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Haverford Winter 2012 : Page 25

Q&A: Robert Neuwirth ’81 continued from page 22 that three-quarters of the cheap patterns for sale in the street markets of West Africa are pirate imitations of its designs. And most of those are now made in China. So I think pira-cy has long been here and is here to stay. BT: There’s a section in the book about Shakespeare that totally blew me away. RN: Yes. A hundred years after fashion. Then a pirate publish-er flooded the market with the real Shakespeare plays, forcing the company that owned the copyright to cut the price to a penny a play. And that’s when Shakespeare really became the pinnacle of English-language usage—because suddenly everyone could afford to buy his plays. BT: Is there anything else Shakespeare’s death, piracy made him The Bard. Basically, his plays were falling out of favor, and when they were pro-duced they were rewritten and embellished to suit the pop you wanted to say? RN: I’ve noticed in writing this anarchistic viewpoint. Proudhon dedicated one of his books to businessmen, who, he says, “have always been the boldest, the most skillful revolutionaries.” He was a bit tongue in cheek per-haps—but we are on the cusp of an economic transformation (with Occupy Wall Street and all that), and I think the mer-chants of System D represent one of the groups that will lead us there. Brian Till ’08 is a correspondent for The Atlantic and the author of Conversations with Power (Palgrave 2011). book that I’ve made a personal evolution. I started out as a true believer in government. Now I’ve moved to a more M USIC B en Finane ’99 has been writing about music since his time here at Haverford, during which he penned a column, “Ben Finane: Music Man,” for The Bi-Co News . Only now he has a much bigger audience. Fi-nane, who has been editor in chief of the print magazine Listen: Life With Classical Music since its 2007 inception, recently left his other job as managing editor of Playbill magazine’s classic-arts division to concentrate on Listen full-time. This move includes a change of title: the edi-tor in chief will now also be the quarterly publica-tion’s associate publisher. “I think what makes Listen unique is that we are coming to classical music with an American perspective,” says Finane, whose work has also ap-peared in The Newark Star-Ledger, Time Out New York and The San Francisco Chronicle and who writes program notes for Carnegie Hall. “Classi-cal music is ultimately a Ben Finane ’99 European ball game. Just as Mark Twain in his travelogue The Innocents Abroad takes an American stance on Europe, so too Listen seeks to be the American voice of a European tradition.” The former comparative literature/music double major, who sang in the Bi-Co Chamber Singers and wrote a song cycle as his music senior thesis, cred-its his liberal arts background with instilling in him lifelong pas-sions for learning and trying new things. “[Yo-Yo Ma] saw that we had both attended liberal arts schools,” says Finane, who inter-viewed the famed cellist for a Listen cover story, “and he said that liberal arts is all about continuous learning, ‘trying to find how to under-stand the people and the FINANE PHOTO: MAYUMI YOSHIMARU world around you.’ So you can tackle something like heading up a music maga-zine without thinking, ‘Oh, I don’t know enough about this or that aspect,’ because learning is a constant process.” —Rebecca Raber WINTER 2012 25 mixed media

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