Ha desaparecido la música

This music has disappeared. Such was my first thought when a song issued last December to which I wanted briefly to recur, now was no longer found under the Internet address on the system where it had been presented initially.

The setting on the video, the system being Youtube, was turned to “private,” and then a quick search turned up an analogous development on Spotify, under whose auspices the track had also been launched not quite a year ago. There the song itself had been removed, all the buttons and other audio controls gone grey; left behind as a marker of this piece of music’s place, was the cover-⁠image alone.

Towards the end of 2021, the song comprised a “soundtrack of resistance” against the policies whose pretext was and still remains the Corona epidemic, with text and vocals by a concerned citizen in Nuremberg who, he noted, was going out on a limb to register his dissent publicly, by the name of Tobias Tim Boehm, and, beyond the policies, against all those who stood behind them, in active or tacit support and agreement: that is, as he said, Bundesregierung, „Experten“, Hetz-⁠Medien, Fanatiker und schweigende Mehrheit – in declared opposition, in other words, to the government of the Federal Republic, the self-⁠styled experts, a rabid media, large hordes of fanatics, and not least the proverbial silent majority.

Against all these opponents, Boehm’s words and delivery came as a pointed retort; not for nothing did he entitle the song “Diamant.” And now – publicly at least – it was sequestered.

Most likely he had estimated the moment no longer opportune for the song, or else a change in his own personal circumstances led him to remove it out of caution. In any case, by what right would I not respect his decision in the present context? I shall refrain from circumventing it and not attempt to find a way to embed the track here. (Though I do note, the Internet being what it is, there evidently is at least one way by which Boehm’s song may even so be listened to.) – Yet I do retain the liberty, in the face of its withdrawal from the public, to reflect upon the significance of such a decision, and this I should like to exercise a bit.

Without of course being able to state why the decision was reached, one may surmise plausibly that it was closely related to a great awareness of the futility of political speech (for a song can be not least a mode of speaking in or into the realm of politics) at a time especially like the years since 2020 when irrationality, in more than one of the meanings of the term, overruns everything everywhere; during these last years when entire generations, and in particular the younger, have been expended, squandered at the behest of those whose “health” is but a bad disguise put on by their own clutching after power, blithely churning up in consequence something like the “lost generation” to wash over the shores of the next years wave upon wave; in a period when by means of overt fraud criminals are “elected” time and again to the highest nominal positions in states within which real control accrues more and more to the intelligence agencies and secret police forces, in conjunction with their agents formal and informal lodged throughout other institutions; when … I could continue this enumeration ad nauseam, but to cut the distasteful recital short, the main point is precisely the nausea provoked by conditions where anything done largely for its own sake, such as the creation of a song used to be, and not intended primarily as the means to some end, is once completed entangled nearly immediately in a nexus where the very notion of the “for its own sake” is absent or unheeded.

The rapport between the sentiments of futility and of nausea ought to be examined carefully. They may be different facets of one and the same moment of awareness.

Following upon this awareness, does it seem far-⁠fetched to propose that a song, as something created mainly for its own sake, might be withdrawn from the acoustic sphere suddenly, precisely in order to leave behind itself not reverberations or echoes, but rather something like a noticeable and relatively permanent hole? To be sure, not a gap in a substance otherwise solid, for at issue here is the acoustic dimension, but a hole all the same. The withdrawal of a work might then constitute a small act of passive resistance, for if such an example were followed more widely, the holes in the sonic sphere might soon be as though multiplied, and indeed the latter would be thoroughly perforated. Simply to put the result in such terms, is itself already suggestive …

Note that such a mode of withdrawal from the field, is itself neither inconspicuous nor an instance of vandalism.

Both the deliberate withdrawal of a work of music, in the sheer suddenness of this act, and the music itself, as the result of an activity undertaken largely for its own sake, seem to convey some inkling of the existence of a power counterposed to time and time’s progression. Whether this power is given the most obvious designation in the manner of a conceptual antithesis, or is called something else, is less important than to attain an understanding of what cessation could be and could do, and to make some room for it when or if it transpires.

At present, as a year ago, more and more of what is now happening needs decisively to cease, if a way of life that would remain even half-⁠worthy of human beings is to continue.

To have compressed some such awareness into a few pointed lines, is not the least of the virtues of Boehm’s “Diamant,” and I hope their author in his reclusion will not take it amiss if I cite them here.

Die Visionen Klaus Schwabs haben keinen Platz für „back to normal“,

Reality is catching up with George Orwell!

And these, no less sharp in remarking the importance of putting a halt to those of his compatriots who know not that they have themselves become the very thing they ought to thrash.

Die, die sich „Toleranz“ mit Stolz auf die eigene Fahne schreiben,

Sind die gleichen, die vierhunderteinundfünfzig Fahrenheit bringen,

Die, die Fragezeichen kreieren, denunzieren und zensieren,

Voller Vertrauen, obwohl jene, die uns regieren uns verwirren,

Geistig im Gleichschritt marschieren in bester Dreißiger-⁠Manier,

Während sie „Wehret den Anfängen!“ so fleißig skandieren.