling forwards. This causes the boundary layer to recirculate, forming a turbulent portion of air that generates very little lift and quite a lot of drag, and for the rest of the airflow to separate from the wing surface; an effect known as boundary layer separation, (or Mach stall, since it causes similar problems to a regular stall) responsible for even more problems.

The practical upshot of all of this is that flying at transonic speeds (close to and around the speed of sound) is problematic and inefficient; but once we push past Mach 1 and start flying at supersonic speeds, things change somewhat. The shockwave over the wing moves to its trailing edge, as all of the air flowing over it is now travelling at supersonic speeds, and ceases to pose problems, but now we face the issues posed by a bow wave. At subsonic speeds, the pressure waves being emitted by the aircraft help to push air out of the way and mean it is generally deflected around the wing rather than just hitting it and slowing down dramatically; but at subsonic speeds, we leave those pressure waves behind us and we don’t have this advantage. This means supersonic air hits the front of the air and is slowed down or even stopped, creating a portion of subsonic air in front of the wing and (you guessed it) another shockwave between this and the supersonic air in front. This is known as a bow wave, and once again generates a ton of drag.

We can combat the formation of the wing by using a supersonic aerofoil; these are diamond-shaped, rather than the cambered subsonic aerofoils we are more used to, and generate lift in a different way (the ‘skipping stone’ theory is actually rather a good approximation here, except we use the force generated by the shockwaves above and below an angled wing to generate lift). The sharp leading edge of these wings prevents bow waves from forming and such aerofoils are commonly used on missiles, but they are inefficient at subsonic speeds and make takeoff and landing nigh-on impossible.

The other way to get round the problem is somewhat neater; as this graphic shows, when we go past the speed of sound the shockwave created by the aeroplane is not flat any more, but forms an angled cone shape- the faster we go, the steeper the cone angle (the ‘Mach angle’ is given by the formula sin(a)=v/c, for those who are interested). Now, if we remember that shockwaves cause the air behind them to slow down to subsonic speeds, it follows that if our wings lie just behind the shockwave, the air passing over them at right angles to the shockwave will be travelling at subsonic speeds, and the wing can generate lift perfectly normally. This is why the wings on military and other high-speed aircraft (such as Concorde) are ‘swept back’ at an angle; it allows them to generate lift much more easily when travelling at high speeds. Some modern aircraft even have variable-sweep wings (or ‘swing wings’), which can be pointed out flat when flying subsonically (which is more efficient) before being tucked back into a swept position for supersonic flight.

Aerodynamics is complicated.

The Development of Air Power

By the end of the Second World War, the air was the key battleground of modern warfare; with control of the air, one could move small detachments of troops to deep behind enemy lines, gather valuable reconnaissance and, of course, bomb one’s enemies into submission/total annihilation. But the air was also the newest theatre of war, meaning that there was enormous potential for improvement in this field. With the destructive capabilities of air power, it quickly became obvious that whoever was able to best enhance their flight strength would have the upper hand in the wars of the latter half of the twentieth century, and as the Cold War began hotting up (no pun intended) engineers across the world began turning their hands to problems of air warfare.

Take, for example, the question of speed; fighter pilots had long known that the faster plane in a dogfight had a significant advantage over his opponent, since he was able to manoeuvre quickly, chase his opponents if they ran for home and escape combat more easily. It also helped him cover more ground when chasing after slower, more sluggish bombers. However, the technology of the time favoured internal combustion engines powering propeller-driven aircraft, which limited both the range and speed of aircraft at the time. Weirdly, however, the solution to this particular problem had been invented 15 years earlier, after a young RAF pilot called Frank Whittle patented his design for a jet engine. However, when he submitted this idea to the RAF they referred him to engineer A. A. Griffith, whose study of turbines and compressors had lead to Whittle’s design. The reason Griffith hadn’t invented the jet engine himself was thanks to his fixed belief that jet engines would be too inefficient to act as practical engines on their own, and thought they would be better suited to powering propellers. He turned down Whittle’s engine design, which used the forward thrust of the engine itself, rather than a propeller, for power, as impractical, and so the Air Ministry didn’t fund research into the concept. Some now think that, had the jet engine been taken seriously by the British, the Second World War might have been over by 1940, but as it was Whittle spent the next ten years trying to finance his research and development privately, whilst fitting it around his RAF commitments. It wasn’t until 1945, by which time the desperation of war had lead to governments latching to every idea there was, that the first jet-powered aircraft got off the ground; and it was made by a team of Germans, Whittle’s patent having been allowed to expire a decade earlier.

Still, the German jet fighter was not exactly a practical beast (its engine needed to be disassembled after every use), and by then the war was almost lost anyway. Once the Allies got really into their jet aircraft development after the war, they looked set to start reaching the kind of fantastic speeds that would surely herald the new age of air power. But there was a problem; the sound barrier. During the war, a number of planes had tried to break the magical speed limit of 768 mph, aka the speed of sound (or Mach 1, as it is known today), but none had succeeded; partly this was due to the sheer engine power required (propellers get very inefficient when one approaching the speed of sound, and propeller tips can actually exceed the speed of sound as they spin), but the main reason for failure lay in the plane breaking up. In particular, there was a recurring problems of the wings tearing themselves off as they approached the required speed. It was subsequently realised that as one approached the sound barrier, you began to catch up with the wave of sound travelling in front of you; when you got too close to this, the air being pushed in front of the aircraft began to interact with this sound wave, causing shockwaves and extreme turbulence. This shockwave is what generates the sound of a sonic boom, and also the sound of a cracking whip. Some propeller driver WW2 fighters were able to achieve ‘transonic’ (very-close-to-Mach-1) speeds in dives, but these shockwaves generally rendered the plane uncontrollable and they invariably crashed; this effect was known as ‘transonic buffeting’. A few pilots during the war claimed to have successfully broken the sound barrier in dives and lived to tell the tale, but these claims are highly disputed. During the late 40s and early 50s, a careful analysis of transonic buffeting and similar effects yielded valuable information about the aerodynamics of attempting to break the sound barrier, and yielded several pieces of valuable data. One of the most significant, and most oft-quoted, developments concerned the shape of the wings; whilst  it was discovered that the frontal shape and thickness of the wings could be seriously prohibitive to supersonic flight, it was also realised that when in supersonic flight the shockwave generated was cone shaped. Not only that, but behind the shockwave air flowed at subsonic speeds and a wing behaved as normal; the solution, therefore, was to ‘sweep back’ the shape of the wings to form a triangle shape, so that they always lay ‘inside’ the cone-shaped shockwave. If they didn’t, the wing travelling through supersonic air would be constantly being battered by shockwaves, which would massively increase drag and potentially take the wings off the plane. In reality, it’s quite impractical to have the entire wing lying in the subsonic region (not least because a very swept-back wing tends to behave badly and not generate much lift when in subsonic flight), but the sweep of a wing is still a crucial factor in designing an aircraft depending on what speeds you want it to travel at. In the Lockheed SR-71A Blackbird, the fastest manned aircraft ever made (it could hit Mach 3.3), the problem was partially solved by having wings located right at the back of the aircraft to avoid the shockwave cone. Most modern jet fighters can hit Mach 2.

At first, aircraft designed to break the sound barrier were rocket powered; the USA’s resident speed merchant Chuck Yeager was the first man to officially and veritably top 768mph in the record-breaking rocket plane Bell X-1, although Yeager’s co-tester is thought to have beaten him to the achievement by 30 minutes piloting an XP-86 Sabre. But, before long, supersonic technology was beginning to make itself felt in the more conventional spheres of warfare; second generation jet fighters were, with the help of high-powered jet engines, the first to engage in supersonic combat during the 50s, and as both aircraft and weapons technology advanced the traditional roles of fighter and bomber started to come into question. And the result of that little upheaval will be explored next time…

War in Three Dimensions

Warfare has changed a lot in the last century. Horses have become redundant, guns become reliable, machine guns become light enough to carry and bombs have become powerful enough to totally annihilate a small country if the guy with the button so chooses. But perhaps more significant than just the way hardware has changed is the way that warfare has changed itself; tactics and military structure have changed beyond all recognition compared to the pre-war era, and we must now fight wars whilst surrounded by a political landscape, at least in the west, that does not approve of open conflict. However, next year marks the 100th anniversary of a military innovation that not only represented massive hardware upgrade at the time, but that has changed almost beyond recognition in the century since then and has fundamentally changed the way we fight wars; the use of aeroplanes in warfare.

The skies have always been a platform to be exploited by the cunning military strategist; balloons were frequently used for messaging long before they were able to carry humans and be used for reconnaissance during the early 20th century, and for many years the only way of reliably sending a complicated message over any significant distance was via homing pigeon. It was, therefore, only natural that the Wright brothers had barely touched down after their first flight in ‘Flyer I’ when the first suggestions of a military application to such a technology were being made. However, early attempts at powered flight could not sustain it for very long, and even subsequent improvements failed to produce anything capable of carrying a machine gun. By the First World War, aircraft had become advanced enough to make controlled, sustained, two-person flight at an appreciable height a reality, and both the Army and Navy were quick to incorporate air divisions into their structures (these divisions in the British Armed Forces were the Royal Flying Corps and the Royal Naval Air Service respectively). However, these air forces were initially only used for reconnaissance purposes and ‘spotting’ for artillery to help them get their eye in; the atmosphere was quite peaceful so far above the battlefield, and pilots and observers of opposing aircraft would frequently wave to one another during the early years of the war. As time passed and the conflict grew ever-bloodier, these exchanges became less friendly; before long observers would carry supplies of bricks into the air with them and attempt to throw them at enemy aircraft, and the Germans even went so far as to develop steel darts that could reportedly split a man in two; whilst almost impossible to aim in a dogfight, these darts were incredibly dangerous for those on the ground. By 1916 aircraft had grown advanced enough to carry bombs, enabling a (slightly) more precise method of destroying enemy targets than artillery, and before long both sides could equip these bombers with turret-mounted machine guns that the observers could fire on other aircraft with; given that the aircraft of the day were basically wire and wood cages covered in fabric, these guns could cause vast amounts of damage and the men within the planes had practically zero protection (and no parachutes either, since the British top brass believed this might encourage cowardice). To further protect their bombers, both sides began to develop fighter aircraft as well; smaller, usually single-man, planes with fixed machine guns operated by the pilot (and which used a clever bit of circuitry to fire through the propeller; earlier attempts at doing this without blowing the propeller to pieces had simply consisted of putting armour plating on the back of the propeller, which not infrequently caused bullets to bounce back and hit the pilot). It wasn’t long before these fighters were given more varied orders, ranging from trench strafing to offensive patrols (where they would actively go and look for other aircraft to attack). Perhaps the most dangerous of these objectives was balloon strafing; observation balloons were valuable pieces of reconnaissance equipment, and bringing them down generally required a pilot to navigate the large escort of fighters that accompanied them. Towards the end of the war, the forces began to realise just how central to their tactics air warfare had become, and in 1918 the RFC and RNAS were combined to form the Royal Air Force, the first independent air force in the world. The RAF celebrated its inception three weeks later when German air ace Manfred von Richthofen (aka The Red Baron), who had 80 confirmed victories despite frequently flying against superior numbers or hardware, was shot down (although von Richthofen was flying close to the ground at the time in pursuit of an aircraft, and an analysis of the shot that killed him suggests that he was killed by a ground-based AA gunner rather than the Canadian fighter pilot credited with downing him. Exactly who fired the fatal shot remains a mystery.)

By the time the Second World War rolled around things had changed somewhat; in place of wire-and-fabric biplanes, sleeker metal monoplanes were in use, with more powerful and efficient engines making air combat faster affair. Air raids themselves could be conducted over far greater distances since more fuel could be carried, and this proved well suited to the style of warfare that the war generated; rather than the largely unmoving battle lines of the First World War, the early years of WW2 consisted of countrywide occupation in Europe, whilst the battlegrounds of North Africa and Soviet Russia were dominated by tank warfare and moved far too fluidly for frontline air bases to be safe. Indeed, air power featured prominently in neither of these land campaigns; but on the continent, air warfare reigned supreme. As the German forces dominated mainland Europe, they launched wave after wave of long distance bombing campaigns at Britain in an effort to gain air superiority and cripple the Allies’ ability to fight back when they attempted to cross the channel and invade. However, the British had, unbeknownst to the Germans, perfected their radar technology, and were thus able to use their relatively meagre force of fighters to greatest effect to combat the German bombing assault. This, combined with some very good planes and flying on behalf of the British and an inability to choose the right targets to bomb on behalf of the Germans, allowed the Battle of Britain to swing in favour of the Allies and turned the tide of the war in Europe. In the later years of the war, the Allies turned the tables on a German military crippled by the Russian campaign after the loss at Stalingrad and began their own orchestrated bombing campaign. With the increase in anti-aircraft technology since the First World War, bombers were forced to fly higher than ever before, making it far harder to hit their targets; thus, both sides developed the tactic of ‘carpet bombing’, whereby they would simply load up as big a plane as they could with as many bombs as it could carry and drop them all over an area in the hope of at least one of the bombs hitting the intended target. This imprecise tactic was only moderately successful when it came to destruction of key military targets, and was responsible for the vast scale of the damage to cities both sides caused in their bombing campaigns. In the war in the Pacific, where space on aircraft carriers was at a premium and Lancaster Bombers would have been impractical, they kept with the tactic of using dive bombers, but such attacks were very risky and there was still no guarantee of a successful hit. By the end of the war, air power was rising to prominence as possibly the most crucial theatre of combat, but we were reaching the limits of what our hardware was capable of; our propellor-driven, straight wing fighter aircraft seemed incapable of breaking the sound barrier, and our bombing attacks couldn’t safely hit any target less than a mile wide. Something was clearly going to have to change; and next time, I’ll investigate what did.

Crypto

Cryptography is a funny business; shady from the beginning, the whole business of codes and ciphers has been specifically designed to hide your intentions and move in the shadows, unnoticed. However, the art of cryptography has been changed almost beyond recognition in the last hundred years thanks to the invention of the computer, and what was once an art limited by the imagination of the nerd responsible has now turned into a question of sheer computing might. But, as always, the best way to start with this story is at the beginning…

There are two different methods of applying cryptography to a message; with a code or with a cipher. A code is a system involving replacing words with other words (‘Unleash a fox’ might mean ‘Send more ammunition’, for example), whilst a cipher involves changing individual letters and their ordering. Use of codes can generally only be limited to a few words that can be easily memorised, and/or requires endless cross-referencing with a book of known ‘translations’, as well as being relatively insecure when it comes to highly secretive information. Therefore, most modern encoding (yes, that word is still used; ‘enciphering’ sounds stupid) takes the form of employing ciphers, and has done for hundreds of years; they rely solely on the application of a simple rule, require far smaller reference manuals, and are more secure.

Early attempts at ciphers were charmingly simple; the ‘Caesar cipher’ is a classic example, famously invented and used by Julius Caesar, where each letter is replaced by the one three along from it in the alphabet (so A becomes D, B becomes E and so on). Augustus Caesar, who succeeded Julius, didn’t set much store by cryptography and used a similar system, although with only a one-place transposition (so A to B and such)- despite the fact that knowledge of the Caesar cipher was widespread, and his messages were hopelessly insecure. These ‘substitution ciphers’ suffered from a common problem; the relative frequency with which certain letters appear in the English language (E being the most common, followed by T) is well-known, so by analysing the frequency of occurring letters in a substitution-enciphered message one can work out fairly accurately what letter corresponds to which, and work out the rest from there. This problem can be partly overcome by careful phrasing of messages and using only short ones, but it’s nonetheless a problem.

Another classic method is to use a transposition cipher, which changes the order of letters- the trick lies in having a suitable ‘key’ with which to do the reordering. A classic example is to write the message in a rectangle of a size known to both encoder and recipient, writing in columns but ‘reading it off’ in rows. The recipient can then reverse the process to read the original message. This is a nice method, and it’s very hard to decipher a single message encoded this way, but if the ‘key’ (e.g. the size of the rectangle) is not changed regularly then one’s adversaries can figure it out after a while. The army of ancient Sparta used a kind of transposition cipher based on a tapered wooden rod called a skytale (pronounced skih-tah-ly), around which a strip of paper was wrapped and the message written down it, one on each turn of paper. The recipient then wrapped the paper around a skytale of identical girth and taper (the tapering prevented letters being evenly spaced, making it harder to decipher), and read the message off- again, a nice idea, but the need to make a new set of skytale’s for everyone every time the key needed changing rendered it impractical. Nonetheless, transposition ciphers are a nice idea, and the Union used them to great effect during the American Civil War.

In the last century, cryptography has developed into even more of an advanced science, and most modern ciphers are based on the concept of transposition ciphers- however, to avoid the problem of using letter frequencies to work out the key, modern ciphers use intricate and elaborate systems to change by how much the ‘value’ of the letter changes each time. The German Lorenz cipher machine used during the Second World War (and whose solving I have discussed in a previous post) involved putting the message through three wheels and electronic pickups to produce another letter; but the wheels moved on one click after each letter was typed, totally changing the internal mechanical arrangement. The only way the British cryptographers working against it could find to solve it was through brute force, designing a computer specifically to test every single possible starting position for the wheels against likely messages. This generally took them several hours to work out- but if they had had a computer as powerful as the one I am typing on, then provided it was set up in the correct manner it would have the raw power to ‘solve’ the day’s starting positions within a few minutes. Such is the power of modern computers, and against such opponents must modern cryptographers pit themselves.

One technique used nowadays presents a computer with a number that is simply too big for it to deal with; they are called ‘trapdoor ciphers’. The principle is relatively simple; it is far easier to find that 17 x 19 = 323 than it is to find the prime factors of 323, even with a computer, so if we upscale this business to start dealing with huge numbers a computer will whimper and hide in the corner just looking at them. If we take two prime numbers, each more than 100 digits long (this is, by the way, the source of the oft-quoted story that the CIA will pay $10,000 to anyone who finds a prime number of over 100 digits due to its intelligence value) and multiply them together, we get a vast number with only two prime factors which we shall, for now, call M. Then, we convert our message into number form (so A=01, B=02, I LIKE TRAINS=0912091105201801091419) and the resulting number is then raised to the power of a third (smaller, three digits will do) prime number. This will yield a number somewhat bigger than M, and successive lots of M are then subtracted from it until it reaches a number less than M (this is known as modulo arithmetic, and can be best visualised by example: so 19+16=35, but 19+16 (mod 24)=11, since 35-24=11). This number is then passed to the intended recipient, who can decode it relatively easily (well, so long as they have a correctly programmed computer) if they know the two prime factors of M (this business is actually known as the RSA problem, and for reasons I cannot hope to understand current mathematical thinking suggests that finding the prime factors of M is the easiest way of solving this; however, this has not yet been proven, and the matter is still open for debate). However, even if someone trying to decode the message knows M and has the most powerful computer on earth, it would take him thousands of years to find out what its prime factors are. To many, trapdoor ciphers have made cryptoanalysis (the art of breaking someone else’s codes), a dead art.

Man, there’s a ton of cool crypto stuff I haven’t even mentioned yet… screw it, this is going to be a two-parter. See you with it on Wednesday…

An Opera Posessed

My last post left the story of JRR Tolkein immediately after his writing of his first bestseller; the rather charming, lighthearted, almost fairy story of a tale that was The Hobbit. This was a major success, and not just among the ‘children aged between 6 and 12’ demographic identified by young Rayner Unwin; adults lapped up Tolkein’s work too, and his publishers Allen & Unwin were positively rubbing their hands in glee. Naturally, they requested a sequel, a request to which Tolkein’s attitude appears to have been along the lines of ‘challenge accepted’.

Even holding down the rigours of another job, and even accounting for the phenomenal length of his finished product, the writing of a book is a process that takes a few months for a professional writer (Dame Barbara Cartland once released 25 books in the space of a year, but that’s another story), and perhaps a year or two for an amateur like Tolkein. He started writing the book in December 1937, and it was finally published 18 years later in 1955.

This was partly a reflection of the difficulties Tolkein had in publishing his work (more on that later), but this also reflects the measured, meticulous and very serious approach Tolkein took to his writing. He started his story from scratch, each time going in a completely different direction with an entirely different plot, at least three times. His first effort, for instance, was due to chronicle another adventure of his protagonist Bilbo from The Hobbit, making it a direct sequel in both a literal and spiritual sense. However, he then remembered about the ring Bilbo found beneath the mountains, won (or stolen, depending on your point of view) from the creature Gollum, and the strange power it held; not just invisibility, as was Bilbo’s main use for it, but the hypnotic effect it had on Gollum (he even subsequently rewrote that scene for The Hobbit‘s second edition to emphasise that effect). He decided that the strange power of the ring was a more natural direction to follow, and so he wrote about that instead.

Progress was slow. Tolkein went months at a time without working on the book, making only occasional, sporadic yet highly focused bouts of progress. Huge amounts were cross-referenced or borrowed from his earlier writings concerning the mythology, history & background of Middle Earth, Tolkein constantly trying to make his mythic world feel and, in a sense, be as real as possible, but it was mainly due to the influence of his son Christopher, who Tolkein would send chapters to whilst he was away fighting the Second World War in his father’s native South Africa, that the book ever got finished at all. When it eventually did, Tolkein had been working the story of Bilbo’s son Frodo and his adventure to destroy the Ring of Power for over 12 years. His final work was over 1000 pages long, spread across six ‘books’, as well as being laden with appendices to explain & offer background information, and he called it The Lord of The Rings (in reference to his overarching antagonist, the Dark Lord Sauron).

A similar story had, incidentally, been attempted once before; Der Ring des Nibelungen is an opera (well, four operas) written by German composer Richard Wagner during the 19th century, traditionally performed over the course of four consecutive nights (yeah, you have to be pretty committed to sit through all of that) and also known as ‘The Ring Cycle’- it’s where ‘Ride of The Valkyries’ comes from. The opera follows the story of a ring, made from the traditionally evil Rhinegold (gold panned from the Rhine river), and the trail of death, chaos and destruction it leaves in its wake between its forging & destruction. Many commentators have pointed out the close similarities between the two, and as a keen follower of Germanic mythology Tolkein certainly knew the story, but Tolkein rubbished any suggestion that he had borrowed from it, saying “Both rings were round, and there the resemblance ceases”. You can probably work out my approximate personal opinion from the title of this post, although I wouldn’t read too much into it.

Even once his epic was finished, the problems weren’t over. Once finished, he quarrelled with Allen & Unwin over his desire to release LOTR in one volume, along with his still-incomplete Silmarillion (that he wasn’t allowed to may explain all the appendices). He then turned to Collins, but they claimed his book was in urgent need of an editor and a license to cut (my words, not theirs, I should add). Many other people have voiced this complaint since, but Tolkein refused and ordered Collins to publish by 1952. This they failed to do, so Tolkein wrote back to Allen & Unwin and eventually agreed to publish his book in three parts; The Fellowship of The Ring, The Two Towers, and The Return of The King (a title Tolkein, incidentally, detested because it told you how the book ended).

Still, the book was out now, and the critics… weren’t that enthusiastic. Well, some of them were, certainly, but the book has always had its detractors among the world of literature, and that was most certainly the case during its inception. The New York Times criticised Tolkein’s academic approach, saying he had “formulated a high-minded belief in the importance of his mission as a literary preservationist, which turns out to be death to literature itself”, whilst others claimed it, and its characters in particular, lacked depth. Even Hugo Dyson, one of Tolkein’s close friends and a member of his own literary group, spent public readings of the book lying on a sofa shouting complaints along the lines of “Oh God, not another elf!”. Unlike The Hobbit, which had been a light-hearted children’s story in many ways, The Lord of The Rings was darker & more grown up, dealing with themes of death, power and evil and written in a far more adult style; this could be said to have exposed it to more serious critics and a harder gaze than its predecessor, causing some to be put off by it (a problem that wasn’t helped by the sheer size of the thing).

However, I personally am part of the other crowd, those who have voiced their opinions in nearly 500 five-star reviews on Amazon (although one should never read too much into such figures) and who agree with the likes of CS  Lewis, The Sunday Telegraph and Sunday Times of the time that “Here is a book that will break your heart”, that it is “among the greatest works of imaginative fiction of the twentieth century” and that “the English-speaking world is divided into those who have read The Lord of the Rings and The Hobbit and those who are going to read them”. These are the people who have shown the truth in the review of the New York Herald Tribune: that Tolkein’s masterpiece was and is “destined to outlast our time”.

But… what exactly is it that makes Tolkein’s epic so special, such a fixture; why, even years after its publication as the first genuinely great work of fantasy, it is still widely regarded as the finest work the genre has ever produced? I could probably write an entire book just to try and answer that question (and several people probably have done), but to me it was because Tolkein understood, absolutely perfectly and fundamentally, exactly what he was trying to write. Many modern fantasy novels try to be uber-fantastical, or try to base themselves around an idea or a concept, in some way trying to find their own level of reality on which their world can exist, and they often find themselves in a sort of awkward middle ground, but Tolkein never suffered that problem because he knew that, quite simply, he was writing a myth, and he knew exactly how that was done. Terry Pratchett may have mastered comedic fantasy, George RR Martin may be the king of political-style fantasy, but only JRR Tolkein has, in recent times, been able to harness the awesome power of the first source of story; the legend, told around the campfire, of the hero and the villain, of the character defined by their virtues over their flaws, of the purest, rawest adventure in the pursuit of saving what is good and true in this world. These are the stories written to outlast the generations, and Tolkein’s mastery of them is, to me, the secret to his masterpiece.

The Hairy Ones

My last post on the subject of music history covered the relatively short timespan between around 1950 and 1965, leaving off at about the time The Beatles began leading the ‘British Invasion’ of American music culture. This invasion was a confluence of a whole host of factors; a fresh generation of youths wishing to identify with something new as ‘theirs’ and different to their parents, a British music scene that had been influenced by the American one without being so ingratiated into it as to snub their ability to innovate and make a good sound, and the fact that said generation of youngsters were the first to grow up around guitar music and thus the first to learn to play them and other genre-defining instruments en masse. Plus, some seriously good musicians in there. However, the British invasion was only the first of a multi-part wave of insane musical experimentation and innovation, flooding the market with new ideas and spawning, in the space of less than a decade, almost every genre to exist today. And for the cause of much of part two, we must backtrack a little to 1955.

Y’see, after the Second World War Japan, the dominant East Asian power, had surrendered unconditionally to the Allies and there was no dominant force in the region. This created something of a power vacuum in the area, with a host of new governments trying to rise from the post-war chaos and establish themselves as such a power. Many of these new nations, including those of China, Cambodia, North Korea and North Vietnam, were Communist states, and therefore were a serious concern to the western world. The US in particular, as a fiercely capitalist power, were deeply worried by the prospect of the whole of South East Asia, according to communist theory, just amalgamating into another great communist superpower and landing them with next to zero chance of triumphing in their ‘battle against communism’ against the already hugely powerful Soviet Union. As such, they were hell-bent on preserving every ounce of capitalist democracy they could in the area, and were prepared to defend such governments with as much force as necessary. In 1950 they had already started a war in Korea to prevent the communist north’s invasion of the democratic south, with the practical upshot (after China joined in) of re establishing the border pretty much exactly where it had been to start with and creating a state of war that, officially, has yet to end. In 1955, a similar situation was developing in Vietnam, and President Dwight D Eisenhower once again sent in the army.

Cut to ten years later, and the war was still going on. Once a crusade against the onward-marching forces of communism, the war had just dragged on and on with its only tangible result being a steady stream of dead and injured servicemen fighting a war many, especially the young who had not grown up with the degree of Commie-hating their parents had, now considered futile and stupid. Also related to ‘the Red Scare’ was the government’s allowing of capitalist corporations to run haywire, vamping up their marketing and the consumer-saturation of America. This might have lead to a 15 year long economic boom, but again many of the younger generation were getting sick of it all. All of this, combined with a natural teenage predisposition to do exactly what their parents don’t want them to, lead to a new, reactionary counter-culture that provided an impetus for a whole wave of musical experimentation; hippies.

The hippie movement (the word is, strangely, derived from ‘hipster’) was centred around pacifism, freedom of love and sex (hence ‘make love not war’), an appreciation of the home made and the natural rather than the plastic and capitalist, and drug use. The movement exists to this day, but it was most prevalent in the late 60s when a craze took the American youth by storm. They protested on a huge variety of issues, ranging from booing returning soldiers and more general anti-war stuff (hippies were also dubbed ‘flower children’ for their practice of giving flowers to police officers at such demonstrations) to demonstrations on the banning of LSD or ‘acid’, one of their more commonly used drugs. This movement of wired, eco-centric vegetarians didn’t connect well with the relatively fresh, clean tones of rock & roll and The Beatles, and inspired new music based around their psychedelic and their ‘appreciation’ of drug use. It was in this vein that The Beatles recorded Lucy in the Sky with Diamonds, and why Jimi Hendrix and Janis Joplin rose to fame in a new genre known as ‘acid rock’ (named after the drug from which most of the lyrics were ‘inspired’). Characterised by long, confusing and hideously difficult solos (I’m looking at you Hendrix), this was the prominent genre on show at the infamous Woodstock festival of 1969, featuring Hendrix, Joplin, The Who, The Grateful Dead & Carlos Santana among other things. Woodstock was the high point of the hippie movement, with over half a million fans attending to smoke, listen to the music, skinny dip and make love in and around the lake and generally by as hippie as possible.

Hippie culture went downhill post-Woodstock; public outcry following the Altamont Free Concert close to San Francisco (where Hell’s Angels provided security and shot a concert-goer during The Rolling Stones’ set for brandishing a gun) coincided with ‘the hippie generation’ mostly growing up. The movement still exists today, and it legacy in terms of public attitudes to sexual freedom, pacifism and general tolerance (hippies were big on civil rights and respect for the LGBT community) is certainly considerable. But their contribution to the musical world is almost as massive; acid rock was a key driving force behind the development of the genres of folk rock (think Noah and the Whale) and heavy metal (who borrowed from Hendrix’s style of heavy guitar playing). Most importantly, music being as big a part as it was of hippie culture definitively established that the practice of everyone, even the lowliest, ‘commonest’ people, buying, listening to, sharing and most importantly making music themselves was here to stay.

The story of hippies covers just one of the music families spawned out of the late 60s. The wave of kids growing up with guitars and the idea that they can make their own music, can be the next big thing, with no preconceived ideas, resulted in a myriad of different styles and genres that form the roots of every style of modern rock music. This period was known as ‘the golden age of rock’ for a reason; before pop was big, before hip-hop, before rap, decades before dubstep, before even punk rock (born in the early seventies and disliked by many serious music nerds for being unimaginative and stupid), rock music ruled and rock music blossomed.

You could argue that this, then, marks the story of rock, and that the rest of the tale is just one long spiral downwards- that once the golden age ended, everything is just a nice depressing story. Well, I certainly don’t like to think of that as true (if only because I would rather not have a mindset to make me stop listening to music),  but even if it was, there is a hell of a lot of stuff left in this story. Over? Not for another post or two…

NMEvolution

Music has been called by some the greatest thing the human race has ever done, and at its best it is undoubtedly a profound expression of emotion more poetic than anything Shakespeare ever wrote. True, done badly it can sound like a trapped cat in a box of staplers falling down a staircase, but let’s not get hung up on details here- music is awesome.

However, music as we know it has only really existed for around a century or so, and many of the developments in music’s  history that have shaped it into the tour de force that it is in modern culture are in direct parallel to human history. As such, the history of our development as a race and the development of music run closely alongside one another, so I thought I might attempt a set of edited highlights of the former (well, western history at least) by way of an exploration of the latter.

Exactly how and when the various instruments as we know them were invented and developed into what they currently are is largely irrelevant (mostly since I don’t actually know and don’t have the time to research all of them), but historically they fell into one of two classes. The first could be loosely dubbed ‘noble’ instruments- stuff like the piano, clarinet or cello, which were (and are) hugely expensive to make, required a significant level of skill to do so, and were generally played for and by the rich upper classes in vast orchestras, playing centuries-old music written by the very few men with the both the riches, social status and talent to compose them. On the other hand, we have the less historically significant, but just as important, ‘common’ instruments, such as the recorder and the ancestors of the acoustic guitar. These were a lot cheaper to make and thus more available to (although certainly far from widespread among) the poorer echelons of society, and it was on these instruments that tunes were passed down from generation to generation, accompanying traditional folk dances and the like; the kind of people who played such instruments very rarely had the time to spare to really write anything new for them, and certainly stood no chance of making a living out of them. And, for many centuries, that was it- what you played and what you listened to, if you did so at all, depended on who you were born as.

However, during the great socioeconomic upheaval and levelling that accompanied the 19th century industrial revolution, music began to penetrate society in new ways. The growing middle and upper-middle classes quickly adopted the piano as a respectable ‘front room’ instrument for their daughters to learn, and sheet music was rapidly becoming both available and cheap for the masses. As such, music began to become an accessible activity for far larger swathes of the population and concert attendances swelled. This was the Romantic era of music composition, with the likes of Chopin, Mendelssohn and Brahms rising to prominence, and the size of an orchestra grew considerably to its modern size of four thousand violinists, two oboes and a bored drummer (I may be a little out in my numbers here) as they sought to add some new experimentation to their music. This experimentation with classical orchestral forms was continued through the turn of the century by a succession of orchestral composers, but this period also saw music head in a new and violently different direction; jazz.

Jazz was the quintessential product of the United States’ famous motto ‘E Pluribus Unum’ (From Many, One), being as it was the result of a mixing of immigrant US cultures. Jazz originated amongst America’s black community, many of whom were descendants of imported slaves or even former slaves themselves, and was the result of traditional African music blending with that of their forcibly-adopted land. Whilst many black people were heavily discriminated against when it came to finding work, they found they could forge a living in the entertainment industry, in seedier venues like bars and brothels. First finding its feet in the irregular, flowing rhythms of ragtime music, the music of the deep south moved onto the more discordant patterns of blues in the early 20th century before finally incorporating a swinging, syncopated rhythm and an innovative sentiment of improvisation to invent jazz proper.

Jazz quickly spread like wildfire across the underground performing circuit, but it wouldn’t force its way into popular culture until the introduction of prohibition in the USA. From 1920 all the way up until the Presidency of Franklin D Roosevelt (whose dropping of the bill is a story in and of itself) the US government banned the consumption of alcohol, which (as was to be expected, in all honesty) simply forced the practice underground. Dozens of illegal speakeasies (venues of drinking, entertainment and prostitution usually run by the mob) sprung up in every district of every major American city, and they were frequented by everyone from the poorest street sweeper to the police officers who were supposed to be closing them down. And in these venues, jazz flourished. Suddenly, everyone knew about jazz- it was a fresh, new sound to everyone’s ears, something that stuck in the head and, because of its ‘common’, underground connotations, quickly became the music of the people. Jazz musicians such as Louis Armstrong (a true pioneer of the genre) became the first celebrity musicians, and the way the music’s feel resonated with the happy, prosperous feeling surrounding the economic good times of the 1920s lead that decade to be dubbed ‘the Jazz Age’.

Countless things allowed jazz and other, successive generations to spread around the world- the invention of the gramophone further enhanced the public access to music, as did the new cultural phenomenon of the cinema and even the Second World War, which allowed for truly international spread. By the end of the war, jazz, soul, blues, R&B and all other derivatives had spread from their mainly deep south origins across the globe, blazing a trail for all other forms of popular music to follow in its wake. And, come the 50s, they did so in truly spectacular style… but I think that’ll have to wait until next time.