2016 Ohio Democratic Primary Endorsements

The time has come to cast our votes in Ohio's primary election.  I hope you do take the time to vote, whether you agree with our endorsements or not.

Democratic Primary

For President: Hillary Clinton

For the first time in 24 years, I did not campaign for any candidate during the primary season.  It was not that I disliked either Hillary Clinton or Bernie Sanders, but that I was so enthusiastic about both it became difficult to choose.  This primary cycle has allowed me to learn more about both candidates, and after a great deal of research I have cooled on Sanders.

Both Clinton and Sanders have their advocates, many of Sander’s  more enthusiastic supporters have crossed the line in statements (which I will not repeat here) about Clinton’s gender, honesty, and marriage - while Clinton’s supporters comments about Sanders have centered around his ability to get the changes he advocates enacted.  Sanders and his supporters have criticized Clinton for being a closet moderate, too friendly with corporate interests, and for changing her positions on issues.  Some of those criticisms may have merit.  But a slavish loyalty to an unwavering position on any issue reminds me of George W. Bush’s conviction of the merits of his Middle East policies, and Herbert Hoover’s unwillingness to take the actions necessary to alleviate the Great Depression.  Indeed, Sanders’ charges of flip-flopping remind me of Hoover’s labeling Franklin D. Roosevelt a “chameleon on plaid” for changing positions (often 180º) on how to turn the economy around.  (Claire Booth Luce derisively compared FDR’s trademark gesture with those of Hitler and Churchill: Hitler had the Nazi salute, Churchill had the V for Victory sign, and FDR: finger to the wind.  But it’s worth remembering that Hitler led Germany to ruin, and the war in Europe had scarcely ended when Churchill was tossed from office.)  Altering positions on issues goes beyond politically expedient flexibility.  And it’s not as if Sanders hasn’t switched on some issues – in particular gun control, where, despite his denials, he altered his position to a degree that might have made FDR blush.  Examining Senator Clinton’s evolving viewpoints it becomes obvious that they have evolved in the right direction.  I’d rather have a President who can adapt with the times than one who is stuck in the groove – an apt criticism against Republicans like Hoover and Democrats like Jimmy Carter alike.  We must bluntly face the truth that no matter who is elected President, Republicans will likely control the House of Representatives for the rest of this decade, largely thanks to Gerrymandering by Republican governors and state legislatures.  Democrats will be lucky if they gain control of the Senate.  Judging by Senator Sanders’ statements and his history in the Senate, House of Representatives, and Mayor of Burlington, Vermont, he has difficulty working with those on either side of the aisle who don’t agree 100% with him, and is unwilling to seek consensus or compromise.  Nor does he appear to recognize reality beyond the bubble of the clique of sycophants with which he surrounds himself or his own state of Vermont– a lovely state which is so far removed from much of the rest of the nation it could almost be part of Canada.  Secretary Clinton is more likely to be able to reach across the aisle and make the deals with Republicans which can propel the nation forward in a realistic manner, and build on the achievements of President Obama – which she has been quick to acknowledge, and which Sanders has pooh-poohed at every turn.  Senator Sanders seems more interested in throwing out much of what President Obama has accomplished and starting all over – a textbook case of two steps forward, a dozen steps back.

I have no doubt that the drive which compels Hillary Clinton to run goes beyond personal ego or the desire to see a woman elected to the Presidency - and instead centers on the good of the country.  During her years as First Lady of Arkansas, then of the United States, then as Senator, she has labored as a workhorse – not as a show horse, or as the darling of the left.  I can’t say it any better than Bill Clinton does here:

Therefore, we enthusiastically endorse Hillary Rodham Clinton for the Democratic Presidential Nomination.

For United States Senate: P. G. Sittenfeld

Sittenfeld is a Cincinnati City Council member who has received broad support not just from his own party, but among Republicans and independents as well – so much support that he won more votes during his 2013 reelection than any other Council member.  Much of that support is based on a track record of success in stabilizing foreclosures, re-purposing neighborhood schools as after-hours “Town Square” schools, and bringing wireless internet to Cincinnati’s poorest communities – just as FDR brought electricity to the Tennessee Valley.  All these accomplishments are in the spirit of the New Deal coalition that helped establish the middle class, but which also look toward the future.

Our endorsement of Sittenfeld is a long-shot.  As a former Congressman and Governor, Ted Strickland has the money and endorsements of many “established” Democratic groups.  But his record as Governor left much to be desired, however many of his problems in that office stemmed from the corruption of his predecessor’s Administration or the collapse of the national economy under George W. Bush.  Also, Strickland seems too willing to take the course of least resistance, whether it comes to opposing gun control until he supported it, or refusing to debate his primary opponent.  Strickland’s popularity in Ohio is marginal, and if he were elected, would be unlikely to serve more than two terms due to his age – he’s 74.  We feel that Ohio’s Democratic party needs fresh blood, and Sittenfeld brings both the vigor and the necessary experience to defeat Senator Portman in the general election and to make an effective Senator who will serve the Buckeye State well – and for the long term.  

For Prosecuting Attorney, Cuyahoga County: No endorsement

The incumbent, Timothy McGinty has poorly served the people of Cuyahoga County, in particular the African American community.  There’s no indication his challenger, Michael O’Malley, would do any better.   Whichever candidate wins should be made aware that a low vote count is an indication that the Prosecutor will need to prove himself to the voters of Cuyahoga County, that the citizens are watching, and hopefully that better alternatives will appear in the next election cycle.

Issue 23, Cuyahoga County Health & Human Services Renewal: FOR the levy.  This is not a tax increase, but the renewal of an existing property tax which generates money for such things as pre-kindergarten, drug counseling, home healthcare for senior citizens, and for MetroHealth’s level-one trauma center and LifeFlight.  We recommend its passage.

Berwald & Dvořák with Blomstedt at Severance

Herbert Blomstedt returned to Severance Hall this past weekend to conduct a compact program of Berwald and Dvořák.

At 88, Blomstedt is a remarkably spry gentleman. In appearance, he reminds me of Michael Gough, the British actor best known for playing Alfred the butler in the Tim Burton Batman movies.

The program began with Berwald’s Symphony No. 3 (“Sinfonie singulière”), which was unfamiliar to me.  I heard it on the radio decades ago, but didn’t remember one bar of it.  The work was never performed during Berwald’s lifetime, and has seldom been heard since his death.  Despite Blomstedt’s advocacy, it was easy to understand the reasons for the work’s rarity: The piece lacks the dramatic “through-line” that the symphonies of Beethoven, Brahms, and the later symphonies of Mozart possess.  Rather, Berwald’s construction seems to consist of a collection of unmemorable themes thrown together and developed rather clumsily - if skillfully orchestrated.  The central movement is a case in point: It begins with an Adagio, then a rather crude tympani strike announces a faster section, then the Adagio theme returns. While a three movement symphony with a central movement that combines the characteristics of a slow movement with a scherzo is unusual, it’s hardly unique.  Rachmaninoff did the same with his 3^rd Symphony, and with greater finesse. The bulk of the finale consists of a vigorous presentation of a C minor theme, which then switches to major in a manner that is far from convincing so that there is no sense of triumph.

Dvořák's Symphony No. 7 was markedly more successful. There are those who consider the 7^th to be the greatest of Dvořák's symphonies, although the 9^th (aka, the “New World”) retains its popularity.  While the 9^th is identified with America, the 7^th is firmly in the Central European tradition and parts seem as if it could have sprung from Brahms’ pen.  Blomstedt chose sensible tempos, balanced each section beautifully, and paid particular attention to dynamics, which vividly characterized each episode without disrupting the whole.  The audience was brought to its feet after the finale, and Blomstedt was kind enough to single out players and sections for their own share of applause.  As the program was a bit short, the audience was rewarded with an appropriate encore: Dvořák's Slavonic Dance in G minor, in a rollicking performance.

Mitsuko Uchida at Severance, and a note on the Supreme Court

Daniel and I had an enjoyable Saturday evening.  We celebrated both Daniel’s birthday and an early Valentine’s day (our 11^th) by dining at Severance Hall.  This was our first dinner there (I met some friends there for lunch years ago), but it won’t be our last.  Severance Restaurant is now catered by Marigold, and the menu is small but well chosen.  Portions are well judged, so that Dan enjoyed his Duck confit and I my pasta with sausage without feeling overly bloated.  The service is understatedly pleasant, a contrast to the overly familiar wait-staff at some restaurants who feel the need to ask us how our meal is every thirty seconds.  We also noticed, with some amusement, that we were the youngest couple in the room – which is not only unusual since I’m pushing 50, but in noted contrast to the audience, which boasted a great number of young people.

The all-Mozart program featured Mitsuko Uchida in the Piano Concertos No. 17 in G major, K. 453, and No. 25 in C major, K. 503 - which were being recorded as part of a continuing series for Decca.  A note in the program reminded audience members to silence their cell phones, but the large volume of coughing from the audience will probably result in Decca needing to use rehearsals for source material. The Concertos book-ended Symphony No. 34 in C major, K. 338 led by concertmaster William Preucil. 

This was our fourth time hearing Uchida with the orchestra, and it occurred to me, I’ve heard her in person about as much as any pianist.  During previous occasions with Uchida, we sat either toward the far end of the main hall, or in the balcony – with excellent results, sonically.  This time, we were in row E, just left of center.  This proved to be less optimal than expected:  Uchida sat with her back to the audience so she could direct the orchestra; as the lid was removed from the piano, her playing was not projected toward the audience.  She was audible in solo passages, but was all but lost when the orchestra played above mezzo forte.    Despite any balance problems, it was clear that the tempi were well chosen, and Uchida’s playing communicated both the joy in the music and her own sense of joy in sharing it with the audience.  She strikes me as a generous musician, both in the way she let orchestra members shine in certain passages (particularly the winds), and later singling them out for acknowledgment by the audience.  Incidentally, Uchida favored Toscanini’s style for seating the strings: 1^st violins at stage left, 2^nd violins on the right, cellos and violas on inside left and right, respectively.  This resulted in some interesting stereophonic effects during 1^st and 2^nd violin dialogs.

Shortly after Daniel and I arrived home, we heard the news that Supreme Court Justice Antonin Scalia had died.  I also heard of the appalling, but predictable, response from Senator Mitch McConnell and the buffoons and loons running for the Republican nomination for President, to the effect that President Obama should refrain from nominating another justice and wait for his successor to do so.  Historians have already pointed out the idiocy behind those remarks.  If Senate Republicans try to block President Obama's Supreme Court Nomination (he's already said he'll make one), it will unite Democrats behind whoever gets the nomination, and swing independents to the Democrats in BOTH the Presidential and Senate campaigns. So, go ahead, make our day.

A Double Concert Weekend

Truly, Daniel and I are lucky to live in an area that values fine culture.  This past weekend, we enjoyed two concerts in University Circle.

First was the Cleveland Orchestra’s program of French music, under the baton of Vladimir Jurowski, with pianist Jean-Efflam Bavouzet.

We arrived at Severance Hall early enough to enjoy a pre-concert lecture by Eric Charnofsky, who provided useful insight into the evening’s program – particularly Delbavie’s La Source d’un Regard – composed within the past decade.  The work takes its inspirations from the overtones of individual notes, which I was able to recognize from my years as a piano tuner.  A sense of stillness pervades the piece, almost suspended animation, as the audience is left to contemplate the lingering tones. 

There was a brief pause as the orchestra’s chairs were rearranged and the American Steinway brought onstage for the next work, Ravel’s Piano Concerto in G major.  From the first note, it was clear that Bavouzet knew the work inside & out, was completely “in the zone” and communicated a sense of joy in performance that one hears all too seldom.  He even leaned to his left and encouraged orchestral players in certain passages.  It was a thrilling performance that could rank alongside the best recordings of the piece, and received a hearty ovation.   After the second curtain call, Bavouzet strode on stage with a score in his hands, made a brief comment about the late Pierre Boulez, and played two of his Notations as a tribute.

The second half was devoted to the three books of Debussy’s Images, presented out of sequence with Book II placed last so the concert could end with a bang.  Jurowski paid careful attention to coloristic details of each piece, but never allowed them to come at the expense of each work’s structure.  It has been said that, though French, Debussy’s Iberia is some of the greatest Spanish music ever written.  I concur.

Throughout the concert, Jurowski’s fastidious, detail oriented conducting left nothing to chance.  He’s clearly a master of baton technique, but never used it to show off for the audience.  Jurowski was also generous, following each work, in singling out members of the orchestra for special mention.  I would like to hear him in more varied repertoire to gain a more informed opinion, but if it’s on the level of what I witnessed Saturday night, the orchestra should consider engaging Jurowski more frequently.

As is often the case these days, it was pleasing to see a healthy percentage of young people at the concert.  Indeed, I saw more Millennials there than I did of my own generation.

*

Zsolt Bognár’s recital on Sunday was a welcome distraction for those of us who’ve no interest in being inundated with all things Super Bowl.  Judging by the near capacity crowd at the Cleveland Museum of Art’s Gartner Auditorium, Daniel & I were hardly alone in this respect.  Bognár’s recital was centered on musical journeys, and he took the audience on a welcome journey away from the mundane toward the extraordinary.  After walking onstage, Bognár advised the audience that he was battling laryngitis caught during a recent trip to the Philippines, and apologized in advance for any coughing he might do during the recital. 

As it happened, the first work, Schubert’s Impromptu in A-flat major, D. 935, No. 2, was the only work in which Bognár coughed during performance – and it didn’t even break the musical line.  Bognar’s determination reminded me of Arthur Rubinstein, who almost never cancelled concerts during his over 70 year career – and explained that once he began playing, any symptoms of illness would subside until the concert was over.   Schubert's three Klavierstücke (D. 946) have not attained the popularity of the two earlier sets of Impromptus.  Bognár gave the first work, in E-flat minor, a sense of urgency which contrasted well with the central section B major – at the same time, principle and subordinate lines were deftly balanced so the more challenging sections were more than a mere jumble of notes. The second piece, in E-flat major, was given a spacious interpretation; darker toned with disturbing bass accents during the A-flat minor trio. The Allegro of the third work was played with more brio than in his recording, with the central trio boldly contrasted.

Following intermission there was a selection of Grieg’s Lyric Pieces, including Butterflies – my favorite – which was offered with an appropriately ethereal quality.

Then it was to Liszt, by way of Schubert-Liszt.  Bognár's treatment of Der Doppelgänger, a work that harkens toward Liszt's Il Penseroso, was a chilling amalgam of stillness and motion.

Liszt's Dante Sonata is a work I've heard pounded and hacked through so much that I've almost come to dread it. Alternately, some have tried to make the work more profound than it is and have turned it into something terminally boring. Bognár brought gravitas, without pretense or portent, to the more lyrical sections, while bringing ample virtuosity to the more extroverted sections. Bognár, rare for today's pianists, seems highly attentive to tonal quality: his fortes, although loud enough to engulf Gartner Auditorium, were never harsh; his pianissimos were clearly audible. There was a sense of rise & fall to the phrasing that coincided to the structure of the piece, so it built to the climax rather than rushing forth.  The audience was brought to its feet and rewarded with two encores: Arvo Pärt’s Fur Alina, and Schumann’s Arabeske.   

Beethoven at Severance

Saturday night’s Cleveland Orchestra concert at Severance Hall, an all-Beethoven program led by Franz Welser-Möst, was an exercise in profundity, frustration, and exaltation.  When it comes to selling classical music concert tickets, you can’t go wrong with Beethoven.  I didn't see one empty seat in the house, which augers well for the future.

The String Quarter in A minor, Op. 132, is one of my favorite of Beethoven’s works.  It was composed in 1825 following an extended illness during which Beethoven nearly died.  I vividly recall the first time I heard it: I was 17, riffling through the many records in my grandmother’s basement, and came across on old, scratchy, mono LP of the piece played by the Budapest String Quartet.  I placed the LP on the turntable, lowered the stylus, and was riveted by the work from beginning to end.  After the record was over, I sat speechless, for at least 15 minutes.  It is a challenging and emotionally draining piece.

Saturday night was the first time I’d heard it performed by a full string section – in an arrangement by Welser-Möst himself, which tastefully augmented the cello parts with the double-bass.  (Welser-Most previously led the orchestra in an arrangement of Beethoven’s Grand Fugue for strings in summer 2013.)  Paradoxically, by performing the work with full strings, the subtleties of Beethoven’s writing were made even more apparent: the work’s stark opening, the constant push and pull of the tempo, and the many unexpected turns the music takes.  There are certain passages – particularly in the miraculous slow movement – where Beethoven avoids the tendency of many composers to simply copy & paste a passage from one phrase to another – moving it into a different key, and instead takes the music in another, unanticipated and unanticipatable direction.  This is the work of a man who has stared into the face of death and lived to tell the tale.  A moving experience, and the audience was blessedly quiet.  

Following intermission, pianist Yefim Bronfman took to the stage for Beethoven’s Piano Concerto No. 3 in C minor.  Now I must confess, this is my least favorite of Beethoven’s Piano Concertos (unless one includes the rarely played arrangement of his Violin Concerto for piano and orchestra, in which case the C minor is the 2^nd least favorite).  Beethoven, on hearing Mozart’s Piano Concerto in C minor, is claimed to have said “We shall never have an idea to compare with that!”  Eventually, Beethoven did put comparable ideas to paper, but they’re not in this Concerto.  The work is, aside from the minor key, essentially in the style of his first two Piano Concertos – lacking the subtlety of the G major Concerto and the grandeur of the so-called Emperor Concerto – the last two concertos.  This is not to say it’s a bad work, but the themes are standard (although the opening movement’s main theme is a bit defiant for 1804), they are developed in rather ordinary ways, and the work tests neither a performer’s musicality nor technique.  Bronfman’s rendition, then, was a very ordinary performance of a highly overplayed work: Nothing offensive, and nothing particularly noteworthy – the pianist’s dynamics never varied much from mezzo-forte and tempos were the dead center norm.  The orchestra under Welser-Möst provided a detailed, sympathetic accompaniment, only marred by constant coughing from an audience which had been so silent during the Quartet.

The final work was the Fantasia for piano, vocal soloists, chorus, and orchestra, Op. 80 – popularly known as the Choral Fantasy.  This work was originally written as a crowd pleasing capstone for a monster concert Beethoven arranged in 1808.  As the title indicates, the work puts in everything but the kitchen sink.  It starts with an extended piano solo which is said to have been similar to the improvisations with which the young Beethoven thrilled audiences during his early career – when he was more known as a pianist than a composer.  From there, a theme which anticipates the “Ode to Joy” theme is heard and developed by piano and orchestra – after which vocal soloists and then choir enter and bring the piece to a rousing conclusion.  Hearing this performance, I was reminded of something Laurence Olivier said: “Never show an audience your top, because then you have nowhere else to go.”  Welser-Möst skillfully held orchestra and chorus in check until a few bars before the final “und Kraft” at the end – which knocked the audience’s proverbial socks off.

The Cleveland Orchestra - not an anomalous blip.

I don’t especially care to give Norman Lebrecht publicity.  Given his penchant for self-promotion he seems to garner enough for himself.  I know quite a few musicians who hold him in low regard, but either find it useful to cultivate him as a promoter, or fear retributions from him – and thus tolerate his antics.  For those who don’t depend on his favor, he’s something of a laughingstock.  Despite seeing factual errors on his site nearly as often as I view it, more often than not I decline to leave a comment there - or to mention it here.  Lebrecht often presents opinions as facts, cherry-picks actual facts and places them out of context, and uses sensationalistic and vulgar headlines as click-bait.  He also posts information from other sources without attribution.  His posts run the gamut from the Chicken Little “sky is falling” variety – foretelling the imminent demise of Classical music, to stories of musicians as abuse victims from airlines and bureaucrats, to stories of musicians as perverts and pedophiles.  One seldom encounters in his posting any actual discussion of music.  Indeed, reading Lebrecht’s “journalism” has left me with the impression he doesn’t know much about music.  But this tidbit from Lebrecht’s recent posting on the “Makers and Breakers of 2015” made my blood boil.  

As for Lebrecht’s statement that the Cleveland Orchestra is America’s finest, I’ll accept that with good graces as a proud local.  Some will disagree, and that’s alright.  What makes one great orchestra stand above another is largely a matter of opinion.  The basics are a given: An orchestra must play the right notes, must play in tune, and must play together.  The Chicago Symphony is known for its great brass section (or at least the loudest), the Philadelphia Orchestra is known for its lush string sound, the Berlin Philharmonic for its depth of sonority, the Vienna Philharmonic for transparency.  The Cleveland Orchestra, at its best, has all these.  Not that the orchestra always plays at its best.  There was a period, roughly from 1990 until about a decade ago, when standards seemed to be slipping.  I’m not basing this on any critic’s opinion, because I’ve learned they often have their own agendas – but what I’ve heard with my own ears: a number a splattery entrances, fluffed notes (particularly in the brass), and balances that were off.  But in recent years the orchestra has been back on form in repertoire ranging from Mozart to Scriabin.  I would also say that Franz Welser-Möst, about whom I had a great many reservations in 2002, has really grown into the job.  (Nor would I say that the Cleveland Orchestra’s rise to greatness was the sole result of George Szell’s tenure, as they were already a Top Four orchestra under Artur Rodzinski.  But it’s true that standards fell in the three years preceding Szell’s tenure, when orchestras world-wide lost players during World War II, and Cleveland had a part-time and inexperienced Music Director.  But I’ll save further discussion on that subject for another post.)

But look at Lebrecht’s qualifier for his praise of Cleveland.  “Severe social blight”.  Excuse me?  Is Lebrecht stuck in 1978, when Cleveland went into default?  Does Lebrecht still imagine the Cuyahoga River catching fire?  Is the Hough neighborhood in flames like it was in the 1960s?  Cleveland has come a long way since the bad old days of 30 years ago, and this is especially so in University Circle – which has been extensively redeveloped.  I’m aware that Lebrecht paid Cleveland a visit earlier this year, but I wonder how much of Cleveland he saw beyond Severance Hall and Hopkins airport.  So, I will assume he didn’t see the revived areas downtown, or Playhouse Square, Ohio City, or Gordon Square.  Or, that he’d never experienced the bad old days in Cleveland, so he had no reference point to see how far we’ve come.

Then there’s this – which Americans will grasp but Europeans may not: the majority of people who attend Cleveland Orchestra concerts at Severance Hall do not live within the City of Cleveland.  They live in the surrounding suburbs.  I cite this obvious fact because an earlier post from Lebrecht crowed about what a miracle it was that a city of less than 400,000 could support such an orchestra – as if Cleveland was Smallville, Kansas!  This is an example of how Lebrecht carefully selects facts and presents them out of context, distorting the truth.  In fact, Cuyahoga County alone has nearly 1.3 million residents – and many who come to the orchestra’s concerts come from beyond the county line.  This is even more the case for those who go to summer concerts at Blossom Music Center which is way down in Cuyahoga Falls. 

True, Cleveland’s not perfect, and neither is the region.  There are gross disparities of income, as is the case everywhere in the US.  There are neighborhoods which suffer from neglect, which can be found in nearly any major city, in and outside the US.  That the Cleveland Police Department is an embarrassment is known internationally.  The Lakefront is poorly utilized.  These and more are issues which need to be addressed – to paraphrase President Kennedy: they are human made problems which can be solved by humans.

But what’s interesting to me is that the orchestra has mostly thrived even during our region’s darkest eras.  Could it be because the Cleveland Orchestra, along with other cultural institutions and the Cleveland Metroparks are some of the few things in our region which have never let the people down?  Think about it.  Have the Cleveland Indians, Cavaliers, or Browns consistently brought as much fulfillment to so many as the aforementioned institutions?  Residents of Cuyahoga County have long recognized this and generously subsidized these institutions, by supporting property tax levies, and – just this year – renewing a small tax on cigarettes and alcohol which goes a long way toward supporting the orchestra. 

The success of the Cleveland Orchestra is not some anomalous blip in an urban ghetto, as Norman Lebrecht would have you believe.  It’s the result of the people who’ve supported it – both in the orchestra and out.  Both those who live within Cleveland’s borders and those who live beyond.

I’d also point out that Norman Lebrecht’s home base, London, is far from perfect.  I saw my share of panhandlers during our recent trip there, one harassing a women so aggressively that I had to intervene.  This took place a posh area near Piccadilly Circus.  Sometimes blight occurs where one least expects it.   And London’s main orchestra pales in comparison with Cleveland’s.  

The Myth of Colorblind Canines

Daniel and I have one of those electronic picture frames, to which one can upload photos for display.  Recently, I was selecting photos for the frame and found a photo of our dog Mason with me, dating to Christmas 2010.  Mason has changed a bit since then: his snout is starting to turn white and there are flecks of white hair around his eyes.  But he’s still our rambunctious, hyper-affectionate canine companion. 

 

But a few moments of free-association brought my thoughts to a subject I’ve long meant to raise on this blog: the common misconception that dogs are completely colorblind.  You’ve doubtless heard this statement many times, as have I: "Dogs can only see in black & white".  Whenever popular entertainment shows the world as seen through a dog’s eyes, that world is invariably shown as black & white – I vividly recall an episode of The Simpsons which made this error. 

 

While dogs cannot see the range of colors humans can, they do have some color perception.  More precisely, the type of color impairment dogs have is Dichromacy – commonly known as Red-Green Color Blindness.   (Also, while nearsighted by human standards, dogs have a superior perception of motion and better night vision than humans.)  There’s a wonderful site called DogVision which allows users to upload their own photos and adjust them for canine vision.  I’ve done this with the two photos below, and also included the full color versions below for comparison.