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The ultimate seduction: revisiting the case of Wagner

Wagner aimed to overthrow 19th-century silliness and replace it with a new "music drama".

Still revered and reviled, misunderstood and misappropriated, Richard Wagner was born 200 years ago, on 22 May 1813. Most people agree that Wagner is not like other composers. His music seems to reach parts that other music doesn’t reach, something “outside the province of reason”, as his biographer Curt von Westernhagen put it. Wagner’s music exerts an irrational hold over people of wildly diverging tastes and philosophies, including many who aren’t otherwise particularly interested in music at all.

Thanks to Wagner, my own musical education (still very incomplete) has been back to front. It started with Wagner, from where I’ve had to travel through musical history in reverse. Having immersed myself in the life and work of a great revolutionary, only later did I explore the classical tradition that Wagner vigorously challenged and permanently altered.

A chance conversation with a friend at university led me to sign up for a course called “Wagner and German History”. My logic was simple and ignoble. Given the choice between a year of saturation-level research on the Black Death or spending my afternoons “studying” by lying down listening to opera, Wagner won hands down. The first Wagner lecture proved I’d been even luckier than I thought. Our professor, Tim Blanning, closed the blinds and played us a recording of the Prelude of Lohengrin. I was hooked. Most proper addictions have to be worked at. Wagner got into my bloodstream instantly.

Wagner is an unusually interesting composer; he has always been a “case” rather than just an artist. First, sadly but inevitably, there is the unavoidable if wildly overstated issue of his influence on Hitler and his misappropriation by the Nazis.

Secondly, Wagner did much to reposition and advance the status of the artist in the 19th century. It is hard to imagine a more complete triumph for a composer than the building of an entirely new type of theatre, the Festspielhaus in Bayreuth, to make certain that his masterwork (The Ring) was staged in an appropriate environment. Wagner was an inverse outsourcer: he craved, and ultimately achieved, complete control. (He might have admired the sentence that ended Prince’s album sleeves from the 1980s: “All songs produced, arranged, composed and performed by Prince”.)

The scale of Wagner’s struggle and ingenuity is remarkable by any standards. In his twenties, he had failed to establish himself in Paris, the centre of the operatic world. He then endured decades of poverty, debt and exile, constantly struggling to secure performances of his work. Wagner’s ultimate triumph was all the more complete because it was on his own terms. He didn’t just break the rules, he invented a whole new game – the apotheosis of Romantic self-belief.

Thirdly, Wagner talked and wrote incessantly. He left a vast resource of books, articles, letters and diaries. The collected edition of his writing, excluding letters, runs to 16 volumes. It is often said that more books have been written about Wagner than anyone except Jesus Christ and Napoleon. That is untrue, but Wagner certainly made impressive efforts to get the ball rolling himself.

His second wife, Cosima, wrote a diary of extraordinary detail, earnestness and, sometimes, vile prejudice. At university, my fellow students developed a satirical, mock-Wagnerian short-hand, echoing Cosima’s obsession with her husband’s health, habits and opinions. “R has a slight cold,” we would parody, “western civilisation depends on his instant recovery.”

Yet taken together, the vast collected record of Wagner’s theories and opinions adds a further dimension to his career: the relationship between his own creative output and his artistic theorising. Wagner’s manifesto was epic in ambition as well as volume. He argued that the status of art, having reached a pinnacle in ancient Greece, had collapsed to new depths with the bourgeois vulgarity and silliness of much 19th-century opera. It needed to be overthrown. In its place, the artist of the future (ie Wagner) would bring together the techniques of Beethoven and Shakespeare into a single form called “music drama”.

For theory and practice to run in parallel within a single career is, unsurprisingly, more common among writers than composers. Tom Wolfe, for instance, has written didactically about what modern novels ought to be like, the themes they should address, even the process by which they should be written. “It is necessary to have a theory in life,” he has said, “to write well in fiction or non-fiction.” Such certainty suggests that Wolfe is driven by the desire to prove himself right, for the novelist to vindicate the critic.

But isn’t it beneath an artist constantly to be explaining what he is doing – or what he thinks he is doing – or, more cynically, what he wants to be thought to be doing as he goes along? Can we trust an artist who is also a critic? “An artist is usually a damned liar,” D H Lawrence once declared, “but his art, if it be art, will tell you the truth.”

Wagner’s theoretical musings provided Friedrich Nietzsche with the stick he used to beat Wagner in his sparkling attack, The Case of Wagner. Nietzsche had once been an ardent Wagnerian and a friend of the composer.

The Case of Wagner will reward readers who love Wagner as well as those who dislike his music, even those who are entirely indifferent. One of its pleasures, undoubtedly, is its cruel wit and ad hominem attacks. But Nietzsche’s arguments will bring a halfsmile of recognition even to the most dedicated Wagnerian. Even if they disagree with the verdict, it is hard not to enjoy the brilliance with which Nietzsche sets out the anti-Wagnerian case (especially if you have ploughed through volumes of Wagner’s turgid prose).

Here is Nietzsche’s acid summary of Wagner’s voluminous theorising:

Everything Wagner can not do is reprehensible.

There is much else Wagner could do: but he doesn’t want to . . .

Everything Wagner can do, nobody will be able to do after him, nobody has done before him, nobody shall do after him. –
Wagner is divine.

Not every music so far has required a literature: one ought to look for a sufficient reason here. Is it that that Wagner’s music is too difficult to understand? Or is he afraid of the opposite, that it might be understood too easily – that one will not
find it difficult enough to understand? 

Wagner required literature to persuade the world to take his music seriously, to take it as profound.

In reply to Wagner’s virulent critique of conventional operatic style, with its pretty arias and ensembles, Nietzsche made the devastating rejoinder: “A bold habit accompanied Wagner through his whole life: he posits a principle where he lacks a capacity.”

But Wagner’s theories have their intellectual advocates, too. The view that we ought to take Wagner’s artistic and philosophical ideas seriously – the case against The Case of Wagner, if you like – has been superbly taken up by the philosopher and memoirist Bryan Magee in two books, Aspects of Wagner and Wagner and Philosophy. Both are enjoyable and insightful. I can’t, however, completely go along with Magee’s attempt to resuscitate Wagner as a thinker. Instead, I wonder whether Wagner’s incessant theorising was mostly a device for cajoling his own musical and dramatic creativity.

I found myself thinking of Wagner when I read Nassim Nicholas Taleb’s recent book Antifragile. Taleb is best known for his work on finance but he writes just as astutely about the creative temperament. Taleb is brutally bossy: writers should not write too much journalism, they should not hold academic posts, they ought to pursue total independence and gentlemanly autonomy, they must resist any suggestion of professional dutifulness.

With the exception of his solvency, which Wagner would scarcely have recognised, Taleb is thoroughly Wagnerian. But Taleb is not only writing for the reader, I suspect he is setting out a manifesto for his own purposes. His attacks on others are actually a means of reinforcing his commitment to his position, like an adventurer who deliberately blocks off his escape routes. Theory becomes a means of artistic self-bullying. Taleb’s fights with the wider world are partly driven by the desire to make life more difficult for himself, and so, he hopes, more artistically rewarding.

The same reasoning, I think, applies to Wagner’s theories. They are another expression of his heroic personality, an example of Wagner setting an impossibly high bar for himself. He was a pessimist by conviction, in the opera critic Michael Tanner’s brilliant phrase, but an optimist by temperament.

Alongside the question of theory and practice, there is a second dimension to Nietzsche’s case against Wagner. In essence, it is that he was a trickster (his contemporaries often referred to him as a “wizard” or “sorcerer”) a conjurer of false emotions:

Was Wagner a musician at all? . . . There was something else he was more: namely, an incomparable histrio [actor] . . . He became a musician, he became a poet because the tyrant within him, his actor’s genius, compelled him. Wagner was not a musician by instinct

Thomas Mann picked up a similar theme in his essay “Pro and Contra Wagner”. Mann used the term “double focus” (borrowed from Nietzsche) to describe Wagner’s gift for satisfying sophisticated needs while simultaneously gratifying more commonplace ones. The audience is merely subtly charmed, flattered, manipulated. To Mann, it was dishonest artistry.

Even those of us who love Wagner recognise a feeling of resistance, as though we might be, at least partially, being duped or seduced. We don’t entirely trust feelings even as we experience them. Murray Bail, the Australian novelist, captured this disquieting dimension, the way Wagner’s music rolls “across the audience in waves of such open seduction”. Bail added: “I had felt it necessary to put up some sort of resistance – but was pulled in anyway.”

Only occasionally has that voice of doubt been entirely absent from my own experience. Around a dozen years ago, I heard James Levine conduct Die Walküre at the Metropolitan Opera in New York. The final act is dominated by an impassioned argument between the god Wotan and his disobedient daughter, Brünnhilde.

For fear of lapsing into euphoric cliches, I will try to explain the opposite of what I felt at the end of the performance. We have all sat through Hollywood films where we know exactly whose side we are on from beginning to end. We yearn simplistically for a neat resolution of the plot, for good to defeat evil – and that is exactly what happens. But after a moment’s satisfaction, the experience recedes into emptiness, so much so that you begin to resent the candy that was dangled in front of you for the two preceding hours even though you ended up eating it.

The experience of Act III of Die Walküre that evening was as far removed from Hollywood shallowness as I am capable of imagining. Through the combination of music and drama, I had understood the complexity and, above all, the truthfulness of two characters locked in a disagreement that could not be resolved. The experience was qualitatively different from anything I’d known from watching a stage play or reading a novel. Even more revealingly, I was sure that I couldn’t fully explain it in words.

And that is why, I suspect, we are still listening to Wagner 200 years after his birth, why we continue to be drawn in, often with reservations, sometimes more completely and authentically.

Ed Smith is a columnist for the New Statesman and the author of “Luck: a Fresh Look at Fortune” (Bloomsbury, £8.99)

Ed Smith is a journalist and author, most recently of Luck. He is a former professional cricketer and played for both Middlesex and England.

This article first appeared in the 01 April 2013 issue of the New Statesman, Easter Special Issue

NEAL FOX FOR NEW STATESMAN
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They know where you live

Imagine your house being raided by armed police. That’s what happened to Mumsnet’s Justine Roberts after she fell victim to an internet hoaxer.

At around midnight on Tuesday 11 August 2015, a man dialled 999 to report a murder. A woman had been killed in her London home, he said, before hanging up without offering his name. A second call followed. This time, the man claimed to be the killer. He told the operator that he had now taken the woman’s children hostage at the Islington address. They were locked with him inside a room in the house, he said. The police responded with reassuring speed. Fifteen minutes later, eight officers, five of them armed with automatic weapons, accompanied by saliva-flecked dogs, arrived at the scene and took up position in neighbouring front gardens. When one officer banged on the front door of the house, the team was greeted, moments later, not by a masked murderer but by a blinking and bewildered au pair.

Justine Roberts, the woman whom the caller claimed to have killed, was in fact nearly 2,000 kilometres away – in Italy, holidaying with her husband and children. After explaining this to the police, the au pair called Roberts, who assumed that the incident was an unfortunate misunderstanding, one that could be unpicked after the vacation. It was no mistake. Roberts had been the victim of “swatting”, the term given to a false emergency call designed to bait an armed unit of police officers to storm someone’s home. It wasn’t until a few days later, as the family was preparing to return to London, that Roberts discovered that she had been the target of a planned and sustained attack, not only on her household, but also on her business.

Roberts is the founder of Mumsnet, the popular British internet discussion forum on which parents share advice and information. A few days before the swatting incident, members of 8chan, a chat room that prides itself on being an open, anonymous platform for free speech, no matter how distasteful, had registered accounts on Mums­net with the aim of trolling people there. When legitimate Mumsnet users identified and then ridiculed the trolls, some retreated to 8chan to plot more serious vengeance in a thread that the police later discovered. Roberts wasn’t involved in the online skirmish but, as the public face of the site, she was chosen as the first target.

After the initial armed response, Roberts’s perception was that the police were unconcerned about the swatting attack. “We were told that there was no victim, so there was not much that could be done,” she told me. The hoax caller, however, was not finished. In the days after the incident, there was chatter on Mumsnet and Twitter about what had happened. A Mumsnet user whom I will call Jo Scott – she requested anonymity for her own safety – exchanged heated messages with a hacker who claimed responsibility for the 999 call.

“It descended into jokes and silliness, like many things do,” Scott said. “I didn’t take it seriously when the hacker said he had big surprises in store.” She doesn’t believe that what happened next was personal. “I think I was just easy to find.”

A few days after police were called to Roberts’s home, Scott was in her bedroom while her husband was sitting downstairs playing video games. At 11pm, she heard a noise outside. “I looked out of the window and saw blue flashing lights in the street,” she recalled. “I could hear shouting but I didn’t pay it much notice.” Then she heard her husband open the front door. Police rushed into the house. An armed officer shouted upstairs, asking Scott if she was hurt. When she replied that she was fine, he told her to fetch her two young children: he needed to see them. Scott shook her sons awake, explaining, so as not to alarm them, that the police had come to show the boys their cars. As the three of them went downstairs, the officers swept up through the house, repeatedly asking if there were any weapons on the property.

“I was beyond confused by this point,” Scott said. “Everyone was carrying a gun. They had little cutaway bits so you could see the bullets. My eldest asked one of the officers if he could have a go on his gun and went to touch it.”

As Scott sat with an officer downstairs, she asked what had happened to her husband. “I later found out that the noises I’d heard were the police calling for him to come outside,” she said. “He dropped the PlayStation controller as he left the room. It was only later that we realised it’s a good job he did: in the dark, the controller might have looked like a weapon.”

Outside, Scott’s husband had been surrounded and arrested. Other police ­officers were on the lookout in the front gardens of nearby properties, having warned the couple’s neighbours to stay indoors, away from their windows. “One of the officers said it was beginning to look like a hoax,” Scott said. “Then he mentioned swatting. As soon as he said that word, I twigged that I’d seen the term that day on Twitter in relation to the Mumsnet hack.”

***

The term “swatting” has been used by the FBI since 2008. “Swat” is an acronym of “Special Weapons and Tactics”, the American police squads routinely called to intervene in hostage situations. It is, in a sense, a weaponised version of a phoney order of pizza, delivered as a prank to a friend’s home, albeit one that carries the possibility of grave injury at the hands of police. For perpetrators, the appeal is the ease with which the hoax can be set in motion and the severity of the results. With a single, possibly untraceable phone call, dialled from anywhere in the world, it is possible to send an armed unit to any address, be it the home of a high-profile actor whom you want to prank or that of someone you want to scare.

In America, where swatting originated, the practice has become so widespread – targets have included Tom Cruise, Taylor Swift, Clint Eastwood and the Californian congressman Ted Lieu – that it is now classed as an act of domestic terrorism. In the UK, where Justine Roberts’s was one of the first recorded cases, swatting is classed as harassment, though that may change if these and other forms of internet vigilante attacks, such as doxxing, become increasingly commonplace.

Doxxing involves the publication of someone’s personal details – usually their home address, phone numbers, bank details and, in some cases, email address – on the internet. It is often the prelude to swatting: after all, the perpetrator of a hoax cannot direct the police to the target’s home address until this is known. (During the week of the Mumsnet attacks, one of the perpetrators attempted to locate another target using their computer’s IP address, which can identify where a person is connected to the internet, often with alarming precision. Their calculation, however, was slightly out; police were called to a neighbour’s address.)

Though doxxing has a less dramatic outcome than swatting, the psychological effects can be just as severe. For victims – usually people who are active on the internet and who have outspoken opinions or who, in the eyes of an internet mob, have committed some kind of transgression – the mere threat of having their personal information made available on the web can cause lasting trauma. A Canadian software developer whose home address, bank details, social security number and email history were published online in 2014 told me that he now keeps an axe by his front door. “I still don’t feel safe here,” he said. “It’s terrifying.”

Christos Reid, a social media manager for a software company, was doxxed last year. Reid’s information came from a website he had registered seven years earlier. “I woke up one morning to find a tweet announcing my personal details,” he told me. When he asked the Twitter account holder to take down the address, he was told to commit suicide. Reid said he was “OK for about half an hour”; but then, after he went out, he broke down in the street. “I’ve become more paranoid,” he said. He no longer gives out business cards with personal information.

Reid lives in London, but at the time of the doxx he was attending an event in Nottingham, home to the British police’s largest cybercrime division. He was impressed with the police response, even though they told him that they had not heard of the term “doxxing” before. “I was interviewed by two separate people about my experiences who then compiled everything into a case file and transferred it to the Met. When I arrived home, an officer visited me to discuss what happened and my options.”

The policeman explained harassment law to Reid, and offered advice on how to improve security at his flat and what to do if someone hostile turned up at the address. Reid shouldered the repercussions of what had happened alone; no suspects were identified. A spokesperson for the Metropolitan Police similarly said that although detectives from Islington CID have investigated the swatting attacks made on Roberts and Scott, no suspects have been identified “at this time”, even as “inquiries continue”.

Doxxing may seem to be a mild form of harassment but it carries with it an implicit threat of impending violence; the worrying message is: “We know where you live.” Unlike swatting, which is always malicious, doxxing is sometimes viewed by its perpetrators as virtuous. In November 2014, hackers claiming to be aligned with the internet group Anonymous published personal information allegedly belonging to a Ku Klux Klan member from Missouri. The hackers said that their action was a response to the KKK’s threat to use lethal force against demonstrators in the city of Ferguson, Missouri, protesting against the killing of the unarmed black teenager Michael Brown by a white police officer. In January 2015 hackers claiming to be from Isis took over US Central Command’s Twitter account and posted information about senior military officers, including phone numbers and email addresses. In each case, those carrying out the doxxing believed, however mistakenly, in the virtue of their actions and hoped that the information could be used to bring punishment or ruin to the subject.

The term “doxxing” may be new but the practice is an old one. The Hollywood blacklist revealed the political beliefs and associations of actors and directors in the late 1940s as a way to invite shame, deny employment and dissuade others from following their example. “But it has become a lot easier to find people’s private details with the help of the internet,” Jeroen Vader told me. Vader owns Pastebin, a website that allows users to upload and distribute text documents, and where much of the personal data is anonymously uploaded and shared. “People post their private information on social networks,” he said. “A lot of people aren’t aware that their information is so easily available to others.”

In Justine Roberts’s case, the perpetrator may not even have needed to look at social networks to mine her personal information. “If you’re on the electoral roll, you’re easy to find,” she said. “There’s not much you can do to stop people getting hold of your data one way or another, whether it’s for nefarious reasons or simply to better advertise to you. We live in a world that is constantly trying to gather more information about us.”

Jeroen Vader said he has noticed an “upward trend” in the number of doxxing posts uploaded to Pastebin in recent months, but insisted that when someone uses the site’s abuse report system these offending posts are removed immediately.

Across social media companies, action is more often reactive than proactive. Victoria Taylor, a former director at Reddit, one of the largest community-driven websites in the world, said that the rule against publishing other users’ personal information has been “consistently one of the site’s most basic policies” and that “any violation of this rule is taken extremely seriously by the team and community”. Still, she was only able to recommend that victims of doxxing send a message to the site’s administrators. Similarly, when asked what a person can do to remove personal details that have been published without permission, a Twitter spokesperson said: “Use our help form.”

The spokesperson added: “There has def­initely been an overall increase in doxxing since 2006, both on Twitter and on the internet more generally.” She attributed this rise to the emergence of search engines such as Intelius and Spokeo, services designed to locate personal information.

***

The surge in the number of dox­xing and swatting attacks is in part a result of the current lack of legal protection for victims. Confusion regarding the law on doxxing is pervasive; the term is even not mentioned in either US or European law. In a tutorial posted on Facebook in 2013, the writer claims: “Doxxing isn’t illegal as all the information you have obtained is public,” and adds: “But posting of the doxx might get you in a little trouble.”

Phil Lee, a partner in the privacy, security and information department of Fieldfisher based at the law firm’s office in Silicon Valley, said that differing privacy laws around the world were part of the problem. “Various countries have laws that cover illegal or unauthorised obtaining of data. Likewise, some of the consequences of releasing that data, such as defamation or stalking, cover elements of what we now term doxxing. But there is no global law covering what is a global phenomenon.” Indeed, Roberts believes that her London address was targeted from America – the 999 call was routed through a US proxy number.

One challenge to creating a law on doxxing is that the sharing of personal information without permission has already become so widespread in the digital age. “If a law was to state something like, ‘You must not post personal information about another person online without their consent,’ it wouldn’t reflect how people use the internet,” Lee said. “People post information about what their friends and family members have been doing all the time without their consent.

“Such a law could have a potentially detrimental effect on freedom of speech.”

Lee believes that a specific law is unnecessary, because its potentially harmful effects are already covered by three discrete pieces of legislation dealing with instances where a person’s private information is obtained illegally, when that information is used to carry out illegal acts and when the publication of the information is accompanied by a threat to incite hatred. However, this does not adequately account for cases in which the information is obtained legally, and then used to harass the individual in a more legally ambiguous manner, either with prank phone calls or with uninvited orders of pizza.

Susan Basko, an independent lawyer who practises in California and who has been doxxed in the course of her frequent clashes with internet trolls, believes that the onus should be on the law, rather than the public. She points out that in the US it is a crime to publicise information about a government employee such as their home address, their home and cellphone numbers, or their social security number, even if the information is already online. “This law should apply to protect all people, not just federal employees,” she said. “And websites, website-hosting companies and other ISPs should be required to uphold this law.”

Basko said that doxxing will continue to increase while police have inadequate resources to follow up cases. For now, it is up to individuals to take preventative measures. Zoë Quinn, an American game designer and public speaker who was doxxed in 2014, has launched Crash Override, a support network and assistance group for targets of online harassment, “composed entirely of experienced survivors”.

Quinn, who spoke about the problem at a congressional hearing in Washington, DC in April last year, recently posted a guide on how to reduce the likelihood of being doxxed. “If you are worried you might some day be targeted,” she wrote, “consider taking an evening to stalk yourself online, deleting and opting out of anything you’re not comfortable with.”

Both Scott and Roberts have changed their privacy habits following the attacks. Scott is more careful about interacting with strangers online, while Roberts uses scrambler software, which ensures that she never uses the same password for more than one online site or service.

For both women’s families, the effects of their encounters with armed police have also lingered. When one day recently Roberts’s husband returned home early from work, the au pair called the police, believing it was an intruder. And Scott is haunted by what happened.

“What if my husband had made a sudden move or resisted in some way? What if my eldest had grabbed the gun instead of gently reaching for it? What if people locally believed that my husband did actually have guns in the house?” she asks. “I don’t think the people making these sorts of hoax calls realise the impact.” 

This article first appeared in the 28 April 2016 issue of the New Statesman, The new fascism