Ada Lovelace, Women Scientists, Dorothy Day, and Lost Human Potential

Ada Lovelace, 1843 or 1850
Dorothy Day in 1916

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Ada Lovelace, Women Scientists, Dorothy Day, and Lost Human Potential

The following summary of the life of Ada Lovelace (December 10, 1815 – November 27, 1852) is taken from the Sacrificium Intellectus website of 23 January 2022 (https://www.facebook.com/Sacrificium-Intellectus-435679649828709), which itself drew much of the story from the wikipedia article on Ada Lovelace (https://en.wikipedia.org/wiki/Ada_Lovelace). I will comment after that account.

Ada Lovelace was a pioneer of computing science born two centuries ago, in 1815. She took part in writing the first published program and was a computing visionary, recognizing for the first time that computers could do much more than just calculations:

“The Analytical Engine weaves algebraic patterns, just as the Jacquard loom weaves flowers and leaves.”

Ada Lovelace was the daughter of famed poet Lord Byron, and Annabella Milbanke Byron, who legally separated two months after her birth. Her father then left Britain forever, and Ada never knew him personally. She was educated privately by tutors and then self-educated but was helped in her advanced studies by mathematician-logician Augustus De Morgan, the first professor of mathematics at the University of London.

It may seem odd to call someone born in 1815 a computer scientist, but that is what Ada Lovelace became. Her life changed forever on June 5, 1833, when aged 17 she met Charles Babbage. This was not something many girls Ada’s age could ever do, but as an aristocrat she enjoyed better opportunities than most [and, commendably, took educational advantage of them — MG,Jr.].

Babbage was Lucasian Professor of Mathematics at the University of Cambridge, a position once held by Isaac Newton and held more recently by Stephen Hawking. Babbage learned that both Lady Byron and her daughter were knowledgeable about mathematics and invited them to see a small-scale version of the calculating machine he was working on called the difference engine.

Babbage had become fed up with people making mistakes in lengthy calculations, and his idea was to build an infallible steam-driven or hand-cranked calculating machine: a “computer.”

[During World War II, mathematician Alan Turing in England built an electrical “analytical engine” to crack the German military’s Enigma Code, used by the Nazi Kriegsmarine submarines to coordinate their sinking of transatlantic Allied convoys. Turing’s decoding machine provided advance information on German military moves to Winston Churchill’s administration, which likely shortened the war in Europe by two years; and his theoretical and experimental innovations posthumously launched electronic computer science in the 1960s, after first being persecuted likely to suicide in 1954 by British legal homophobia — MG,Jr.]

Ada was completely captivated by Babbage’s concept, but there was little she could do to help Babbage with his work. However, she sent a message to Babbage requesting copies of the machine’s blueprints, because she was determined to understand how it worked.

An important part of Ada’s education was to see the Jacquard loom in operation. The Jacquard loom was a machine that produced textiles with patterns woven into them. Joseph Marie Jacquard had invented it in 1801. The Jacquard loom was controlled by punch cards, with one card equal to one row of the textile being woven. If the card was punched, the loom thread would be raised. If the card was not punched, the loom thread would be left alone. In other words, the punch cards issued instructions to the machine. They were a simple language, or putting it another way, machine code.

Ada continued her independent pursuit of mathematical knowledge. She became friends with one of the finest female mathematicians of her time, Mary Somerville, who discussed modern mathematics with her, set her higher-level mathematics problems, and talked in detail about Charles Babbage’s difference engine.

In 1841 Ada began working on mathematics again, and was given advanced work by Professor Augustus De Morgan of University College London. She also continued to learn advanced mathematics through correspondence with Mary Somerville.

All the time, she kept Babbage’s difference engine in mind:

“I believe myself to possess a most singular combination of qualities exactly fitted to make me pre-eminently a discoverer of the hidden realities of nature.”

Ada Lovelace broke new ground in computing, identifying an entirely new concept. She realized that an analytical engine could go beyond numbers. This was the first ever perception of a modern computer – not just a calculator – but a machine that could contribute to other areas of human endeavor, for example composing music.

Ada had grasped that anything that could be converted into numbers, such as music, or the alphabet (language) or images, could then be manipulated by computer algorithms. An analytical engine had the potential to revolutionize the way the whole world worked, not just the world of mathematics. She wrote:

“Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and of musical composition were susceptible of such expression and adaptations, the engine might compose… pieces of music of any degree of complexity or extent.”

Ada Lovelace died, probably of uterine cancer, at the age of 36 on November 27, 1852. Her health had deteriorated after she completed her work on the analytical engine, and she had suffered a variety of illnesses. She was in pain for several years, and was given opiates by her physicians to help her cope with it. She also drank considerable amounts of alcohol, affecting her moods.

MG,Jr.: The greatest emotional pains I ever experienced were drowned in considerable amounts of alcohol — which my internal organs still remember — and which somewhat works at times as a pain relief technique. The greatest physical pain I ever experienced was most wonderfully dispelled by a 4ml IV drip of morphine, which was administered by one of Earth’s true angels: an emergency room and surgical nurse. Versed is good, Fentanyl is great, but Morphine is perfection — all when administered by medical professionals doing their best for you at painful moments of crisis in your life. Nothing beats pain-free undoped conscious awareness: the radiant doorway to perception.

Reflecting of the life of Ada Lovelace, I came to the following:

Ada Lovelace had a fascinating and prescient mind, and was a woman well ahead of her time; a mathematician, a computer scientist, and an innovator — like Hedy Lamarr!

Ada’s story also reminds me that CO2 induced global warming was first realized — and proved by direct experimentation — by Eunice Foote (being her independent idea), and published by her in 1856 despite the indifference to her by the patriarchal science society of her times, her paper to the AAAS conference of 1856 had to be presented by a man (at least Joseph Henry did it).

There is no sex to the inquiring scientific mind, only curiosity and a logical perseverance in its pursuit.

This also reminds me of Rosalind Franklin, who actually made the X-ray diffraction measurements of the DNA molecule before the theoretical understanding of its structure was known, and who shared her photographs of the diffraction patterns with Watson and Crick, from which they deciphered the double helix molecular structure, wrote their paper on it without giving any credit to nor mention of Franklin (and in his book, which I read in High School, Watson, an irredeemable sexist, was quite gleeful in describing this subterfuge), and cruised their way with timeworn academic sleazemanship to Noble Prizes.

The Nobel Prize in Physiology or Medicine in 1962 was awarded to James Watson, Francis Crick and Maurice Wilkins (Franklin’s boss) for “their” discovery of the molecular structure of DNA, while Franklin, who actually mapped out the structure of the molecule by her direct experimentation, never was recognized (until much later, but still no secular canonization prize).

Another such story is that of Tatiana Proskouriakoff, an American-born Russian woman working since the 1930s as an illustrator at Central American archeological digs at Maya ruins. Tatiana Proskouriakoff was the first person to recognize the meaning of the ancient Maya glyphs carved on stone stelae, as sequences of historical accounts of kingships. She arrived at her insight by the early 1950s, based on her readings of Russian technical literature on the construction of languages. She pursued her groundbreaking work despite the sexist ridicule heaped upon her by her paycheck boss, the lionized (at the time) British egomaniac archeologist of Maya ruins (J. Eric Thompson), who got the entirety of ancient Maya culture, religion, history and worldview completely and stupidly wrong, and in the process, as he was the world’s leading academic authority on Maya archeology, set back those Maya (Central American) studies by at least 30 years.

We have lost so much time for human progress (and maybe now fatally so), by depreciating and wasting so much now anonymous talent, through racism and patriarchal sexism, and homophobia, and ethnic and religious tribalism.

Why will Dorothy Day, a 20th century equivalent to Saint Francis of Assisi, never be canonized a Saint by the Catholic Church?

Bureaucracies are always motivated by self-preservation as a hierarchical entity, to maintain the positions and status (and fortunes) of its tiered elites and retainers. They are not motivated by principles, ideals or morals, but those are useful as propaganda to corral, hypnotize and use on the masses.

Idealistic and messianic champions of those principles, ideals and morals — like Jesus, Joan of Arc, and many others — who can divert the masses’s allegiances from the established power pyramids — the Churches and Kingdoms supposedly promoting those principles, ideals and morals — are not to be tolerated by those power pyramids because their prime focus is their own preeminence, not popular liberation.

Such “dangerous” principled and independent champions must either be trivialized and harmlessly absorbed into subservient roles in the power structure, like St. Francis of Assisi (today’s Pope “Francis” is a Jesuit who took the name of the first Franciscan), or burned at the stake as heretics. Canonization is reserved for the former, not the later.

In our modern America, one leading champion of principles, ideals and morals — sociologist and religious minister Martin Luther King, Jr. — was first “burnt at the stake” of mass media managed public opinion from 1966 on, for speaking out against structural American economic apartheid, and after heeding Thich Nhat Hanh’s recommendation to speak out against the Vietnam War, and then literally killed by a volunteer lumpen White Supremacist seeking approval, like the killers of Thomas à Becket in 1170, after which MLK could be safely trivialized by the American power pyramid’s many privatized propaganda ministries, and thus safely canonized as an American Secular Saint.

So now “I have a Dream” and not “America is the greatest purveyor of violence” is the official image of Martin Luther King, Jr., and is now an eternal part of the American National Ethos as an aspirational idea for us all, an idea against which all the power of our Status Quo Power Pyramid (and its terrifying Ministry of Love: the US Senate) works ceaselessly to ensure that it never becomes a reality. Such is canonization.

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Jean-Jacques Beineix Leaves Us

Jean-Jacques Beineix, the French movie director of such classics as ‘Diva’ and ‘Betty Blue’, has died. [1]

‘Diva’ (1981) and ‘Betty Blue’ (1986) are each brilliant. I see each as a take on people with few means trying to produce art in a hostile world, and with an uncomprehending populace from which you must try to draw your audience.

‘Dive’ is ostensibly a detective-crime-thriller-chase movie, and ‘Betty Blue’ is ostensibly an erotic psychological comedy-drama movie. But each is much more than its superficial genre characterization. These movies created a new look and feel for cinema in France, and by that had a lasting impact on cinema internationally.

In ‘Betty Blue’, the most insane person in the whole bunch is the only one to recognize the value of the work of art the hapless hero has produced. But, she is too out of touch with “normality” to survive in a world that eventually does accept that art as being worthy of commodification (a.k.a., publication).

Can an artist ever produce another masterpiece after he kills off his muse, to end her suffering in the normal world, and also to liberate himself for “normal” living? Can great art be produced by a consistently sane person? The movie ‘Betty Blue’ may seem to leave the answers to those questions ambiguous, but I think that for both Beineix and myself they are clearly: no.

Another wonderful feature of ‘Betty Blue’ is the music, by Gabriel Yared, a jazz-pop fusion that is fabulous, so totally French and so totally refreshing. There are a saxophone solo and an electric piano riff accompanied by harmonica, which are each an eternity of sunshine bathing a lush countryside in the human soul.

When I first saw ‘Betty Blue’, in 1986, it opened up a new feeling/attitude of “freedom” for me, via cinema. Despite the crises and disappointments the characters experience in ‘Betty Blue’ the entire thrust of the movie is motivated by a celebration of life: joie de vivre. And I thought: I could live that way, too.

How many people have been thunderstruck after some apparently trivial incident, to suddenly realize — like Zorg in ‘Betty Blue’ — that the lover they are so bonded to and enraptured with is completely nuts? That has got to be a very sinking feeling. Two of the couples portrayed in ‘Betty Blue’ show varieties of that. And yet, as Samuel Beckett urged, in ‘Waiting for Godot’ and ‘Endgame’, when the situation is hopeless you just go on anyway. You don’t quit.

‘Diva’ is the more comfortable movie, while still being edgy. The aria featured as the keystone of the movie (“Ebben! ne andro lontana” from act one of ‘La Wally’ by Alfredo Catalani, 1893) and sung by African-American soprano Wilhelmenia Wiggins Fernandez, is absolutely radiant. (https://youtu.be/2hsmoo97CVA)

But ‘Betty Blue’ is inherently subversive, and in that sense “punk”: the perceptive artistic individual against the dullards of a homogenizing bourgeois world. To be otherwise is to be “nuts.”

Beineix made numerous other movies, none as successful as these two, and one or two being clunkers. But throughout he was a consummate cinema artist, and that is an extremely difficult role to pursue in our too superficial and too commercialized world.

[1] Jean-Jacques Beineix obituary
16 January 2022
https://www.theguardian.com/film/2022/jan/16/jean-jacques-beineix-obituary

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Dear Miriam

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My Letter to a Dissident Palestinian Writer, Who Asked

You are finding the limits of acceptability in a restrictive, oppressive society. Your frustration is confusing to you, because you want to be recognized, celebrated and elevated (“famous”) by the Guardians of that society, for your writing that shows that society to be flawed (extremely deeply flawed), and those flaws are designed for the express purpose of giving power to those Guardians.

Waking up from your confusion occurs when you come to this realization: by limiting, diminishing and denying yourself you can submit to the role assigned to you by the Guardians, and in that way be “accepted,” OR you can realize that to do work and art to the limits of your abilities and knowledge means you have to hide from, evade, or leave that restrictive society.

This is the realization that all dissident and progressive writers, artists and musicians come to, and have come to during all of human history. Examples in more recent times are the writers of Samizdat (underground) literature in the Soviet Union and Eastern Bloc (like Boris Pasternak, Aleksandr Solzhenitsyn, and Roy Medvedev, and many more). Samizdat writers had to have their books smuggled out of their countries (which they were not allowed to travel from, except on occasion for permanent exile). An Israeli example is Mordechai Vanunu. In the U.S.A., we have Daniel Ellsberg, Chelsea Manning (who changed sex from male to female, and thus could never survive in an Arab culture), Edward Snowden (in asylum in Russia), and have had many others throughout U.S. history.

Internationally, we have the case of the Australian Julian Assange, who will be extradited from Britain to the U.S.A. for publishing (on the internet, from Europe!) the truth about U.S. drone killings of civilians and journalists in Iraq (information supplied by Chelsea Manning, a war resistor). The Guardians here in the U.S.A. want Assange to suffer and die, and will prosecute him under an ancient U.S. “espionage law,” which is being applied to a foreigner who was outside the country!!

My advice to you is to have a clear understanding of what you are doing, and who will be threatened by it (that feeling of threat being defined in the minds of the Guardians, and not the minimal annoyance you think it is, for the Guardians are extremely and unreasonably sensitive to “the threat” of the mass of people seeing them “negatively,” and as the total frauds, exploiters and slave-masters they really are).

Albert Einstein had to leave Nazi Germany because the Nazis couldn’t accept “a Jew” changing the understanding of the physical universe. Many African-American jazz musicians and writers (like James Baldwin) had to leave the U.S.A. because the White Supremacy bigotry against Blacks was too extreme for them to be able to practice their arts. And so it is with many other thinkers from many countries, to this day.

It strikes me that you are very fortunate compared to most women of your country, you have the financial and legal means of wide travel, foreign living, university education, participation at a high level in cultural and literary events, and the ability to project a glamorous image fashionably dressed and posed in many photographs. So you have much more opportunity to become an international person than the typical Palestinian. It seems that you can live well, beyond Palestine and the Arab World, by expanding your mind and your art (which is writing in your case, and perhaps also TV commentary).

By the phrase “expanding your mind” I mean questioning all your assumptions and training (“education,” “indoctrination”) about EVERYTHING, including religion. You have the freedom to choose how much you are willing to allow all that prior “cultural indoctrination” to limit you as a person, with the complete realization that all such limitations of you as a person — as a woman, a Palestinian, a writer, a thinker, a political activist — into the norms dictated for you (and your sisters in womanhood) by the Guardians, are what is required to “fit in” to the society as ordered by the Guardians.

If “fitting in” with your birth culture (or “the herd” as dissidents would say) is most important to you, then accept submission. But, if all those limitations (enslavement, really) are not acceptable to you, then act accordingly and don’t complain about the fact that you are in a struggle against oppression, and are at a relative disadvantage to it. But in making that struggle you are uplifted by knowing that the oppressive Guardians have not conquered your mind or your self-respect. It is that which makes them more fearful than anything else.

Finding the right balance between resistance and submission is too personal a choice for anyone else to presume to tell you what to do. That is your choice on how you want to live your life. My only point is to be clear what those choices are, and what each requires of you in terms of thinking, “mind expansion,” the keeping or releasing of old ideas and “education,” and of physical, emotional and financial actions required by each such choice (such as of where to go, or stay, and live).

I presume you have asked many others about this, and from their answers you may get some useful suggestions. Finally, let me say that I have 2 daughters (age 40 and 22), and I have always guided them to be fierce rather than submissive, to be: safe, strong and free. Also, about me, had I been living in the Soviet Union or Eastern Bloc (before 1991), or were I living in the Arab World now, I have no doubt that I would have been exiled, shot or beheaded.

Because the differences between your ideas and mine about life, culture and the universe are so vastly apart, it may be possible that you might find some of my statements unintentionally offensive. Believe me that I have no desire to offer offense, but I only intend to be as truthful as I know how (and another person’s truth can be hard to accept). If you find any of my words helpful, I will be glad, but if you do not then there is no blame to you and no offense taken by me.

Also, I apologize to being restricted to the English language in communicating with you, but I do not know any Arabic at all, except for the wonderful Arabic Numerals.

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On Wings of Light over Canyons of Blight

On Wings of Light over Canyons of Blight

Beam me up, Scotty!

I’ve got to get off this doomed planet dominated by Archie Bunkers, Gomer Pyles, Karen Dingbats, and their Toxic Bratspawn!

Power up the Phasers and load in the Photon Torpedoes when I get there!

We’ve got to blow all this wasted cytoplasm and ectoplasm back into the Gravitational Recycler of the Galaxy!

What I’ve learned from 9/11 ‘truthers’, anti-vaxxers and climate change deniers is that there is comfort in stupidity because it offers certainty in a world of doubts!

What can I teach? Nothing! Everybody already knows how they want to be ignorant!

Isn’t it amazing how something as brainless as a virus can outwit multitudes of the most pampered technologically-enriched populations of humanity: an emotional commitment to suicide by anti-thinking!

I am living out the opposite polarity of The Cabinet Of Doctor Caligari!

And so I cry out today… But…, a century earlier:

Nikola Tesla is sitting on his park bench on a crystalline crisp February morning tossing seeds and crumbs to New York City’s flocks of Rock Doves, who know him well for the regularity of his largesse. They wheel about him gracefully and wing down so elegantly to scuttle about his feet, pecking at the bounty of nourishing granules offered to them.

I have no doubt he would long watch them approvingly, delighting in their cooing and motions, while thinking to himself:

How different they are from the race of men: reliable in their behaviors, in expressing their wants honestly and without shame, and never pretending to be unselfish or — despicably — to be betrayers. How admirable they are as pure, unpolluted works of Nature. If only men could be like this instead of the myopically petty self-absorbed self-limiting disappointments they insist on condemning themselves into being.

It is so refreshing and enlivening to just sit in this cathedral of bright chill sunlight, sliced by long fingers of canyon-wall shade, immersed in the expansive subaural hum of Nature’s breath, and just watch the infinite cascade of Life’s eddies surrounding and enveloping me.

How sad that all the midget blind cyclopses of my species will never know they can live — transformed — in a Paradise they could extend forever. But here on this bench, at least, I have the comfort of experiencing that infinitude of joy for myself, alone.

“The snake which cannot cast its skin has to die. As well the minds which are prevented from changing their opinions; they cease to be mind.” — Friedrich Nietzsche

I sat out under the high sun in front of my tall trees this morning, looking out across my modest wooded creek canyon as the gliding shadows of two hawks — their trailing edges emblazoned by the warm cascading radiance — passed over me in waves. What fools these mortals be that blind themselves to wonders such as these.

ON BEING A SUCCESS:

My great discovery — and rueful awakening — about “being successful” occurred when I was at ‘peak career’, and had gained enough experience and produced enough technical successes to apply for and deserve a promotion into “management.” Then it was all made very clear to me, not just by rejection, but by seeing who got promoted and why. The essential quality sought by higher-ups for moving ‘you’ up — below them — is a proficiency at lying to bring money into the organization and making the boss look good, and a demonstrated bullet-proof reliable loyalty at servicing the career advancement schemes of your boss and the boss class above you.

YOUR advancement comes when a bigger boss poaches you from your smaller boss, and your success is assured by applying the same technique for acquiring your own growing troop of faithful vassals below you. The organizational hierarchy looks like a troop of monkeys in a tree. The leader sits at the top, and the other monkeys are arrayed in the branches below him in descending rank order. The leader looks down to see a sea of smiling faces. The bottom ranked monkey looks up to see a sea of assholes. And the shit always rains down.

What I also learned from this awakening was that the merit and value, or venality and worthlessness, of any organization is entirely expressed by the actual (not public relations crafted) personal merit and (always cloaked) venality of the management leading and controlling the organization. Successful liars being in charge indicate a lying and exploitative organization — by design.

This may all seem obvious when stated as I have here, but it is not lived and felt as obvious by most people in the real ‘working’ and ‘political’ worlds. And this is why the rueful awakening — if it occurs — leads its no longer naïve sleepers startled out of their dreams, to the sinking realization: everything is a lie.

The one consolation (needed after the loss of income, perhaps precipitous) that can be gained after this point is the thought: do I really want to be the kind of person that becomes a careerist success by being a completely servile lying sycophant and back-stabbing betrayer? If your answer is “no,” you have discovered your self-respect as your central treasure and source of freedom, and you will have saved your soul. I can’t say this will fill your belly, but I can say this will let you die at peace with yourself and without shame.

Acknowledging the achievements of others — especially in your own field, and especially if superior to yours — is a mark of superior character, which too few have.

In the vastness of their popular cranial vacuity, Americans are enthralled with a celebrity culture to which they abjectly submit with expressions of envy over their own insignificance, and for the most deluded with pathetic expressions of self-inflationary grandiosity. Thus, American popular culture is an ocean of bullshit acidified with envy.

Sic transit gloria mundi.

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’Stateless’, an Australian Television Drama about Refugee Detention

’The Trojan Women,’ a play was Euripides, was first performed in Athens 2,436 years ago at the height of the disastrous Peloponnesian War. It is considered a commentary on the capture of the Aegean island of Melos and the subsequent slaughter of its men and the enslavement of its women by the Athenians earlier that year, 415 BCE.

This play focuses on four women awaiting their fates after the fall of Troy (~1,200 BCE, in northwest Turkey near the Dardanelles): Hecuba (the wife of the slain king, Priam), Cassandra (the beautiful virginal daughter of Priam and Hecuba, who was blessed and then cursed by a lustful Apollo, with having a gift of prophesy none would listen to), Andromache (the wife of the great Trojan hero, Hector, who was slain by Achilles), and Helen (the Achaean queen and wife of King Menelaus of Sparta, who ran off with Paris to Troy, and which elopement was the purported cause for the Achaeans’s war against Troy).

The three Trojan women would all be made concubines and slaves by the Achaeans (mainland Greeks), and Helen returned to Menelaus. Because the Greeks wanted to ensure there would be no surviving male heir to the Trojan throne, they took Astyanax, the infant son of Hector and Andromache and the grandson of Priam and Hecuba, up to the high parapet of Troy and tossed him down to his death on the rocks below.

In 5th and 4th Century BCE Athens, the playwrights were known as poets and called teachers, and in ’The Trojan Woman’ Euripides was desperately and dramatically striving to teach the Athenians that the horrors of the Peloponnesian War were destroying the soul of their society, and that they should find ways of extricating their city-state from the war. His vehicle to convey that larger message to the Athenians was this dramatization of the final days in the death of the Trojan city-state eight centuries earlier (if in fact it was a single real historical event), as told in Greek myths recounted by legendary poets like Homer and his many forgotten colleagues.

’Stateless’, an Australian 6-part television series that was launched in 2020, is about a refugee and ‘illegal immigrant’ detention center, and strikes me as being similar to ‘The Trojan Woman’ as a societal teaching drama. It is both a searing depiction full of human and political insights about the current refugee crisis in Australia, as well as a close analogy for similar tragic realities along the US-Mexican border, in Libya and southern Italy, in Syria and the Greek Islands; and in other places where minorities and disfavored ‘others’ live precariously without stable statehood and are internally displaced or incarcerated, as in Syria, ‘Kurdistan’, Palestine, and the Xinjiang Uyghur Autonomous Region. The writers of ’Stateless’, Elise McCredie and Belinda Chayko have done a magnificent job. The directors, Emma Freeman and Jocelyn Moorhouse have made an absorbing and compelling visual work (https://www.netflix.com/title/81206211).

How many refugees are there around the world? The UN Refugee Agency, UNHCR (https://www.unhcr.org/figures-at-a-glance.html) states that: “At least 82.4 million people around the world have been forced to flee their homes. Among them are nearly 26.4 million refugees, around half of whom are under the age of 18. There are also millions of stateless people, who have been denied a nationality and lack access to basic rights such as education, health care, employment and freedom of movement. At [this] time 1 in every 95 people on earth has fled their home as a result of conflict or persecution.”

We must add that the deleterious effects of climate change — crop failures and lack of drinking water from extended droughts, and the loss of land, housing and employment due to violent weather and flooding — has also spurred refugee streams.

Those refugee streams flow out of the tropical and sub-tropical latitudes: from Africa northward across the Mediterranean Sea to Europe, up from Central America and Mexico and across the Caribbean Sea to North America, southward from Eastern Asia to Australia, and from the arid interior of the Middle East westward toward the Mediterranean Sea and Europe.

Americans, Europeans and Australians see these refugee streams as incoming waves of impoverished humanity comprised of dark-skinned people with cultures, mind frames and languages vastly different from their own, and thus a threat to American, European and Australian prosperity, and their existing ethnic balances, if too large an influx. We must realize that these refugee streams course back up along the gradients of wealth leading from the Global South to the Global North (and Australia), propelled by the pent up pressure of economic disparity created by over half a millennium of conquest and imperialism with over three centuries of slavery, by the White people of the north: the Europeans and the descendants of their American and other colonists.

The Australian television series ’Stateless’ is composed of a weave of four sub-plots, each about a person caught up in and then piteously twisted to the breaking point by the day-to-day reality of escalating crisis in the asylum-seeker Braxton Detention Center. All these stories are based on actual case histories. Threatened men and women become refugees and are driven to acts of desperation, they are victimized, families are torn apart, some eventually find sanctuary while many others languish indefinitely or perish. Low-level workers in the host countries looking to hang onto paychecks are shoved by higher level bureaucrats and policy-makers to go in and do the dirty work of “keeping a lid on” and also “making it look good for the public.” And the sanctimonious of all stripes on the outside are more often than not “virtue signaling” for their own ego boosts, than having any useful empathy for all the individuals mired in the toxic tangle of “the system.”

One story in ‘Stateless’ is based on the real case of Cornelia Rau, an Australian woman citizen who was emotionally disturbed at the time and who was inadvertently — and unlawfully — incarcerated by the Australian government’s Department of Immigration and Multicultural and Indigenous Affairs (DIMIA), and held for 10 months during 2004-2005 under the country’s mandatory detention policy for refugees, until Cornelia was traced to Braxton by a relative, and correctly identified and released to a hospital.

Another sub-plot focuses on an Afghani family fleeing the Taliban, being cheated and robbed by criminal human traffickers in Pakistan, being separated while attempting to make the perilous sea voyage to Australia in rickety boats, with the survivors eventually finding each other at Braxton. But the effort of the Afghani father to gain entry visas for his surviving family proves to be a very heartbreaking and essentially impossible effort. Despite some commendable humanitarian impulses by Australian workers tasked with maintaining the day-to-day operations of the center, and of some right-minded procedures embedded in the immigration policy, that policy is nevertheless largely fueled by a great deal of officially mandated bigotry and prejudice.

The conflict between offering a welcoming humanitarian response to the desperation of the trapped refugees terrified of being deported back to certain death, and the politically motivated mandates from the central government to maintain this bureaucratic structure for continuing exclusion, and without arousing public attention to it, is personified by the story of the woman appointed as the new director of the center. She is emotionally torn apart by the inherent cruelty of the job, and her political expendability to the remote higher-ups.

The last of the four sub-plots in ‘Stateless’ centers on a local rural freelance mechanic who seeks to leave precarity behind and support his young family with a steady paycheck earned working as a ‘prison’ guard at the detention center — though he is instructed that it is a refugee center and not a prison since its residents, despite having no freedom of motion, have not been placed there for the commission of crimes. This individual is a good-hearted fellow who quickly comes under unrelenting strain because of his repulsion at the cruelty toward unruly refugees by a sadistic guard, and because of the numerous requirements for him to perform rough enforcement actions on people exhibiting outbursts of anger, fear and madness. Both the emotional and physical traumas sustained in doing his job while trying to thread the needle between the frayed edges of UNHCR compassionate supervision of a precarious population, and the barbed razor sharp edges of bureaucratically enforced nationalism, nearly deaden his heart and rip apart his family.

Each of the four sub-plots in ‘Stateless’ is populated with many supporting characters who enrich the presentation, and the entire ensemble presents the full spectrum of human experiences that take place in the turbulent focal point of mixing-nonmixing between Australian society and Asian refugees at the Braxton Detention Center.

The ultimate solution to the world’s refugee crisis is so far out of view: ending all wars to establish a lasting world peace, and ensuring intelligent economic development up to decent standards everywhere so that people can remain in their countries with their families experiencing physical and economic security and good health down through the generations. Achieving these conditions would obviate the need for anyone to become a refugee and seek foreign asylum.

Yes, this is idealistic (naïvely so?, impossibly?), like wanting equitable worldwide cooperation to stop anthropogenic greenhouse gas emissions so as to tamp down the acceleration of global warming. But neither of these ideals is intrinsically impossible to actualize, and that is why the continuation of the refugee and climate crises are such tragedies: they are fundamentally unnecessary sorrows, open and festering wounds on the body of humanity.

What we have today is a compounded system of exploitation through tiered victimhood, a system commanded by über capitalists and nationalistic warlords living luxuriant lives, and served by hierarchical cascades of lower level petty boss bureaucrats, their functionaries, and in turn their laborers and armed enforcers. This system is so abhorrent that Nature itself has abandoned us, and is trying to burn us off the land and wash us away into the seas and oceans we have thoughtlessly poisoned with our wastes. An added cruelty to this accelerating rejection of humanity by Nature is that those who are suffering now, and first, and will suffer the most from the increasing hostility of Earth’s climatic conditions to human life are the people of the Global South (the Third World), the regions from which today’s refugee streams emerge, the poorest of Earth’s people, those who lead the most precarious lives, and those who contributed the least to the creation of the global climate crisis.

Coda: a Meditation on ’Stateless’

Must I have a stone heart to preserve a sane mind in a world of pure suffering I am luckily insulated from — for now? How does one combat compassion fatigue and empathy burnout? Does one sink into survivor’s guilt for blamelessly being born lucky?; for living in a bubble of comfort, freedom and justice that is much rarer than one had previously imagined?; and that seems to be diminishing by national policy out of view of its lucky inhabitants confident in their unawareness? But of those lucky people who do become aware, how do they survive and stay human without deadening their souls? We have become a race of monomaniacal blind cyclopses raging about our freedoms because we cannot conceive of anything beyond our own frustrated infantile selfishness. Becoming aware of the sufferings of others is the first step in the very long journey of personal redemption. That journey has many perils, and no one completes it unscathed.

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Awards Are Political

Errol Leslie Thomson Flynn (20 June 1909 – 14 October 1959)

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Awards Are Political

“As a measure of just how absurd the Academy Awards are (even at its primary function of being a slick marketing gimmick for the reissue of films that most people have already seen) consider the fact that the two greatest directors ever to work in Hollywood, Howard Hawks and Alfred Hitchcock–both of whom were workhorses who made popular films that were also cinematic masterpieces, all of which made money for the studios (Bringing Up, Baby and Vertigo, excepted)–never won an Oscar for directing.”
— Jeffrey St. Clair

Who indeed are “the greatest,” in any field? And how do we know?

Cary Grant never won an Oscar despite being a consistently popular leading man (over 30 years, 1930s-1960s), and big money-maker for the studios and theater chains. He retired in 1966, was given an Honorary Oscar (you know, an ‘Ooppsie’) in 1970, and died in 1986.

All awards (Oscars, Nobels, etc.) are political. Albert Einstein won the Nobel Prize in physics in 1921 (100 years ago), for his discovery in 1905 of the law of photoelectric effect (which is an aspect of CCD devices today, like solar cells and digital cameras). But pointedly NOT for his revolutionary theories of relativity (the special theory related to light, speed and time; and the general theory that includes the effects of mass and gravity, and the law of mass-energy equivalence that is the basis of nuclear fission and nuclear fusion). Einstein’s papers on relativity were all published before 1917, the first in 1905. Einstein’s 1921 Nobel was an Ooppsie.

The giving of awards is more often about the “needs” of those awarding, than the merits (often ignored even when exceptionally worthy) of those being awarded. When you explore any field you find that there are many workers in it of admirable character and exceptional skill, and who have accomplished wonderful things deserving recognition, but who are more conveniently ignored by “the management” that doles out rewards, and by “the audience” that is mainly fascinated by the tinsel of fame, notoriety and popularity (basically: money wealth) they wish dearly to camp onto even if even just virtually.

Great artists, poets, singers, musicians, actors, thinkers, writers, scientists, engineers, naturalists, and gifted goofballs (our societal court jesters) are all around us all the time, but you will not see most of them if you rely solely on “the management” (‘the capitalist management,’ as a good Marxist would justly correct me) to ‘award’ them for you to notice and fan-cult onto them (“branding”).

We are always happy when by coincidence one such worthy has the official award spotlight placed on them for merited wide acclaim, but don’t expect such justice to be routine to the operations of the politics of awarding. In general, politics is the defense of mediocrity.

So enjoy your movies, insights from engaging and even philosophical writers, music from poetic architects of soundscapes, and humor from our societal court jesters with deep understanding of human emotions. “The greatest” are those who move you to knowing more and being better than you were before becoming aware of them; and you discover more of these authentic luminaries as you expand your own appreciative awareness. Don’t take my word for it: try it.

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Human Solidarity and Nature Conservation

“As far as we can discern, the sole purpose of human existence is to kindle a light in the darkness of mere being.” Carl Gustav Jung [1]

Life is the actualization of potentialities embedded within the biochemical processes that form the mechanisms of genetics and evolution. Does life have a purpose, or is it entirely a statistically random fluke made possible by the astronomical number of possibilities available for the expression of molecular chemistry in the wide array of physical conditions interspersed throughout the vastness of space? To believe that life has a consciously intended purpose is to believe that life is an intentional creation by a conscious supernatural entity or entities. If so, what is that purpose?

We know that the most elementary organisms of proto-life, like the SARS-CoV-2 virus that infects people with the deadly COVID-19 disease, have no purpose beyond the mindless mechanical continuation of their genetic formats, by feeding their metabolisms through parasitism. But, what of more conscious organisms, like: plants, animals, us?

We humans pride ourselves as presumably having the most highly developed conscious minds of all life-forms on Planet Earth (though very deep ecologists and naturalists disagree with this presumptuousness). From this human-centric point of view, the various levels of consciousness of living organisms are all evolutionary adaptations enhancing the survivability of individuals, to thus enhance the likelihood of the propagation and continuation of their species as environmental conditions change.

For believers in the supernatural there is an imposed obligation, or supra-natural goal, or “higher purpose” to human consciousness, which can be most generally characterized as finding union with God. For non-believers, the fully conscious experience of being alive is the totality of that higher purpose. In either case, the realization of that purpose is to be had by the combination of human solidarity and nature conservation.

Homo sapiens are social animals, and their full development as individuals — their realization of purpose — requires social connection and connection with Nature.

TALES BY LIGHT

“Tales by Light” [2] is an Australian television series (in 3 seasons) about the use of photography and videography to tell stories visually so as to change society for the better: activism. Here, I am only writing about episodes from Season 3. By its very nature this series is visually “beautiful” — in terms of the technical perfection of the image composition, capture and presentation — even when abysmally grim and ugly situations are being shown in order to advance the complete story. This is about emotional punch delivered visually. And of course, incredibly happy bursts of emotion are delivered in the same way by the presentation of images of lushly colorful nature, and joyful and inspiring scenes of human warmth, kindness and sheer exuberance. The three stories (each given in two parts) that affected me were:

1, CHILDREN IN NEED: This story, by Simon Lister, is about the children of Dhaka, Bangladesh, who scrounge through the most disgusting, unsafe and unsanitary heaps of rubbish to find scraps of material that can be recycled locally — like plastic forks and containers — in the abysmal poverty of their society; or who do difficult work in unsafe and toxic conditions to support their families. There are millions of these kids in Bangladesh.

Many Bangladeshi kids work in primitive workshops with zero health and safety codes, procedures and equipment, for example to produce pans and bowls by hands pressing sheet metal against spinning mandrels, again with no protective shields from whirling machinery gears and belts right at hand; nor any proper ventilation and filtration to protect them from toxic metal dust, or fumes in workshops using solvents and chemicals.

The story of such child laborers in the poorest societies on Earth is being documented as part of a UNICEF program to bring world (rich world) attention to the problem of child labor, and to generate financial resources to then provide safe and sanitary spaces for such children to be able to get food, education, rest, shelter for the night off the streets, and the joyful companionship of other children. But, since the money these children gain from their difficult and hazardous work is always the lifeline for the support of their families, often of single mothers, such a labor force is considered “normal” in their societies, and lamentably economically essential for these individuals.

The ultimate “solution” for eliminating this heartbreaking situation would be a worldwide awakening to an actual commitment to species-wide human solidarity. That that idea becomes self-evident through the medium of photography testifies to its power as an art-form.

2, PARADISE IN PERIL: This story, by Shawn Heinrichs, is of the conservation of the ocean biodiversity and habitat of the Raja Ampat Islands. Here, the art of photography is being used to present the story of the value of an amazing tropical coral reef and mangrove forest environment in New Guinea (Indonesia).

That story is told in two directions, first “upscale” to the societies of the wealthy industrialized and developed economies, to generate financial resources needed to establish locally manned, maintained, patrolled, owned — and in selected zones sustainably fished — marine reserves, and to ensure their continued operation and ongoing scientific study.

That story is also told “downscale,” in video presentations in their own language to the actual people living in the environments that are being protected, so that new generations of conservationists grow out of the youth of that indigenous population, now fired up with a greater understanding of the positive impact their healthy local environment has on their own lives as well as on the global environment.

The emotional impetus to these conservation efforts, both locally and remotely, is sparked by the visual impact of the photos and videos of the stunning and vibrant beauty of life moving in that magical submerged translucent habitat. The Raja Ampat Islands is one of the few places on Earth where all measures of biodiversity and ecological health are improving right now, even despite advancing global climate change; and this is entirely because of cooperative human intentionality.

3, PRESERVING INDIGENOUS CULTURE: This story by Dylan River, an Australian filmmaker with an Aboriginal grandmother, is of the recording for posterity of Aboriginal ways and languages slowly being lost with the passing away of elders, of the stories behind some of their ancient rock art, of ways of living off the land and sea while being intimately connected to the natural environment, and of community as the essence of being.

On a visit to Arnhem Land, Dylan is immersed into a welcoming ritual by the Yoingu people, whose spokesman at the event states that though Dylan is from far away he is “part of the family” as is everybody in spirit. The entirety of this brief and simple greeting conveys a fundamental truth that is more clearly and wisely stated, and lived by the Yoingu, than with any of the fatuous self-satisfied pronouncements by our many supposedly powerful and always hypocritical political leaders, who collectively oversee and exacerbate the poisonous fractiousness and sociological cannibalism of our national and world societies.

The basic truth here is that every human being “is something Nature is doing” — as Alan Watts put it — and that Nature is integral, it is a harmoniously self-entangling network of life. And that is what healthy human community should be.

I recommend this series to you because of its many simultaneous dimensions of beauty.

To my mind, the financial investments made by the executives of Canon Incorporated, National Geographic (a subscription television network in Australia and New Zealand that features documentaries, and is owned by The Walt Disney Company), and Netflix, to produce and broadcast this series were very worthy, even as I know there would necessarily also have been a component of profit motive in those investment decisions.

What is needed in our world is ever the same: more human solidarity and nature conservation. The wider broadcast of these three stories from the series Tales By Light could help awaken more people to that realization, or at a minimum give some comfort to those who already know.

Acknowledgment: Gretchen Hennig perceptively brought Tales by Light to my attention.

Here is a musical ornamentation to all the above; about a child, really any child: “Chihiro.”
https://soundcloud.com/ellasolanagarcia/chihiro

Notes

[1] “Our age has shifted all emphasis to the here and now, and thus brought about a daemonization of man and his world. The phenomenon of dictators and all the misery they have wrought springs from the fact that man has been robbed of transcendence by the shortsightedness of the super-intellectuals. Like them, he has fallen a victim to unconsciousness. But man’s task is the exact opposite: to become conscious of the contents that press upward from the unconscious. Neither should he persist in his unconsciousness, nor remain identical with the unconscious elements of his being, thus evading his destiny, which is to create more and more consciousness. As far as we can discern, the sole purpose of human existence is to kindle a light in the darkness of mere being. It may even be assumed that just as the unconscious affects us, so the increase in our consciousness affects the unconscious.”

C. G. Jung (1875-1961), from the closing chapter of his autobiography “Memories, Dreams, Reflections,” entitled “Life and Death,” written between 1957 and 1961. This excerpt is highlighted and discussed at
https://www.brainpickings.org/2012/03/13/memories-dreams-reflections/

[2] Tales by Light (on Netflix)
https://www.netflix.com/title/80133187

Tales by Light (official website)
https://www.canon.com.au/explore/tales-by-light

Tales by Light (series described)
https://en.wikipedia.org/wiki/Tales_by_Light

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Movie Reviews by MG,Jr. (14 November 2020 – 8 April 2021)

CODED BIAS

“Coded Bias” is an exceptional film about how Artificial Intelligence (a.k.a. A.I.), or “algorithms,” has become powerful technology used without accountability, and despite its high level of harmful failure, all for extending the Big Brother type authoritarian control of the public by the state (which is being done overtly in China, and covertly in the U.S., England, and who knows?); and also about the unaccountable manipulation of the public for the financial gains of the small group of very rich people (overwhelmingly white males) who own and control that technology. The title “Coded Bias” comes from the fact that the racial biases (against darker-skinned and ethnic minority people, and ‘different’ sexual-identification people, and physically challenged people) and class biases (against poor people, the more poor the more discriminated against) of those controlling self-aggrandizing white men, and the Big Brother authoritarians, are literally coded into the mathematics that constitutes the mechanisms of the algorithms used to surveil you, to alert police if you are a criminal (very, very many false positives with this), to determine what job opportunities you will be allowed, what prices you will pay for online goods, what financial services you will be granted, and in many ways what punitive actions will be taken against you — and for none of that will you be given any warning nor told how such determinations were made. Complete violation of your 14th Amendment rights (to due process, and which can be logically explained and independently verified; i.e., not a Black Box with a red eye called HAL9000). This important film is available on Netflix now (see website), and also has its own website (see comment). An especially uplifting part of this film is seeing the amazingly talented technically trained and technically savvy women — which include incredible Black Women — who are on the forefront of the citizens’s effort to correct, regulate and ban, as needed, this technology. This is a film about POWER and its use of AI technology to remove freedom from the mass of the public, and to implement its biases through the Internet (for example as regards economic disparities based on race, and the swinging of elections to undermine democracy). I urge you to watch this film (I was pointed to it by a woman, Gretchen, who knows how to pick them).
Coded Bias
https://www.netflix.com/title/81328723

Coded Bias
https://www.codedbias.com/

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SATAN & ADAM

“Satan and Adam” is a lovely documentary about “an aging blues guitarist and a grad student form an unlikely duo while busking on the street corners of 1980s Harlem.” Their music is REAL, authentic; and their story: together, apart, together, old age, is both a reflection of the racial attitudes and politics of the U.S. over the last 35 years, and also a reflection of their own distinctive and idiosyncratic personalities. It is also a very touching story of the power of music to heal individual human spirits, and collective human communities. And also, these guys kick ass when they play!
https://www.netflix.com/title/81077539

https://en.wikipedia.org/wiki/Satan_and_Adam

https://www.modernbluesharmonica.com/satan_and_adam.html

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LORENA

“Lorena” is a short 2019 documentary film about a 25 year old Tarahumara woman (Lorena Ramírez, Native American, living in the northern state of Chihuahua, Mexico,) who runs and wins ultra-marathons wearing sandals and her native dress (skirt!). Her whole family lives a pastoral life deep in hilly country, and they are all runners. Lorena Ramírez has won some of the hardest races in Mexico, like the Guachochi Ultramarathon in 2017, where she ran 100 kilometers wearing her sandals and traditional dress. Because of her prowess as a long distance runner she has been invited to other countries to compete. In 2018, Lorena traveled to Spain to run the Tenerife Bluetrail and came in third place after running 102 kilometers, also running with her sandals, with which she has run more than 500 kilometers in total, including Mexico City’s Marathon in the same year. Unlike her brothers, Lorena doesn’t speak Spanish because she didn’t have the opportunity to attend school and learn the language. She speaks Tarahumara in a soft voice, with words that sound so sweet and musical that you just want to listen to her telling her story. [Some of these lines came from the culturacolectiva website.]
https://www.netflix.com/title/80244683

https://culturacolectiva.com/movies/lorena-ramirez-light-footed-woman-runner-netflix-documentary

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BIRDERS

“Birders” is a short 2019 documentary about the crucial natural habitat for migratory birds, spanning both sides of the Rio Grande and along the Gulf Coast on either side of its confluence with the sea. This area has the highest concentration of birds in the U.S. because it lies along the flyways for many species of birds that migrate between North and South America. So, it attracts bird watchers, both professional (who do banding) and amateur, from all over the world. And this natural environment is threatened, and in parts has already been destroyed, by the clearing of land to build Trump’s Wall. There are Americans and Mexicans, each working on their side of the border to monitor, protect and preserve this natural habitat, and to count birds to help quantify the waxing or waning of the health of their many species; and they also teach and enthuse people (children and adults) about the loveliness of avian life and the value of seriously appreciating and effectively preserving Nature.
https://www.netflix.com/title/80244682

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MAGICAL ANDES

“Magical Andes” is a beautiful series; it is about the love of mountains, the pristine expansive wild, and lives closely entwined with that environment far from human congestion. Season 1 has six ~24 minute episodes and spans the entire 8,500km length of that mountain chain from south to north; Season 2 has four ~24 minute episodes and touches on different points of the same regions, from north to south. Brief and elegant narration is in English, interspersed with many reflections, in Spanish, by Andean residents from Patagonia to Venezuela; in Season 2 the English subtitles to the Spanish speakers is dropped. Photography is breathtaking throughout, clearly camera-carrying drones were used to great advantage. The music accompaniment is very tasteful, and guitar music for the most part. Throughout the series one can catch a few glimpses of people whose way of living reflects what I imagine a post de-growth lifestyle might be like for more of “us.” If you love Nature, and have a poetic sensibility, you would enjoy this series.
https://www.netflix.com/title/81154549

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CAPITAL IN THE TWENTY-FIRST CENTURY

“Capital in the Twenty-First Century” (2019) [1:42] is an excellent, very informative, and provocative (TRUTHFUL!) documentary. I recommend it as the single best “economics class” (under 2 hours) you can take today. The presentation is clear and easy to understand, without being “dumbed down.” It explains exactly why your economic situation today is the way it is, whatever your economic class and generation happens to be. The system is rigged (duh) and this documentary show how, why and for whom; and it clearly shows what needs to change if we (all of us) are to avoid a cataclysmic social breakdown, another WWI/WWII type catastrophe on a worldwide scale. I especially recommend it to my kids and their generation: to help them know why we need a revolution, and where and how that revolution should be aimed.
https://www.netflix.com/title/81239470

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DAVID FOSTER, OFF THE RECORD; CLIVE DAVIS, THE SOUNDTRACK OF OUR LIVES; QUINCY.

These 3 documentaries are about famous music producers and industry/finding-talent executives. These 3 guys are famous, and have splashy documentaries made about them because they promoted many singers from obscurity to superstardom, and made them rich, while making their music corporations very, very much richer. So, naturally, the biz and Hollywood are very awed by and interested in them.

They each have certain personality and character traits that I do not care for, but of course people are all different, and it is always a bit hazardous to judge (and yet of course I do).

What I think is most valuable in these documentaries is that there is a great deal of discussion of and presentation on the nitty-gritty work in the studio: music and song composing, arranging, recording, working (and/or fighting) with the singers and instrumentalists. I found those parts quite interesting.

These 3 guys are “legendary” because they were behind many of the mega-hits from 1968 to today, and in a wide variety of popular music genres.

The documentary I think stars-in-their-eyes people are most likely to find interesting is about David Foster, an incredibly talented and capable musician who is regarded as the “best” music producer alive (along with Quincy Jones).

David Foster, Off The Record
https://www.netflix.com/title/81214083

The second and third, and closely related documentaries are about Clive Davis and Quincy Jones, respectively, legendary music moguls who discovered and promoted many pop-music superstars.

Clive Davis, The Soundtrack of Our Lives
https://www.netflix.com/title/80190588

Quincy
https://www.netflix.com/title/80102952

Quincy Jones was a formidable jazz musician in the 1950s, then did jazzy film scores for 1960s movies, and went on to become a “legendary” music producer.

While these three producers/executives were focused on making mega-hits for corporate mega-bucks, what these documentaries can show that also applies to independent music production (recorded music) in less-mainstream more artistic and smaller-audience fields of music is the technicalities of working out the final recorded tracks, which combine the talents of a variety of people.

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FIVE CAME BACK

FIVE CAME BACK (2017) is very interesting as American film history, BUT the real value here is the reminder by series’ end that previous generations — some of whose survivors still live among us — included many many people who sacrificed a great deal in order to allow our society to continue, and which despite its many dire failings still provided very good lives to most who are reading this. It is important to keep gratitude for those who preceded us and strived and suffered to do their best to pass on chances for decent lives for the young of their time, and those yet unborn. And the only useful way to express that gratitude is to emulate the best efforts of our parents’ and grandparents’ and great-grandparents’ generations, for the benefit of our children, which is to say all of today’s children, and those yet unborn. And we cannot expect they will notice, or realize, or acknowledge or honor us. We can’t have such selfish expectations: why should today’s kids be any different from us when it comes to being grateful for the good things they get? They have to learn just as the more thoughtful of us have had to learn: in part by becoming more aware of the realities of the past, and in part by the struggles and frustrations of our own experiences. It all comes out of self-respect. Let me reassure you, I am not preaching here. I am reflecting for myself about my own always-expanding awareness and understanding of “life,” and how I should conduct myself if I can summon enough courage to do so. I think gratitude and self-respect should be the sources of individual human actions, that those actions should be decent and for authentic good, and that any nation improves as more of its people take on that sense of personal responsibility, because it preserves and strengthens the commonwealth: the interconnectedness of us.
https://www.netflix.com/title/80049928

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GREATEST EVENTS OF WWII IN COLOR; THEY SHALL NOT GROW OLD

I just finished seeing the Netflix documentary series, “Greatest Events of WWII In Color” (2019), and can recommend it. What the film restoration and colorization does is to bring the frightening intensity and reality of the events much closer to the viewer. This is the kind of startling effect, from old grainy originally black and white war documentary films, pioneered by Peter Jackson with his visual restoration, sound reconstruction, and colorization of World War I films, for the riveting compilation released in 2018 as “They Shall Not Grow Old.”

The 10th and final episode of the WWII series is on the atomic bombings in 1945 and the closing out of the war against Japan. All this excruciating history continues to have many essential lessons too few of which have been heeded even in the present day. The total sweep of that history, really from the Treaty of Versailles in 1919 to early August of 1945, is a massively horrible build-up of savagery, and vastly widespread dehumanization of national populations, because of their prosecution of and/or victimization by the industrialized crescendo of the 20th century’s chained sequence of world wars.

That savagery was at its peak, and the ability to see “the enemy” as human beings was at its dehumanized nadir, in 1945 especially in the Pacific War. That poisoned psychology combined with extreme and widespread war weariness, and the press of many antagonistic forces and ambitions embroiled in the overall war effort inexorably led to the atomic bombings despite them being logically unnecessary, a position openly, persistently and yet unsuccessfully championed by Admiral Leahy.

Looking back one can see how the consensus-mind of the American leadership and the public was so hardened by their years of war, and so frightened of that war continuing with even greater ferocity with an invasion of Japan, and so desirous for it all to ‘end now, with victory,’ that it was overwhelmingly in favor of the atomic bombings regardless of any logical considerations contradicting that emotion and in favor of better alternatives. Tragic.

That was then; but now eight decades later the great majority of the American people and other fairly secure people in the industrialized world do not have that soul-sucking war-dread as a constant daily experience, as did the traumatized participants in WWII, and so we all should have the ability to rationally analyze the utility of nuclear weapons today both for our own nation’s use, as well as by others. Logically, they are obsolete and counterproductive.

I see the “great lesson” available to us from Episode 10 of the WWII documentary series mentioned here, as being that we non-traumatized by direct war experience populations CAN and SHOULD apply a psychologically mature and humanized logic to the construction of “national defense” methodology that removes the barbaric and ultimately self-destructive cruelty of nuclear weapons from our military and political thinking, and from our national infrastructure.

By its final episode, the vividness of the colorized documentary of WWII gives one an emotional tug that can act as a visceral push behind such logical efforts to really “ban the bomb.”

We CAN learn from history, IF WE WANT TO.

Greatest Events of WWII In Color (2019, trailer)
https://www.netflix.com/title/80989924

They Shall Not Grow Old (2018, trailer)
https://youtu.be/IrabKK9Bhds

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ASPHALT BURNING

If you are a motorhead, see this movie!! It’s Norwegian, and ends up at Nürburgring. It’s a total motorhead’s dream. We saw it on Netflix (dubbed). It seems there were two earlier ones (movies) in a series in Norway. You’ll love it!! (Global Warming can wait).
https://youtu.be/ViUFEs5cyhY

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HE EVEN HAS YOUR EYES

This is a fabulous movie, both thought provoking and funny. A wonderful take-down of racism in all its colors. This lovely French movie, centered by African-Franco actors, and without any guns, explosions, special effects, CGI or gratuitous violence, manages to say more about racism as habit and fear (two forms of “tradition”) being a great hinderance to having a modern society everyone can enjoy, based on simple human love and honest human connection. This movie is a “comedy” in the sense that it is never a lugubrious heavy drama, neither gratingly hysterical nor deadeningly slow; it is like a fine Burgundy wine: light bodied with a depth of flavor. See it.
https://youtu.be/7mNuKbk01ZA

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ROSE ISLAND

The only foreign military invasion mounted by the post WWII Republic of Italy was against “Rose Island” in 1968. Rose Island was a metal-platform island micro-nation constructed by Giorgio Rosa, an engineer, 500 meters outside Italian territorial waters off the coast of Rimini (6km). The Italian government became incensed by this act of pure independence outside its control, and decided to destroy the island. This prompted Giorgio Rosa to take his case to the United Nations and the Council of Europe, which latter agency was designed to hear disputes between nations, and so decided to hear the case since Rosa was a head of state! During the summer months, Rose Island was essentially a boating party location and discotheque in the Adriatic, but Rosa and his friends created a government, post office, issued passports and received hundreds of application for citizenship. Italian marine forces invaded, forcibly removed the people from Rosa Island and blew it up. Subsequently the European nations changed their laws to extend their territorial waters (and claims of judicial control) out to 12km. The movie is a breezy comedy that relates the whole story. What is clear is that power, especially the imbalance of power, is what actually governs government behavior, not the rule of or the respect for law.
https://www.netflix.com/title/81116948

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ADULT WEDNESDAY

“Adult Wednesday” is a series of short very humorous videos made by Melissa Hunter, based on the idea of Wednesday Addams, of the famous Addams Family cartoons, now on her own. Her various interactions with “normal” society are hilarious. Sadly, the series was ended because the copyright owners of “The Addams Family” objected. The web-link will take you to a starting point for the sequence of the Adult Wednesday videos (if still up). All are good. The one of catcalls to girls is delicious (girl wins).
https://www.youtube.com/watch?v=lXmpC0wpuso&list=PL0XAjui-xK6XE4PRT64WAthU6j1NmrOqU&index=14

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THE SPACE BETWEEN US

I saw “The Space Between Us” (2016) on Netflix. It is a bloated techno-gargantuan cross between a faint echo of “Brave New World” and the trim 1980 movie “Starman” (which was good). The premise is that a kid born as a surprise on a Mars colony is too weak to live in Earth’s gravity, and so must remain “classified.” He is brought back to Earth as a 16 year old in hopes he can be strengthened to survive there; he escapes confinement to look for his mystery father; has a roadtrip romance with a quirky wise-ass runaway foster-kid girl, and everyone has a happy ending to this story. It could have been more tightly constructed for a good 90 minute movie, but it rolls out amiably enough over 2 hours with nice visuals and up-to-the-minute spacey sets and effects to distract you from the numerous logical fallacies and improbabilities linking the elements of the story (easily done if you don’t take a critical attitude). I enjoyed it as simple harmless entertainment; it is not art, it is not deep: it’s meant for a mass audience. Asa Butterfield plays the Mars Boy with the same cute naïveté other-worldliness he displayed in the movie “The House Of The Future” (with Ellen Burstyn, peripherally about Buckminster Fuller’s legacy). Gary Oldham plays the big honcho Space Business (for the Mars Colony) “visionary.” The mama surrogate is played by a Ms. Guglio, who also had a big role in a recent movie where Patrick Stewart (“Jean-Luc Picard”) plays an old ballet master and choreographer (which movie is a 3 person play of sex talk). This movie is a way to spend some COVID lockdown time, after you’ve washed the dinner dishes and you’re tired of reading an actual book for the day.
https://youtu.be/x73-573aWfs

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THE OTHER SIDE OF THE WIND

“The Other Side Of The Wind” is Orson Welles’s last movie and is a satire on movies, movie-making and celebrity culture. It is also a visually stunning 1970s cinematic parody of 1970s art movie pretensions; a comedy about the vacuity of the whole movie and celebrity business, and literally a confection about nothingness. Wind is the flow of air through a volume, it is not an isolated bounded solid object. It has no side since it is the swirl, rippling and eddying of the ocean of atmosphere we live within, and thus can have no ‘other side.’ To those not scientifically minded wind is the sensation of anything between the blushing to the gales of nothingness. To seek deep insights from Welles’s movie is to look for an answer blowing in the wind. Welles gets some delicious payback on movie critics through this film (and it was all actually photographed on film between 1970 and 1976), as well as skewering Antonioni type films like “Zabriskie Point.” Welles does one better on Antonioni’s finger to the American movie moguls by putting his “Zabriskie Point” parody, “The Other Side Of The Wind,” as a film within a film, being an incomplete movie run out of budget and the last hope for a comeback by a Hemingway type directorial titan of Old Hollywood at the end of his rope and trying to connect with youth and the New Hollywood. The actual cinematic technique used is a kaleidoscope of modernity employing black and white, color, quick cuts, enigmatic scenes, mockumentary structure, and zig-zagging progression. Welles had a lot of help from a lot of friends to shoot this movie and then to finally have it assembled as he would have wanted. Welles died in 1985, and the movie finally appeared in 2018. I was fascinated by it, and then tickled to realize that Welles had done a magic trick on me to make me think seriously about nothingness: the cultural vacuity of the flickering lights so many are so obsessed about.
https://youtu.be/nMWHBUTHmf0

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A LIFE AHEAD

“A Life Ahead,” an excellent brand new (2020) film with the legendary Sophia Loren (86!!); very modern, very heartstring-pulling, amazing performance by the young actor playing Momo (all the performers were good) – this is his story. The setting is the seamier side of 2020 Italy (but there are still beautiful souls living there).
https://youtu.be/a0ejncDxgCc

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IO

“IO” is an imaginative realistic speculative fiction about a post end-of-the-world time of environmental poisoning, and its last two survivors. By “realistic” I mean that it is not one of the bombastic live-action special effects fantasy plus horror cartoons that is the popular standard today for science fiction movies. The story is reminiscent of the seminal 1949 novel “Earth Abides.” So, most movie fan comments about IO are quite negative, indicative of an intelligent screenplay thoughtfully filmed. The movie is a largely French production, filmed near Nice, Bulgaria and California. The visuals, acting and pacing are all good as befitting the somber and very lonely situation being portrayed. The types of scientific, literary and artistic references made in the dialogs make for a too cerebral movie for many simple-minded movie fans, but lend this film much of its merit. This film seeks to make you think, not shock and excite you with gimmicks like frenetic pacing and jump cuts. In a rather elliptical way, the ending reminded me of Stanley Kubrick’s “2001: A Space Odyssey.”
https://youtu.be/y3GLhAumiec

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DOWN TO EARTH

“Down To Earth” is a recent (2020) TV series showing varieties of healthy sustainable ways to live, from selected countries in Central and South America, and Western Europe. It’s has a breezy tone but does show quite a variety of interesting an important aspects of “food” and “living” and the damaging effects of human wastefulness and lack of connection to Nature, and thus “climate change.” The episode on Puerto Rico is especially recommended because it shows how people dealt with the catastrophe of back-to-back hurricanes Irma and Maria, and continue to deal with the catastrophe-by-Trump-malice-and US-government-neglect, of loss of homes, electricity and environments. Showcased are examples of how individuals came together to respond to problems left unattended by the failures of government. The “star” of the series is its executive producer Zac Efron, no David Attenborough, but still deserves credit for producing a series with much good in it for the cause of advancing public awareness in favor of revamping American (industrialized, consumer-oriented) society for ecologically enlightened sustainability, and healthier eating habits. It is mainly aimed at typical, and by world standards well off, American viewers – it is no rabble rousing radical revolutionary documentary, but it does make many good points despite the many visits to Michelin multi-star restaurants.
https://www.netflix.com/title/80230601

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Some Thoughts About My Cuba

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Some Thoughts About My Cuba

This is a stream-of-consciousness outpouring of my thoughts and memories and learning of Cuba, without any additional research, or “fact checking,” because I am sure whatever details I may have “wrong” are inconsequential to the truth of my testimony. And besides, I’m in my “don’t give a fuck what you think of me” senior years. Let the picayune, pedantic and nit-pickers do their own fact-checking (it’s easy enough today). But, to those with poetic and musical and socialist souls: welcome!

My family lost everything in the Cuban Revolution (from 1959): family business, property, grandparents’ health (early death); 1961-1967 were hell for us that way. Because of the rabid U.S. assaults on the Cuban Revolution, Fidel followed Raul’s lead and looked to the Communist Party — i.e., Russia — for help (I saw a Russian freighter in Havana harbor in 1960), and in reaction to those assaults, Castro banned rock music and the Beatles (in ~1965-1967; yet Juan Formell, famously, penned the seminal Cuban Rock-and-Roll classic, “Llegué, Llegué / Guararey de Pastorita,” and founded Los Van Van in 1969, https://youtu.be/75VYMyYVPhA).

BUT, my father forever refused to ever play golf (the signal Republican/Conservative/Imperialist/Reactionary/Fascist “sport”; I had offered to buy him golf clubs as a retirement present), and refused to ever visit Miami, where his old Upper West Side NYC buddies from the 1940s-1950s had gone in their senior years, because he did not want to go where “the pain in the neck” Cubans were.

My father had sent money sub-rosa (for bribes) to help his two childhood friends and their families to get out of Cuba in the later 1960s, and he cried when thinking back on it all, saying the U.S. had “destroyed my country.” Che Guevara was executed on my father’s 43rd birthday.

So, I know that Castro made many mistakes, and had dictatorial tendencies, but he was exponentially better for Cuba than the U.S. ever was or ever will be (Cuba si! Yanqui no!, I saw that grafitto painted on Cuban walls in 1959-1960). And the Cuban government always has the U.S. and its embargo and its CIA, as an easy excuse for and distraction from its own mistakes and heavy-handedness in managing Cuba; but there is an abundance of truth in that excuse nevertheless.

Despite its evident poverty, Cuba is what Puerto Rico (I am 50% Puertorriqueño) should be: independent; “the Cubans will never bend the knee,” as the last East German premier has said. Despite killing 2 to 3 million Vietnamese (between 1965 and 1975), and toxifying much of their land with Agent Orange and Cluster Bombs, the U.S. has “forgiven” officially ‘Communist’ Vietnam because it has let itself become a sweatshop for capitalism; Cuba remains unforgiven because it has not. And THAT is a dagger pointed at the heart of American imperialists’ greatest fear.

By the way: rock and roll is, deeply, a Cuban invention. The “French Quarter” of New Orleans is considered by US Americans as the birthplace of rock-and-roll through the African-American roots of Delta Blues, R&B, and Gospel music (rhythmic and charismatic African call-and-response choral music – originally without drums, which were forbidden to American Black slaves).

The French Quarter was actually built by the Spanish governor of New Orleans during the ~25(?) years of Spain’s ownership of that port, by treaty with the French (who had established and owned it previously, and then owned it afterwards – eventually selling it to the Americans in 1803 – all by treaties between France and Spain, because of European wars in the 18th & 19th centuries).

The rhythm-based African music was imported to Cuba with the slave trade (Cuban slaves were allowed the freedom to drum at night, which was forbidden in the U.S. over fear of “signalling” a slave revolt). There was a huge trade from Havana (of Cuban sugar) to New Orleans (and back with furs bound for Europe), and with it rode in Afro-Cuban musicians to New Orleans, who by then had already incorporated colonial Spanish instruments (guitar, flute, violin, brass, piano) into their bands. Those musicians brought in the roots music of what would eventually flower as Blues, Jazz and Rock. Chuck Berry’s “Louis, Louis” is a pure cha-cha-cha.

Today, Cuban popular music incorporates hip-hop (reggeton, via Puerto Rico, and via the many back-channels Cubans have used to gain access to foreign recorded pop music: Cubans are the most talented and accomplished “pop” musicians of the world, and the tap root of it all is Africa). All pop music worldwide is basically African-based, which is why, (pop) musically, Cuba is the “ombligo del mundo” and Africa is its placenta.

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Classical Music Artistry

Anna Netrebko in San Francisco in 2010

Angela Gheorghiu with Ella García in San Francisco in 2010

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Classical Music Artistry

I find the cited article published in the New Republic (which magazine I now conclude to be high-brow garbage) to be stupid:

https://newrepublic.com/article/160469/insidious-classism-classical-music

To me, the writer comes off a classist who seeks populist credibility (he’s pop washing). So, let me straighten you all out about classical music in today’s America.

Classical music is a refined art. I am referring to European classical music specifically; but there is no implication here that other forms of classical music — Indian for example — are inferior, they are just different. A true devotee of fine music understands that quality is the essential value, and style is incidental and just a personal preference.

It requires great skill and knowledge to create and perform classical music. That means its practitioners have to devote much of their lives to listening, learning, study and practice (lots and lots of practice) in order to be able to present themselves as good classical music artists — as good as they would like to imagine they could be. It is a calling, an avocation, the sustenance of which also requires its practitioners to be able to peddle themselves off for slots in the job market, always the dreariest of chores for the artistically inclined.

A fraction of classical musicians manage to get paid gigs as members of elite ensembles, like continuing symphony orchestras and opera companies, but these are a minority. It’s just like shooting hoops, millions do it in schoolyards and backlots, but only a sliver of that population of dreamers actually get paid anything for presenting the very specialized skillful use of their bodies.

I personally know a conservatory trained opera singer, who has a long history of paid gigs in regional and local opera companies — which may mount a few of productions every year, perhaps up to a week’s worth of work for a performer — who has scratched a living by giving lessons and working in low level and temporary office jobs like selling classified ad space in a local ‘shopping guide’ newspaper to merchants. This person is in her 60s and has no real savings. But she has devoted herself to her art and been recognized by an internationally known and sought-after opera composer (for a character performance in his opera — I was there), among other professional classical music personalities.

Having been to several local opera productions in Berkeley, I had the chance to meet many people whose classical music careers have a similar profile. Many of these people are young and incredibly accomplished musicians who are seeking to associate themselves with serious opera productions even if it means driving halfway across California to man the wine and hors d’oeuvre table for the reception afterwards. Those food goodies are donated by fans with a bit more in the bank. The helpers will crash where they can before carpooling for their return trips to their places in the provinces.

Most people “in” classical music struggle to self-fund their study of and continuation in classical music. The idea of classical music as pure snobbishness comes from three sources:

— the focus by elite-aspiring music critic-writers (parasites) on the elite of classical music, and their complete dismissal and ignorance of the mass of classical music aficionados out in the demos,

— the encrustation of the glitterati-aspiring wealthy around classical music events and high-end organizations,

— the steep ‘learning curve’ to become a credible practitioner of classical music, which puts off many people challenged by poverty from getting as good an education as they could wish (in anything), and who may also feel no cultural connection to the cultures from which European classical music originated.

The first item is just another instance of jerk parasite critic-writers mired in celebrity culture: garbage for empty and consumerist minds.

The second item is similar to the first, by wealthy parasitic empty and consumerist minds indulging in narcissism, often by arts-donation-washing to polish their imagined halos.

This brings us to the conditions that enable classical music organizations to continue existing, as well as the original conditions that allowed classical music compositions to arise.

An organization like a major philharmonic orchestra or opera company that mounts a full season every year requires a great deal of money to pay for all the musicians, stage hands and numerous other ancillary professionals required, as well as their facilities. Such pay may be considerable for some of the top performers, because they are in high demand because they are just so good.

And that is what such high-end classical music organizations are intended to do: to gather as many of the best performers as possible, meld them into as organic an ensemble as possible, and present classical music, opera and dance of as high an order as such ensembles can achieve. The end product is the delight and inspiration of the audience, which can include way up in the back row of the balcony some of those classical music kids who drove from Fresno to San Francisco for the show. My college student father would buy standing-room-only tickets on the nights of shows at the Metropolitan Opera in the late 1940s to see singers like Lily Pons. He saw all the great operas this way; and he was a tenor.

A few of those SRO and balcony kids might eventually break into the big time, like Anna Netrebko — an amazing and radiant soprano — who worked her way up from cleaning bathrooms in Siberia to get through music school, to being a well-deserved international phenomenon. Another such phenomenon is Angela Gheorghiu, who had to navigate her early career through the corruption of Ceausescu’s Romania. I took my younger daughter to see operas with each of these leading ladies — incandescent performances — and they were very sweet to my 10-year-old girl. Why? because they remember where they came from.

So, the directors of classical music organizations (the money men) have to cajole, entice and flatter wealthy patrons — which sometimes includes the Federal and State governments — to fork over bundles of spondulix in order to keep the doors open. Hence the coddling of the American bumpkin aristocracy. Ticket sales are never enough in the U.S. In Europe, where governments are more generous with arts funding because they are maintaining the essence of their cultures, ticket prices are widely affordable. And guess what?, the classical music halls in Europe have large and steady audiences as a result.

It is true that Bach, Haydn, Mozart, Beethoven, Brahms, Tchaikovsky, Mahler, and many other classical music stars, had elite patronage that enabled them to compose and perform and not starve to death for doing so. Back then there was no ‘corporate classical music safety net’ if you want to call it that, and the great classical music stars of old times had to do their own money-man schemes for their own survival. And it is never pretty holding out your hand, even if you really are an artist. Ticket sales were never enough.

But the annoyance of encrustation onto classical music by the empty-headed glitterati-aspiring was still present. In a letter to his father, Wolfgang Gottlieb/Amadeus Mozart famously complained that one of his performances was treated as background muzak by the assembled aristocrats (he needed the money), talking and paying scant attention to the actual performance, and that the chairs they sat on were better listeners (and more intelligent!). Artists want their art regarded with full attention and critical appreciation, not relegated as background decoration.

There are always bigots and careerist mediocrities who try to take on the superiority attitudes of the wealthy patrons of their field, and it is unfortunate indeed when a young student is confronted with one of these as a ‘teacher.’ Truly superior talents have no need for snobbishness or of a patronizing attitude. When you observe these in a ‘highly ranked’ professional in any field it is usually a cover for deep-seated insecurity and intrinsic mediocrity. I certainly found this to be true in professional physics and science. It is unfortunate for classical music as a whole that such assholes can tar the entire genre in the minds of many ‘regular folks.’

The issue of the dense filter to mass inclusion as performers presented by the steep learning curve will always be with classical music. It is an essential part of the refinement of the art, just like the multi-year aging that separates fine wines from chug-a-jugs. American critics of classicism in classical music are usually pointing to the low proportion of African Americans in the genre. Of course there have been and are fantastic African American classical music performers: Paul Robeson, Marian Anderson, Leontyne Price, Jessye Norman, Grace Bumbry, Wilhelmenia Fernandez, Denyse Graves, quickly come to mind. What drives people into seeking to be classical music artists is the desire to go beyond the technical limitations of popular music, and to go beyond the simpler appeals to the ear and to the emotions of popular music.

The one genre that can rival classical music in this regard is (the best of) American Jazz. However, the idea that jazz is all free-flowing improvisation is wrong; it has a very strict etiquette of ensemble performance, and a very traditional orthodoxy regarding reverence for its cannon. There can be much free-flowing noodling during rehearsals to find the right grooves for performance nights (and occasional days), and which performances then host sequences for solos which may contain busts of improvisation supported by ensemble play in the background. Pure set pieces with song can drift into being show music.

Where jazz is most artistic and classical is where a dedicated practitioner performs a timeless composition with fidelity to the original, repeatedly over the years, and makes it fresh every time for every audience; because for some of the people hearing it live it may be their first time. Joe DiMaggio (“Joltin’ Joe” and “The Yankee Clipper”), who had a hit nearly every three times at bat during a 13 year career (0.325 batting average) had said he always tried getting a hit each time at bat to delight a kid probably in the stands who had been taken to this one game in hopes of seeing a baseball hero knock one out of the park. Joe DiMaggio was a classical baseball player.

So the only real barrier to getting into classical music is the self-imposed one of not wanting to do so. The connection to all previous artists in that genre is the desire to hear, know, compose and perform music at its technical and artistic best: quality is the essence. That draw of quality has brought people of all kinds and from all cultures-of-birth into the classical music world. And such new blood helps invigorate and evolve a timeless art form. Barriers to “inclusion” into classical music “society” (a.k.a. money and celebrity — nothing to do with art) which are imposed by wealthy, ignorant and bigoted snobs and mediocrities, are failures of character by those people and are not an intrinsic aspect of the classical music genre itself.

Having a character of quality is “classical,” the one exceptional talent that anyone can choose to possess.

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