Russia-Ukraine for ‘Years and Years’ – Part IV: Concentration Camps (Neo-Fascism)

Part IV of an article series examining themes from the British dystopian series Years and Years that have become pertinent following the Russia-Ukraine War.

From beginning to end Years and Years – through the character Vivienne Rook and her Four Star Party – illustrates the process by which pantomime politics produces perilous populism—and how Britain becomes a mirror image of its historical Nazi nemesis.

Parts I, II, and III of this article series examined the various societal and international themes derived from the prophetic fiction series Years and Years, specifically those that have become ever more pertinent due to the Russia-Ukraine War and its emergent consequences. Respectively, the themes discussed were Refugee & Housing Crises, Nuclear Attack & World War, and Financial & Employment Crises. Furthermore, this particular succession of socio-international themes was shown to comprise a logical chain reaction of crises that can be traced through the series’ narrative, implicitly when not explicitly.
    Part IV presents the culmination of this chain reaction of developments in what can be thought of as their sociopolitical ‘endgame’ and the ‘comeuppance’ of accumulated follies: neo-fascism*.

*To avoid ambiguity in using this term, the Wikipedia definition will suffice here: “Neo-fascism is a post-World War II ideology that includes significant elements of fascism. Neo-fascism usually includes ultranationalism, racial supremacy, populism, authoritarianism, nativism, xenophobia and anti-immigration sentiment as well as opposition to liberal democracy, parliamentarianism, liberalism, Marxism, capitalism, communism, and socialism.”

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“Leopold!”: Conductor, Orchestra, & Audience

A discussion of the role of the Conductor in both music and society, beginning with my casual impressions (complimented with satirical examples); and followed by critical insights from a socio-musicologist, as well from conductors and composers themselves.

The Conductor (“Leopold!”)

Although I have yet to acquaint myself with orchestral performance, which does interest me; the passive familiarity I have with it has nevertheless left me with a particular impression—specifically, regarding the role of the Conductor, which appears to be strikingly suspect. Upon casual contemplation, I had formed some substantial thoughts about it, from which I felt the subject would be would worthwhile to investigate one day. And due to this question of the Conductor being brought up by someone in a group conversation, that day eventually arrived.

Continue reading ““Leopold!”: Conductor, Orchestra, & Audience”
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