A good way to swap the years in and out. The streets of Berlin on Silvesternacht (New Years Eve night) were as always marked by heavy artillery. Even after describing it a hundred times to people in the States, I had forgotten the visceral effect of letting everybody in the city have dozens of rockets far more powerful than anything we had as kids, and then having everyone shoot them off at once.

We visited Unter den Linden again, where at midnight there’s roughly 7 zillion rockets going off at once. The smoke was thick enough that we could barely see the official, professional fireworks down by the Brandenburg gate. But who needs the pros when you have artillery in your bag, and so does everyone standing arm-to-arm for a mile.

And beautifully, the city was covered in snow the next morning. Or roughly morning. Noontime, morning enough for New Year’s day. Thick flakes that coated the trees and covered the red gunpowder stains on the sidewalks, and melted by the close of the day. But enough to bracket the world with fire and ice.

Below is my first experiment with YouTube. Let’s see what happens:

Update: Answer, it broke things. So instead, here’s a link to a little video of New Year’s Eve. Too bad!

Unter den Linden today, or more specifically, the few hundred meters between the Schlossplatz and the Opera House, offers a lovely contrast in Christmas concepts.

One of the biggest, or at least most elaborate, Weihnachtsmarkts is hosted every year on the empty Schlossplatz, a parking lot in more ordinary times. For non-German readers, a Weihnachtsmarkt (also known as Christ-Kindl-Markt, or just Christmas Market) is traditionally where vendors set up little huts and sell all kinds of ornaments, candles, Christmas breads and cakes, and so on. These days they vary from unbelievably quaint to perfectly carny. Carny or corny, your pick.

The Schlossplatz falls on the carny end. A giant ferris wheel looms over what’s really carnival with extras. Other rides are aimed at the stronger-of-stomach, including the tallest “Transporter” free-fall tower drop in Europe. All kinds of games are on offer, of the throw-a-ring-around-a-bottle, shoot-a-basketball variety. One such game blinks “LOSE… LOSE…” at its top. You can’t say they’re not honest.

My favorite is the haunted house, based somehow on the Terminator 2 movie, that advertises itself in huge neon letters as “Gate Of The Time.” But a close second is the sign on the roller coaster offering half off prices to riders who are 60 years or older. I don’t think we’ll be seeing that innovation in the U.S. anytime soon.

Everywhere, of course, are sweets, and other odd German carnival foods. Cotton candy, cookies, crepes and the Nirvana that is Quarkkeulchen (fried dough balls with a bit of quark, like sour cream, in the mix). Lots of brats. Then also Grünkohl mash, and chicken livers. One of these days I’ll give these a try.

For a full report on the goodness of Christmascarnyfood, read Aimee’s post on our food blog, Hungry In Berlin, here.

But walk down the street a block or so and you’ll find the Operaplatz markt, quiet and placid, as though it’s a different century. Actual handcrafts are on sale here, and a booth with handmade German fruit brandies that are stunning, and just the thing to warm you up after a few too many dough balls.

Here’s the New York Times with yet another entry in their strikingly finely described, spot-on series on Why Berlin is Super-Groovy.

This was the original cool Berlin, with its own brand of gloomy, spooky glamour, well before East Berlin’s Mitte and Friedrichshain districts were on the tourist map.

Another Weimar love letter, right? Caberet and modernism, sex tourism and the sparkling, fun side of post-inflationary misery? Well no, this “original cool Berlin” is David Bowie’s West, or actually, the new West of a bunch of very wealthy media types (villas on an unnamed lake in West Berlin, places in Charlottenburg) who think the “New East” is now just too cliched for words.

So, uh, they’re going back to what was cool when they were in their 20s. Or rather, a nostalgic, packaged-and-priced version of it. That’s very original. Yes, indeed, regular cultural trailblazing.

Right, then — throw off that shabby chic of the East, get your late-boomer yuppie on and start glorying in the memory of those Bowie years, whether you were actually there or not. Apparently it helps if you start throwing down for 20 Euro entrees in the West. That’s where the action is now, my friends. I read it in the NYT.

From this column here, which sorta gets inflation and falling currency valuations mixed up, but it’s funny anyway:

Dubyah has turned us into a third world banana republic. We’re Costa Rica to the rest of the World. With lousier snorkeling.

Who can blame the hordes of Eurotrash from clogging the aisles of our Tiffany franchises like an extended family of hillbillies at a dollar store? Everything here is so incredibly cheap. We’ve turned into a discount playground for the world’s trust fund babies. High-end restaurants, the good hotels, VIP sections of our most exclusive nightclubs, Saturday night movie tickets: pretty much off limits to anybody holding an American passport. We’re the minimum wage security guards of a giant high-end outlet mall known as America just one cut rate Virgin flight away from true civilization.

My own personal favorite was being in fairly rural Romania last summer, a country not really known for powerful economic performance, a country that literally has plastic, washable money, and a friend-of-a-friend says: I love going to America, everything is so cheap!

We are unstoppable. Watch out, Costa Rica! What a good time to be paid in dollars.

I don’t mind the rain so much. I grew up near Seattle, and I’m pretty sure I can’t remember a single instance when the near-constant drizzle got me down. It lends itself to reading, cups of coffee, jazz on the speakers.

I don’t even mind so much the lack of light. Don’t get me wrong, I like the sun, I like the beach, when it’s around. But when the sun goes down at 4:15, or I have to turn my desk lamp on at 3:00, well, I’m usually still staring at my computer anyway. What good is the sun doing me anyway?

No, what really bugs me are the wet socks.

If you’re allergic to cuteness, just move right along. I prefer to think of it as an study in parasitic evolution.

So anyway, I’m walking around Charlottenburg earlier this week, meeting some friends to go to an exhibit on the history of the Chinese population in Berlin (small exhibit, a few interesting historical notes, displayed “like an 8th grade science fair” as Ben rightly said). I’m hungry, so I stop in a Backerei for a quick belegte Shrippe.

I start to leave, but as I come to the door, three black, panting French bulldogs — squat, almost puglike creatures with bat-ears and bulging eyes –  set themselves expectantly in front of the door outside. I pull it open and step carefully through them; they look up at me impatiently, moving not a centimeter for me.

As I walk away, the proprietress comes out and bends down, talking to them too quietly for me to hear. She hands one of them a little bakery bag. It takes the package carefully in its mouth, and then all three trot off down the street, to meet an owner who is holding an apartment door open for them.

This takes the already very high standards of German canine malleability to an absurd level. No, I don’t have pics, because my camera was out of batteries.  But I’m sure cute overload has some that will do.

I won’t say it’s exactly amazing how often I hear music critics — or anyone — of a certain age lamenting the lost music of the ’70s. When I covered digital entertainment closely, I was on an influential mailing list full of ostensible music lovers, smart people, and every few weeks someone would argue that the problem with music biz today is that nobody’s making any good music.

Pah. David Brooks’ column in the NYT today is slightly smarter, but not much. He has interviewed Steven Van Zandt, Springsteen’s guitarist, and together they wistfully remember a time when big bands like the Stones and Springsteen meant something, or meant something to huge masses of people. Not like today, where music consumption is fragmented into micro-genres, bands can’t fill stadiums (remember how great the sound and view in those stadium shows are?), and the kids picking up instruments just can’t play.

He says that most young musicians don’t know the roots and traditions of their music. They don’t have broad musical vocabularies to draw on when they are writing songs.

As a result, much of their music (and here I’m bowdlerizing his language) stinks.

He describes a musical culture that has lost touch with its common roots. And as he speaks, I hear the echoes of thousands of other interviews concerning dozens of other spheres.

Did I say slightly smarter? Forget it. Music cultures change. Everything is fragmented. But why in hell is that bad?

A musical monoculture is like any monoculture. It stagnates. Innovation happens within a strictly circumscribed sphere. What really happens is that it produces rebels, punk, new wave, and then what happens… it fragments. I’m a deeply music loving music geek, who today has the ability to listen to everything from Johannes Ockeghem to Valerio Cosi’s Italian free-jazz drones (if you haven’t heard him, GO LISTEN NOW), with long detours through the Middle East, Africa and Asia. That perpetually blows my mind.

Kids can do this too. The ability to get in touch with musical roots beyond Zeppelin and the Doors and the Beatles and a bunch of very good 60s blues bands is overwhelming today. Not everyone takes advantage of this, but many, many do. It’s creating vast amounts of new and innovative music even despite the industry’s implosion. It ain’t the Stones, ’cause frankly that sound’s come and gone at least three times.

Music, and music culture, moves with the times. Brooks gets part of this. He finishes with this, which was his real point all along:

We live in an age in which the technological and commercial momentum drives fragmentation. It’s going to be necessary to set up countervailing forces — institutions that span social, class and ethnic lines.

Music used to do this. Not so much anymore.

This is the old end-of-shared-culture argument. We listen to different things, think differently, read different Web sites. We don’t all watch the same TV news at 8, don’t listen to the same Rolling Stones albums. Terrible, right?

Pah. Before, “technological and commercial momentum” created the impression of cultural monocultures — although underneath, unlistened to by Brooks and his besuited buddies, were other vibrant scenes. Maybe the culture business wasn’t fragmented back then, but culture was — what were the jazzheads listening to, or the folkies, or the deeply weird Tony Conrad or Eternal Music drone aficionados? They sure weren’t in stadiums.

Diversity of cultural opportunity allows people to stretch their minds and expand their experiences, and breeds creativity. Even if people who want to hear the same thing over and over again don’t want to hear it.

Thanks to Alex Ross for the pointer.

This is way too good to pass up. Reuters writes about a crackdown in China on firemen eliciting bribes, often sexual. It quotes Xinhua, the state news agency:

 ”For every 10 corrupt officials, nine are involved in illicit sex. This old tune has already been proved by statistics from disciplinary organs many times,” Xinhua said.

The third-grade mind boggles.

The Guardian wrote this weekend about Picador’s plan to stop publishing most literary fiction initially in hardback form. That means even stellar writers like Delillo, Naipaul, Banville and Cormack McCarthy will be going straight to paperback.

I read this with an initial twinge of irritation and sadness. I love hardback books, what reader or writer doesn’t? They’re beautiful, solid, lasting, and look good on a shelf. Sometimes they even have resale value.

And yet. About ten seconds later, I realized this could be some of the best news to hit the publishing industry in some time.  Here’s why, nicely wrapped up in one rival publisher’s comment:

Rival publishers described it as “a seismic change”. “Hardback then paperback has been the model for 60 years,” said Dan Franklin, the veteran publisher at Jonathan Cape.

What kind of business model doesn’t change for 60 years? I’m as book-y as they come; and yet I scour used bookstores for paperbacks, the same way everyone I know does. Hardback books aren’t serving the mass market, and they aren’t serving the writers who produce them.

When my co-author and I did our first (and as yet only, but wait…) book, it was hardback only. We were shocked at the discounts, shocked at the haphazard marketing dollars spent, shocked that our publishers had no interest in moving it to paperback, despite the fact that our core audience was mostly unlikely to shell out for hardback. We’re still trying to get the rights back so we can publish an updated version ourselves.

Publishers simply haven’t adapted to a market that has changed very, very radically in 60 years, and probably most in the last five. This is a step in the right direction, even if it’s a little sad. So be it. If my next book (fingers crossed) comes out only in paperback and digital form, I won’t shed any tears.

Berlin and New York are having a little love-in these days. It’s not just in the pages of the NYT, where gushing and usually (but not always) 66 percent fictional articles appear about the Wild Life In Berlin. The two cities are in the midst of a cultural interchange just now, swapping music and other performances at Important Cultural Venues, and I am unhappy to say I missed all of New York here.

But they like us over there on the other side. And it’s not just the romance. Well, it’s partly the romance; it’s impossible to read many articles without quickly finding references to the Weimar period, where Art and Sex and optimistic politics went hand in hand, even when all three were technically the same sex. (Of course that’s what sold me on this place too; how many expatriates here can’t claim some private love affair with the velvet-penned Herr Isherwood, or at least his cultural Caberet-ish offsprings.)

But no, it’s not just that. The NYT has much to say in the paper’s Berlin in Lights blog here, most of it very complimentary, about Berlin’s cultural ambassadors. Yet my favorite is the unrelated review of the Berlin Philharmonic by the very serious, very readable, very smart composer, writer and teacher Greg Sandow. A few excerpts:

The most astonishing thing about the Berlin players is that they move when they play. … Sometimes the entire section almost danced, each player in his own way… We hear that in Berlin, the Philharmonic attracts a younger audience, that there’s excitement at their concerts. And no wonder. It’s not because of marketing, or gimmicks. It’s because they’re exciting to hear, and also to see. You know they care. You know they’re excited by the music. You can see it. Carnegie Hall was electric with their presence, as it was with the young Venezuelans, but never is — just never — with most other orchestras.

That’s our local. We, or I, tend not to appreciate it enough, having an overwhelming surfeit of classical (and contemporary) music here. But they are not only good, they are world class, enough to make New York stand up and take notice. I need to spend more time at the Philharmonic.