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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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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Remembering 4 Nuns Martyred in El Salvador

“Today marks the 41st Anniversary [of 2 December 1980] of the Martyrdom in El Salvador of Maryknoll Sisters Ita Ford and Maura Clarke, Ursuline Sister Dorothy Kazel and Lay Missioner Jean Donovan. We also remember the 70,000 Salvadorans who lost their lives during the nation’s civil war.”
https://www.facebook.com/NetworkLobby/photos/a.166039868572/10159950595368573

Stan Goff, who was a Special Forces soldier for the U.S., alerted me [MG,Jr.] to this sad anniversary (weblink above), and reports:

I have a very creepy story from when I was in El Salvador (1985): we found their bloodied clothes bagged in our tool shed (the house was leased by the US Embassy). The US Embassy then was staffed mostly by people who heartily approved of their killing. God bless America.

The Embassy apparently didn’t know what to do with the clothes, so they just shunted them off to the TDY house, where someone stuffed the garbage bags in the shed. The shed sprung a leak and the stuff got damp and mildewy and began to stink. That’s how we found it. The groundskeeper telling us, “El cobertizo heule mal.”

I won’t even repeat the horrifyingly callous, hateful, and misogynistic remarks that I heard from the Embassy folk . . . about the women who were killed, and admiration for those who did it. But then we were in the Reagan era. I also saw Felix Rodriguez directing chopper traffic at Ilopango Airport while he chatted with the Ambassador (presumably about what they were shipping, weapons to Nicaragua and dope [cocaine] to the US).

The Zona Rosa massacre, the kidnapping of Inez Duarte . . . shit was kicking off then. Corr, the Ambassador, was drunk most of the time I saw him (also true of the Ambassador in Guatemala a couple of years earlier), and everyone just acted like the whole country was their own little macho playground. One of my political turns happened there . . . a little one but important later. I figured out that it was all about money.

Manuel García, Jr. responds:

The whole thing made me sick, sad and angry. By then (1980) I was ready for a full on communist revolution — and still am. But, I had a budding family to support, no power, no wealth, only a fresh Ph.D. diploma, so I took Reagan’s blood money and tested nuclear bombs for the paychecks. I wanted to help develop alternative energy: fusion, solar, “green”, conservation/energy efficiency, whatever, but there was no money in it and no public desire for it: then or even now, really. My retirement pension comes from that: nuclear bombs. I was very good at it.

I’m sorry you, Stan Goff, had to witness such cruelty, and very glad you survived to be the man you are.

This country peaked in 1977 (its year of greatest potential was 1968), and started plunging in 1978, abysmally so after November 1980. Nixon was the first Confederate president of the U.S.A. (1968-1974), and with Reagan on (1981->), the Confederacy took over all branches of the U.S.G.

Climate change will eventually defeat our Neoliberal Confederacy (white supremacy capitalism), but unfortunately, like Moby-Dick to the Pequod, climate change will see all hands (even Ishmael), regardless of their culpability or innocence, swallowed into oblivion to achieve a terminal justice.

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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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Eleven Capsule Disquisitions

SPACE: is filled with emptiness,
everything else is a garnish.

TOTALITY:
The unknown reality is of infinite depth;
but consciousness has limits,
which are unknown.

CONSCIOUSNESS:
The most captivating image to human consciousness
is the female form.

TIME:
No matter how much you think you have,
it is never enough.
No matter how much you actually have,
it will always be too little.

BOOKS:
A good book captivates you,
a great book changes you.

CAPITALISM:
Capitalism is the ideology of parasites.

GLOBAL WARMING:
Global Warming is the Universe’s way of telling us
that making money is contrary to Nature.

WAR:
War is a societally catastrophic theft by a group of criminals who compel two sets of victims to destroy each other. For decades I studied looking for the root causes of nuclear war, and then for war in all its forms: conventional, economic, genocidal, imperialistic, and now climate-destroying; and I have come to this: Lack of moral character expressed individually as selfishness through bigotry and greed, and organized socially as capitalism and exclusionary bureaucratic hierarchies for the defense of mediocrity.

PATRIARCHY:
The religious strictures enforced as sacred traditions by men against sex and women are them fleeing from the recognition of their own simplistic bestial lusts and fearful insecurity in their manhood, before the nurturing face of love seen by all as female: the mother.

GOVERNMENT:
It is always the rulers against the people,
and so in defense it has to be the people against the rulers.
What rulers everywhere fear most is the people united.

The first victory of political rebellion
is to free yourself from the self censorship
imposed by your fear of loss of approval by “authority.”

There will always be a new emergency to distract people
from the institutionalized theft of life they are paying for.

The fact that charities exist shows that governments are failures,
and moral character far too lacking all around.

Never underestimate the power of the Status Quo
to protect itself from reform
by tossing out members who have become liabilities.

I’m all for Socialism,
I’d just hate having to do it with Americans.

Being a Republican in these United States today
is to have an emotional attachment
to sexist White Supremacy ignorance.

THEM:
I only care about the effect of a person’s actions
on other individuals and on society;
I do not care how they choose to imagine
their relationship to eternity.

People can’t be changed,
they either evolve on their own,
or they persist as they are to the death.
The best you can do, for the rare few,
is tell them the truth if they ask.
I cannot change the world,
I can only affect the people I interact with:
rarely.

Going out among the people is the best way
to lose any concern about human extinction.

The effort to lead a moral life in an immoral society
causes much personal suffering,
only partially relieved by gaining
a righteous sense of self-respect.

The most pernicious idea in human history is:
profits.
The most important idea in human history is:
gratitude.

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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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From Fractiousness to Sustainability, Is It Possible?

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From Fractiousness to Sustainability, Is It Possible?

I think the essential story of the United States of America is a weave of 5 historical currents:

— the struggle of Native Americans against their genocide;

— the struggle of African-Americans against their enslavement, and to find their own unrestrained identity;

— the struggle of immigrants to establish decent lives for themselves and their families;

— the struggle of labor against its exploitation by capital;

— the struggle of the Natural World to withstand the assaults by capitalism.

The struggle of women almost everywhere in the world including the United States to overcome the many forms of abuse, depreciation, exploitation and inequality that they can be subjected to could also be added as a sixth historical current of the American story.

All these struggles continue to this day.

I do not think the triumphalist story of capitalism’s ascendancy and of the personal successes of notables gaining wealth and attention, as well as the glorification of American wars and imperialism, is a historical current with any depth of meaning for the definition of “America,” even though it is the predominant ideological myth promoted by the official scribes and propagandists of the American ruling class.

It took me many years to crystalize this realization, which has long been known and expressed by many alert people. So, then I was asked by a friend:

Q: “What happens to societies when people only care about themselves?…”

A: They become very cruel and disunited, and nationalistically weak.

Thucydides describes this as a danger to the Athenian society of his time, during the Peloponnesian War (431-404 BC):

“Some legislators only wish to vengeance against a particular enemy. Others only look out for themselves. They devote very little time on the consideration of any public issue. They think that no harm will come from their neglect. They act as if it is always the business of somebody else to look after this or that. When this selfish notion is entertained by all, the commonwealth slowly begins to decay. ”

It was the leading cause of the Fall of the Western Roman Empire in the middle of the 5th Century, which devolved into feudalism. It is a feature of the moral corruption weakening societies that are subsequently conquered, as was France by Prussia in 1871 (read Guy de Maupassant’s short story “Boule de Suif,” for an evisceration of that class society) and then again by Germany in 1940 (read W. Somerset Maugham’s book “Strictly Personal,” about his travails in France during 1939-1940, and how the French capitalists would have to back postwar socialist policies for the working class, who would do all fighting and dying to liberate France).

Q: “… and unless compelled to act otherwise by some authoritarian or autocratic government.”

A: Revolutions, like the French (1789 and 1871), Russian (1917), Spanish Anarchist (1936), Chinese (1922-1949), Vietnamese (1945), and Cuban (1959), erupt in reaction to endemic societal corruption, cruelty and top-down injustice, and foreign invasion, and they all-too-soon harden from populist-socialism to authoritarian command societies.

While the socialism of the Cuban Revolution is incredibly admirable, and the type of thing needed everywhere (especially in the U.S.A.), it is nevertheless unfortunate that a part of that Cuban socialist solidarity had to be compelled in order to assure the survival of the revolution and the independence of the country from the Colossus of the North. [1], [2]

The French Revolution ended with Napoleon (in 1800); the Russian Revolution ended with Stalin (by 1934); the Spanish Anarchist Revolution ended with the Stalinists gaining primary influence over the Republican Government (in May 1937); the Chinese Revolution ended with Mao Zedong; and the Cuban Revolution was spearheaded by Fidel Castro and still struggles to free itself from authoritarian measures imposed because of two political forces:

— the unrelenting military, economic, diplomatic and propaganda war waged against Cuba by the U.S. (since 1902!!),

— and by the all-too-human motivation of the Cuban political leadership to stay in control of the Cuban government.

Some kind of force (“Security,” “the Army,” “the Police,” “Intelligence”) is always necessary to defend socialist societies and restrain those who would seek to dominate them, and yet the existence of such forces are themselves breeding grounds for such would-be supervisory dominators.

Q: “I think my question is unanswerable, but I periodically voice it when I feel despair over people’s inability to learn from the past, to go beyond their tribalism, and to fail seeing their intrinsic connections to the rest of humanity. I rail against all that after once again being subjected to other people’s benighted opinions that are examples of those failures.”

A: I see that many people seek to address your basic question with:

— elaborate political ideologies and theorizing (my Marxist friends);

— appeals to religious do-gooderism (traditional soft-Christian fluff, largely delusional);

— commitments to charitable social work in hopes that that ethic spreads by their example (real do-gooderism with hopes for the future, perhaps in vain; as done by exceedingly admirable people like Dorothy Day);

— progressive political activism, (mucking in the tedious turgid nitty-gritty of party politics, like Alexandria Ocasio-Cortez and Bernie Sanders, extremely admirable people trying to be pragmatic in advancing progressive policies — or as some would say “lesser evils” — that seem to have some finite chance of reaching fruition; such efforts are derided by Marxist and Anarchist theorists, who consider them ideologically ‘imperfect’ and incrementalist: pipe dreams);

— all out revolutionary action in hopes of sparking a general uprising (being a violent outlaw like Fidel Castro at the Moncada Barracks in 1953 and in the Sierra Maestra in 1956-1958; a delusional and destructive alternative most of the time, but on rare occasions it works);

— giving up and sinking into hedonistic dissipation or self-terminating depression (a very sad and yet too popular option, which in the extreme can lead some to emulate the Marquis de Sade or become suicide bombers).

The options and resources available for solving a difficult problem depend very intimately and strongly on the attitude you bring to the situation confronting you, and the attitude you are prepared to live with in order to obtain a solution. This is very clearly seen when contemplating the problem of the sustainability crisis characterized by global warming climate change and biodiversity loss, faced by our fractious capitalist world.

My own rather Fabian-Utopian approach (in answer to the question) is to urge action in response to global warming climate change, because I know that to really solve that problem (the sustainability crisis) will require:

— social unity (the problem is planetary, there are no local nor piecemeal solutions);

— a leveling of standards-of-living (worldwide!);

— massive demilitarization (resources reallocated for broad social benefit);

— a heavy reliance on intelligent planning and Earth-focused scientific research and engineering (technology for human and social benefit, including those for nutrition, drugs and medical care worldwide);

— and de-growth de-capitalization (economics as if people mattered — a.k.a. socialism — and resource reallocation and employment for broad social benefit).

The compulsion for advancing such global initiatives would come from Nature itself in the form of the rapid erosion of the sustainability and climatic conditions of the many environments provided by Planet Earth to its human tenants. In this analogy, Nature becomes the autocrat dictating our conformity into World Socialism. I suppose this is a grimly utopian view.

Nature’s sustainability-crisis push on our bitterly fractious self-focused human world society seems quite capable of producing the same kind of effect on us as the German invasions of Rome during the 4th and 5th Centuries had on the bitterly fractious self-focused society of the Western Roman Empire: the collapse of a rotten structure into impoverished chaos out of which violent strongmen would carve out fiefdoms in a new Dark Age, and perhaps this time the last one.

On the other hand, maybe Nature’s sustainability-crisis push will spark a world revolution in human thinking and humanistic identification, and from that a totally new world socialist paradigm will come to define organized human life on Planet Earth. It is all a matter of choice. Only time will tell.

Thanks to Ann Harmless for prodding my thinking with her questions.

[1] Cuba and the Cameraman
https://youtu.be/lsZ8hDutkeM

[2] Cuba Libre
https://youtu.be/LmKgDxQHnfA

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The Smoke Rings of My Mind

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The Smoke Rings of My Mind

I landed in college as a green wide-eyed freshman, at the University of Pennsylvania in Philadelphia (NOT Penn State!), in September 1968. This was an explosive year, to my mind the most pivotal one in the United States since 1945. My dorm room was in a short cul-de-sac second floor hallway of the large antique pseudo Oxford-Cambridge style ivy-festooned stone masonry men’s dorm quadrangle building off Spruce Street.

I felt really good to finally have gotten out of the prison day-camp Catholic boys high school I’d been in for 4 years, and out of the nice suburban North Shore Long Island town my family lived in during my adolescence (before that being in New York City); and I had a brand spanking new draft deferment that I thought would insulate me from the carnage of the Vietnam War, which was at its peak at that time with the Tet Offensive.

In fact, Lyndon Johnson’s televised speech with the surprise announcement that he would not seek reelection in November 1968 happened two days after my 18th birthday, after which I had to troop down to the post office and register for the draft. That didn’t feel too good believe me, because I’d watched the news and read the papers daily all through high school. Those were my “Greta Thunberg” years, 1964-1968: from the Bay of Tonkin con-job and 1965’s Marine invasion of South Vietnam — “escalatio” as Tom Lehrer called it — to Tet, erupting on January 31, 1968, and pulsing through three bloody phases that year; when I was dreading the fucked-up situation the adults were shoving my way (you know: die for us, it’s good for “the country”).

My own priorities were: #1, study engineering so I could become the next Enzo Ferrari and build my own sports cars; #2, find receptive female companionship to find an outlet for my raging testosterone levels; and #3, stay out of Vietnam. I was not wise as an 18-year-old, I was NORMAL, having been instructed about women (“girls” was the pre-feminist term used then) by Beach Boys songs (those cherub troubadours of the white colonial culture of the Occupied Territories of Mexico’s northern part of Baja California) and Sophia Loren movies.

In the decades since then I’ve come to realize how difficult it is for women everywhere, and most certainly in the United States with its huge proportion of knucklehead males, to accept becoming the “second mothers” to so many needy fake-macho lunkheads: pickings for good husbands, mates and sperm donors (drones in the Bee World) can be slim for so many alert and intelligent women.

But, in the fall of 1968 I was feeling good and with high hopes. I burrowed enthusiastically into my school work and got on the Dean’s List. Three of us in our hallway were socially awkward and stayed in at night from lack of alternatives and fear blunting initiative. Besides, all the coeds had lots of upperclassmen to pick from and who owned cars and had money to spend. So, Joe Williams invited two or three of us to listen to his Bob Dylan records (note: using a plug-in electric machine that played vinyl discs to produce recorded music sounds).

Now, I had heard all the pop music of the day every day before that, because I had gone to my somewhat distant high school in a carpool driven by a neighbor boy’s father (a NYC fireman with rank, so lots of time to call his own), in a Ford Econoline van (a very cute unsafe-as-hell design), and Robert (the son) would put on the radio for every trip. Beside hearing it all in this way (the grating falsetto Sherry Baby too, too many times, but the Rascals on “Good Lovin’” was the best), and outside school it was so easy to hear spillover sounds from radios playing everywhere. At home I listened to the classical music and Spanish Zarzuelas (operettas) so close to my heart. So, by September 1968 I knew about Dylan’s hit songs up to that point.

But, Joe Williams said we had to hear Dylan the right way. Joe turned us on to grass: marijuana. We would sit up through the night listening to Dylan’s 1965 and 1966 albums: “Bringing It All Back Home,” “Highway 61 Revisited,” and “Blonde on Blonde.” We laughed our asses off totally stoned listening to “Rainy Day Woman #12 & 35” — “everybody must get stoned!” — yeah. It was so hilarious to read the “adult” press on this, where the experts saw in this song a deep poetic cry of alienation. Man, the adult world is just one big blivet of puffery.

I had heard all the popular folk music during its period of prominence, which coincided with the Civil Rights movement from about 1961 to its crescendo in August 1963 when Rev. Martin Luther King, Jr. proclaimed his dream to the nation and world from the steps of the Lincoln Memorial (which is my favorite single building in Washington D.C.), until its triumphs with the Civil Rights Act of 1964, and the Voting Rights Act of 1965.

At that point Bob Dylan checked out of the topical political protest folk singer-songwriter role he’d mastered, and moved on artistically. No creative person can stand typecasting. Dylan’s early career in pure folk music was masterful, but I wasn’t into folk music. I turned onto Dylan when he went electric. For me a good song has both good words (even poetry) plus lots of really good instrumental music. And this essay is, believe it or not, about that.

Bob Dylan went on tour in 1966, backed by a 5 piece rock band, 4 of whose musicians (except the drummer) were a longtime group that would emerge on their own in 1968 as “The Band.” Dylan was booed at all his concerts in Europe and at the Newport Folk Festival in 1965, as a “traitor” to the pure folk music style his earlier audiences had typecast him into. Even his pals Pete Seeger and Joan Baez were put off. Why?

In the late 1930s, Frank Sinatra exploded into popularity because he revolutionized how pop music was delivered to the fans. Earlier singing phenomena, like Bing Crosby, knew how to croon with projection to make up for the deficiencies of the crude electrified public address systems of the times, if one even existed in the halls they sang in. By Frank’s high school years (which he bailed out on) microphones and amplifiers were improving significantly (“modern” hi-fi equipment was finally introduced by RCA in 1941).

Tony Bennett has perceptively pointed out that with this new equipment Frank Sinatra did not need to project, so he “made love to the microphone” and sang in a very intimate style, and which every listener in the dance halls and over the radio broadcasts felt was delivered just to them, person-to-person. The Bobby-Soxers went ape-shit over this, a mega-scale precursor to the Beatlemania of 20 years later.

This is where Frank Sinatra was a pivotal figure in the evolution of broadcast popular music: he had that smooth melting crooner’s voice (and had even taken voice lessons from an ex-Metropolitan Opera vocal coach), he had lovely breath control (much learned from Jo Stafford, listen to her meltingly wonderful “The Nearness of You”) with which to fashion long lingering phrases, and he had that intimate emotional and yet cool even vulnerable at times feeling, which he conveyed so convincingly.

Bob Dylan’s folk music was conveyed to his initially small audiences in just this intimate way. Even without a P.A. system, a non-projective (non-operatic, non-Irish tenor) style of singing was just fine in the always small coffee houses and folk clubs of Greenwich Village in the 1950s and early 1960s. And of course, Dylan’s albums from 1961 to 1964 carried his recorded intimate-delivery folk music far and wide.

Now, the American folk music of the early ’60s was nothing like the polished hip big band standards that Frank Sinatra put out, but even at its most angry, and ‘protesty’ and ‘shouty’, the folk music of those years was essentially intimate (think Phil Ochs): it spoke to the personal feelings for and dreams of social transformation in each of the audience members, and with minimal acoustic instrumentation. Those songs were usually not stadium-sized sing-along sonic-boom anthems like Freddy Mercury’s “We Will Rock You,” even though Dylan’s “The Times They Are A-changin’,” and “Blowing In The Wind” sort of became ones.

So by 1965, Bob Dylan was typecast by his folk fan base as “their” intimate public voice. But by then Dylan had gotten stoned and was now deep into making group electric music for being stoned. That was the first pop music that could burrow into your stone-cave and light up the panorama movie screen of your stone-mind with its soundtrack — for so many of us lunkhead males, and also for plenty of girls (sorry: women) as I soon learned from direct experience —: the blazing folk-rock of Dylan in 1965 and 1966: “Subterranean Homesick Blues,” and “Like A Rolling Stone.”

The poor folkies who wanted to be aurally cuddled by their post-Beatnik second daddy folksong troubadour wailed about their Big Brother’s abandonment of them. This is where Bob Dylan is a pivotal figure in American (U.S.) broadcast popular music: his was the folk-blues phantasmagoria of proto-rap lyrical torrents cascading out on streams of blazing hot blues-rock electric music that engulfed the newly stoned minds of the emerging adolescent and young adult nymphs, and the innocent drones and satyrs scheduled as cannon fodder for the Vietnam meat-grinder. That was me.

In 1969, I lost my deferment (2S) and was classified as ready for war right then (1A), because of some screw-up where it was reported to the draft board that “my” grades were failures. For those people any boy Garcia was the same person, so I get pegged with someone else’s failure. When I called the draft board to complain about this clerical error, telling them I could send them a copy of my dean’s list letter from the school, the old lady scarecrow on the phone just said to me “once we start the process we just keep going.” Up to 1968, 50% of the Vietnam War casualties among U.S. soldiers were Blacks and Latinos, always sent out “on point” by their white-boy lieutenant platoon commanders ‘leading’ their men, from the rear, into jungle ambuscades (I heard about such things from first hand recollections by Puerto Rican veterans who survived their 1960s in Vietnam).

So I basically lost my mind, desperate to achieve my goal #2 before being done in by a failure to meet goal #3; and I kept up my studies in the hopes of being ultimately able to proceed with my career ambitions to do engineering and science in a creative way, should I survive. I eventually lucked out by getting a very high number in the draft lottery of December 1969, and so I was passed over for being inducted into the U.S. military.

And during those years of 1968 and 1969, I listened to much music designed to accompany being stoned: Dylan, Doors, Janis Joplin, The Byrds, Buffalo Springfield, Hendrix, Jefferson Airplane, and even Crosby Stills and Nash. Janis and CSN were favorites in the girls’ dorms (dorms were segregated by sex in those days, so making an overnight stay involved careful planning and inside help to pull off, like a bank heist caper). I learned much about all this music from the young ladies — all of them far more socially aware than me, keenly informed about pop music, and all very bright — who accepted me into their group company to listen to records at night.

After 1969 I started becoming an adult, but that is another story. Last tip: put Crème de menthe into your bong instead of water, especially helpful with hashish.

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This Is Now (U.S.A.)

Tower of Babel, by Pieter Bruegel the Elder

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This Is Now (U.S.A.)

In his CounterPunch column on 30 October 2020 [1], the editor-publisher, Jeffrey St. Clair, made the following refreshing comment:

“In his resignation letter, Greenwald goes a little far in claiming his story was ‘censored.’ Call it the victim of a strong editorial hand. Cockburn used to apply his frequently to my stories and his normal scalpel was replaced by a ruthless chainsaw whenever my subject matter strayed onto the fraught terrain of climate change, assault weapons or catch-and-release trout fishing.”

I have had the same experience with my articles and papers in every single publication I have submitted them to (even CP). I came to learn that each journal has its ideological boundary, within which is its acceptable orthodoxy, and outside of which is rejected heresy. The arbiter determining the exact contour of that boundary is the editor, and moreso when also the publisher.

This is not necessarily bad if the precepts of the orthodoxy and contour of its boundary line are clearly stated, and uniformly adhered to. Then you as a reader and writer know how to pick and choose what to get into, or not. We all prefer to sing in our own choirs and thus perpetuate a world of mutually repellant cacophonous babel, because it is so much easier to maintain our ignorance and prejudices that way.

Having said this, I have to add in all fairness that CounterPunch has been the most tolerant of any journal toward my submissions (better than 50%). If you want to eliminate all censorship and editorializing on your writings, then just publish them yourself in a blog, or just don’t bother. Believe me, most people don’t want to hear or read what you think, however much your ego would be pleased to think they do.

At this point I thought I would editorialize a bit more on the editorial just cited.

+= Jeffrey St. Clair
– = MG,Jr.

+ Biden losing Texas because he made little to no effort to secure the Hispanic vote and couldn’t effectively distance himself from Obama’s inglorious record as deporter-in-chief will be one of the most biting ironies of this strange campaign.

+ The Biden campaign has made two shrewd strategic decisions: One, to limit Biden’s own appearances; and two, to keep Bill Clinton off the campaign trail, even though Bubba might have drawn some bigoted white men over to Biden in Georgia and South Carolina.

– Spanish speaking Americans are most likely voting overwhelmingly for Biden anyway as the obviously preferable lesser evil to raging Trumpian Hispanophobia. We (i.e., ‘Hispanics’) always know that U.S. elections are competitions between two corrupt gangs of ‘pasty-faced knuckle-headed palookas’ (a fabulous phrase from the Three Stooges) united by capitalist ideology. We make inroads as we can with young new progressives, like Alexandria Ocasio-Cortez, and with the numerous non-PFKHP activists over the years. Also, in time we will demographically bury PFKHP Trumpphilic America, because we are way better lovers.

+ Usually, the lies get more grandiose the closer we get to an election. This year, however, there’s been a refreshing outbreak of honesty. Biden has pledged that he will “not end fracking.” And Trump’s chief staff Mark Meadows has vowed that Trump “will not control the pandemic.”

– It’s all about the money. It has always been all about the money. This is the United States you’re talking about: “Capitalism is a religion. Banks are churches. Bankers are priests. Wealth is heaven. Poverty is hell. Rich people are saints. Poor people are sinners. Commodities are blessings. Money is God.” — Miguel D. Lewis

– Fracking = fossil fuel = power for U.S. military machines = international political power = profits = careerist orgasms; therefore the Next White (or Whitened) Guy In The White House is 100% for it.

– “Controlling the pandemic” is a tax on “the economy” a.k.a. the exclusive corporate casino subsidized by the public, both by their tax submissions and by their acquiescence to death by incompetence and neglect. Also, laissez-faire as pandemic control is the mentally easiest policy for PFKHPs to manage.

+ The grooming of AOC for a leadership position in the party seems to be well underway. Consider her placid reaction to Biden’s retreat on fracking: “It does not bother me … I have a very strong position on fracking … However, that is my view … It will be a privilege to lobby him should we win the White House, but we need to focus on winning the White House first.”

– Lighten up on AOC. She and Greta Thunberg have done more to wake people up to working for a better U.S. and better world than all the U.S. politicians and pundits of the last 50 years, excepting the activist kids of 2018 from the Marjory Stoneman Douglas High School in Parkland, Florida.

– AOC has made the most startling and effective puncturing of the PFKHP political bubble since god knows when, and has near-instantly built up a political potential so threatening to PFKHP patriarchal control that its flaccid intelligentsia across its entire spectrum for reactionary Trumpofascism to Pelosischumer liberal pablum has been driven into apoplectic frenzies of attack against the future that AOC personifies: young, female, feminist, inclusive, non-PFKHP (and non-‘Karen’), multilingual, socialist, smart, honest, engaging and effective.

– Jacinda Ardern, New Zealand’s newly reelected Labour Prime Minister, is another personification of that advanced political future (a reality in New Zealand, as yet a dream in the U.S.). The fact that AOC is also urban and a Puertorriqueña is icing on the cake (for this Nuyorkino). The great fear in weakling PFKHP minds is demographic dilution, and they see their projected image of that fear as AOC, before whom they tremble: rage as pretense for fear.

+ Who will tell DiFi? McConnell, just after the Senate voted to limit debate on Amy Coney Barrett: “A lot of what we’ve done over the last four years will be undone sooner or later by the next election. They won’t be able to do much about this for a long time to come.”

– Climate change (crisis, emergency, catastrophe) is a universally acknowledged fact, often brutally so in the wake of hurricanes, floods, droughts and wildfires. The culpability of major corporations in fueling global warming by the overproduction and sale of fossil fuels and petroleum products (like plastic by the Coca Cola Company) for the last half century, and of doing their utmost to cover up the scientific findings about the root causes of global warming (that’s where “anthropogenic” comes in) so as to continue maximizing their profits by destroying the environment, are all now public knowledge.

– Therefore, it is inevitable that the public will increasingly point the accusatory finger at the oil companies (for CO2 pollution fueling global warming) and plastic producers (for ocean and biodiversity destruction) in the form of class action lawsuits. The evidence of guilt is overwhelming; there is no exculpatory evidence. The only way that future corporate defendants would be able to secure favorable judgements once they have been harpooned by such lawsuits would be to advance payments now into insurance policies known as campaigns to install as many corporate-friendly judges into the higher echelons of the corporate-friendly U.S. judiciary as possible, and as soon as possible. This is how to buy judges legally in the United States, where “justice” is a commodity.

– And that is what the frenzy to install Amy Coney Barrett into the Supreme Court was all about. Her daddy was an oil exec, so she’s part of the family of the petrocorp ancien régime. Her religious fundamentalism is incidental to the corporatocracy (though it’s a great distraction for the hoi poloi); it’s all about the money.

+ Reporter: “What do you say to Philadelphia residents that are outraged by yet another unarmed Black man being shot by police?”
+ Biden: “What I say is that there is no excuse whatsoever for the looting and the violence.”

– Except by the PFKHP supremacist U.S. military abroad, and occupation troops (a.k.a. ‘police’) domestically. It used to be called “manifest destiny,” now it’s called “exceptionalism.” What the ancien régime fears most is having its own tactics used against it, and its various euphemistic expressions of that fear, as given by Biden here, are its most forthright admissions of guilt.

+ It’s become a fixture of American political culture where those who later apologize for being wrong about a disastrous policy (regardless of the body count) are given more attention and credibility than those who made the right call from the beginning.

– This is because such heartwarming forgiveness is dispensed by the U.S. mass media, which in aggregate is the privatized propaganda ministry that touts disastrous-for-the-public corporate-friendly government policies with alacrity. These are sinners forgiving their own sins, which the public had to become impoverished and bleed and die to underwrite (as in the 2008 financial meltdown, and Vietnam and Iraq Wars).

+ In the last two years, Trump’s Department of Energy has blocked the release of more than 40 reports on renewable energy: “They just go into a black hole.”

– The U.S. Department of Energy is a government agency for the maintenance of U.S. nuclear weapons capability, infrastructure and production. Anything else they may do is auxiliary. While there is much more that the US DOE could do to further renewable energy (I know, I used to work for them through a contractor, and my renewable energy reports just ended up on my blog), that is not a concern of the petrocorp ancien régime that owns the government.

– It may help to remember that John Jay, an author of the Federalist Papers and the first Chief Justice of the U.S. Supreme Court, was fond of saying: “The people who own the country should run it.” By “people” Jay meant wealthy merchants and slave-owners like himself. This is what the Supreme Court has always been about (with the exception of a few deviations by people like William O. Douglas, Thurgood Marshall and surprisingly by Earl Warren): the defense of property against democracy.

+ The Arctic’s giant methane deposits are beginning to leak their climate-wrecking fumes. Adjust your doomsday clock accordingly.

+ A worst-case climate scenario could produce almost $500 trillion in damages—about twice all the wealth in the world today. A best case still inflicts about $30 trillion in damage, a new study in Nature estimates, with intermediate scenarios between $69 trillion and $131 trillion.

+ According to a post-debate Morning Consult poll, only 28% voters oppose transitioning away from the oil industry. 52% of independents support transitioning away, and even 41% of Republicans.

– The exploding magnitude of the problem of global warming is only matched by the degree of reluctance by politically organized human society to reformulate its civilization into balance with Nature, and thus into harmony with the continuation of biodiverse Life-On-Earth. The mental inertia behind our non-action is from the static self-images many people have of themselves (‘I have to keep living and working this way because I can’t imagine otherwise’), and from our near-universal fetishizing of money.

– “The economy” is an artifice that can be constructed any way “we” want — so people could easily be made more important than profits — and money is just a token that is easily printed on government paper, and is now even generated as electrons vibrating in computer memory circuits. It doesn’t matter how much “money” it costs to formulate a decent society in harmony with Nature; money is shit, and shit is fertilizer.

+ Trump’s war on wolves just went nuclear…
+ The decision to remove the protections for gray wolves across all 48 states is going to have lethal consequences in Wisconsin, where the state’s “wolf hunt” will be immediately reopened.

– What it really is, deep down, it is the pleasure of inflicting cruelty on the helpless by terrified weaklings.

+ Ned Norris Jr., Chairman of the Tohono O’odham Nation, on the border wall’s desecration of Indigenous sacred sites: “As Americans, we all should be horrified that the Federal Government has so little respect for our religious and cultural values.”

– It’s all about the money; it is the pleasure of inflicting cruelty on the helpless by terrified weaklings; it is so much easier to maintain ignorance and prejudices that way; it is a reaction to the increasing fear of demographic dilution and the puncturing of the political bubble of PFKHP patriarchal control; it is manifest destiny and exceptionalism; it is the fearful wrath of the American money-constipated ancien régime.

– Capitalism must die for the world to live.

[1] https://www.counterpunch.org/2020/10/30/roaming-charges-high-anxiety/

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Heller, Vonnegut, Melville, Twain, Maugham, and Guy de Maupassant

On 17 October 2020, Eric Andrew Gebert wrote:

“Born on this day, 1915, Pulitzer Prize-winning playwright Arthur Miller (1915-2005). Now might be the right time to re-read ‘The Crucible’ (1953). I’ve always preferred ‘Death Of A Salesman’ (1949). Although, anything written by Miller is a gem.

‘“Don’t be seduced into thinking that that which does not make a profit is without value.” — Arthur Miller’

Eric’s comments prompted the following exchange:

MG,Jr.:
If you read the first few chapters of “Closing Time” (1994), the not-great sequel to “Catch-22” (1961), by Joseph Heller (1932-1999), you are given a very clear and fulsome view of the neighborhood and cultural environment – Jewish Coney Island – from which Arthur Miller and Joseph Heller came. While “Closing Time” is not great, it is nevertheless a tale imbued with “New Yorkness” particularly of the City, and it beats most of the twaddle published as novels and even “literature” today. It came out in the ’90s; Heller died in 1999. And agreed, Miller was a superb author-playwright.

Eric Andrew Gebert:
I’ve never read Catch-22 by Joseph Heller. I’ve read so many articles about the book and author, yet never read the book. It’s on my list for sure.

My own thoughts prompted by the above:

I read “Catch-22” and “Slaughterhouse Five” in 1968-1969, while I was listed as 1A for the draft (Vietnam War) during my first year in college. I consider both masterpieces of 20th century American literature, and both were written by anti-war WWII veterans who had seen plenty of action – and death – during the mid 1940s (in Italy and Germany, respectively).

It is my opinion that these two books are absolutely essential reading for any American alive then and now, if they really want to gain some insight into fundamental aspects of American culture, and the collective psyche of Americans. If one also wants to get “historical” and can accept immersing themselves in the “literary,” then it is essential they include “Huckleberry Finn” and “Moby-Dick” to that reading list.

There are many comedic elements in both “Catch-22” and “Slaughterhouse Five” (1969), but both books are very clearly deadly serious. With Kurt Vonnegut, Jr.’s (1922-2007) book (Slaughterhouse Five), the more you think about it, the deeper is your realization of the underlying tragedy; with Heller’s book, comedy carries you to a finale that requires a strong stomach and deep commitment to finish reading, and in this way leads you to the tragic realization equivalent to that which Vonnegut so subtly (well, playfully) presents.

Only AFTER you have read C-22 and SH-5 should you allow yourself to see the movies made of them. The only good movie of C-22 (a recent TV series has also been made, at best a C-) is the excellent 1970 Mike Nichols (1931-2014) film (Catch-22), with a screenplay written by Buck Henry (1930-2020). Parts of that screenplay were so good that Heller said he wished he’d thought of them to put in his novel.

This film is very faithful (but not exact) to Heller’s plot (simplification being necessary since Heller had many, many characters, and a great deal of non-chronological density), and is entirely faithful to Heller’s arc of comedy-to-anguishing reality (with a sparkle at the end of the film to give you hope). Milo Minderbinder, a character in C-22 (and Closing Time), is the absolute quintessential personification of American capitalism, an excruciatingly apt portrayal in both the book and movie.

The only film worth seeing (AFTER you read the novel!) of SH-5 is the 1972 George Roy Hill (1921-2002) movie (Slaughterhouse Five). In that movie the character of Valencia Merble is the quintessential portrayal of the White suburban American mom, not quite a Karen, but a simple self-absorbed but not selfish Americana (a chaste but not fundamentalist version of Guy de Maupassant’s “Boule de Suif”); this perfection of depiction being in both the book and movie.

Believe me, those two books of the 1960s, and the two films made of them in the early 1970s cannot be remade today to equal standards of art and psychological insight: “we” are too hung-up on our “modern” (self-delusional) ‘wokeness.’ Here is art that is a mirror of a ‘national soul’ that we generally don’t wish to see in complete clarity. These works are both of their time, and timeless.

Every work of art has its roots in earlier works by earlier artists, and in conceptions from earlier times. One can, with imagination, follow this trail of sequential inspiration all the way back to the 5th Century (BCE) Greeks; and with even more imagination back to the cave paintings at Lascaux (~17,000 years ago) and Altamira (~36,000 years ago). Even though I do not know the history of Heller’s and Vonnegut’s literary inspirations, to my mind these two authors were the 1960s flowering of roots that grew from Herman Melville (1819-1891), Mark Twain (Samuel Langhorne Clemens, 1835-1910), and Guy de Maupassant (1850-1893).

Melville had a keen and pessimistic insight into the American soul, and a wicked wit, which can be hard for today’s casual readers to untangle from his convoluted and fascinating antique New England prose. I can see Heller’s Milo Minderbinder as a youthfully handsome comic inversion of Captain Ahab (the terrible protagonist of Moby-Dick): both are monomaniacal obsessive-compulsives. Both were avidly mercantile individuals, to devote themselves so fully to their risky commercial ventures. For Milo it was all about money to gain power to make more money (in a vicious circle), while for Ahab it was all about money (his gold Doubloon, and command of his ship’s resources like the breaking out of rum) to gain the mesmerizing power over his men’s hearts and souls to bind them tightly to his obsession for vengeance against the very forces of Nature incarnated as the white whale, Moby-Dick.

Mark Twain, that other supreme giant of American literature (I vacillate between seeing Melville then Twain as the greatest of all American authors, but that is a worthless exercise really: together, they are the sourcepoint of all essentially American literature), was both a comedic genius and a deeply serious writer with a very great compassion for the human condition; and his enlightened outlook on people was far in advance of American norms — to this day!

Kurt Vonnegut was deeply influenced by Twain, he said as much in his introduction to a television movie (shown on PBS) of Twain’s “Life On The Mississippi,” and it is so easy to see many parallels between Twain’s seemingly naïve witticisms and Vonnegut’s seemingly childlike playfulness in prose. And both had very serious matters about America’s dark soul to present back to its people, under the cover of sweet sunny confections of comic storytelling — up to a point.

Guy de Maupassant was a supreme master of naturalness in the telling of short stories, with an economy of style that made his penetrating insight into the psychology of his characters — the people of his day, and ours — transparent. His words speedily take you to the heart of the matter without obscuring it by any pretentiousness, insights and matters that were: comic, tragic, banal, horrible, lovely, socially withering, and of human avarice, corruption, credulity, deceitfulness, and simple nobility.

Like Heller and Vonnegut, de Maupassant mined his wartime experiences as a French solider during the disastrous for France Franco-Prussian war of 1870. Guy de Maupassant’s story “Two Friends,” about the hazards two Frenchmen buddies find themselves facing when they are captured by the Prussians during a surreptitious fishing excursion along a river behind enemy lines, has all the absurdist qualities Vonnegut put into the narrative thread on his avuncular character Edgar Derby, the mentor of Billy Pilgrim (the protagonist of Slaughterhouse Five) while both were prisoners of the Germans in WWII Dresden.

Even more grim a tale about the utterly absurd waste of human life, human innocence, and the permanent loss of happiness because of war, was de Maupassant’s “Mother Savage,” a story about one old French peasant woman’s iron will to wage her personal war against the Prussians, and by extension against all the social forces and higher classes and their attitudes, which had combined to bring that disastrous 1870 war right into her little cottage far out in the country. Where Edgar Derby was an endearingly blithe overgrown lamb oblivious to the hellscape of firebombed Dresden, Victoire Simon (Mother Savage) was an implacable wolverine propelled by grief capping a long hard meager life of scratching the land.

Two de Maupassant stories of desperate personal actions taken by ordinary French civilians against the Prussians, because they just exploded with rage against being bullied, are “Mademoiselle Fifi,” about the stabbing killing of a Prussian officer by Rachel, a Jewess prostitute who successfully evaded capture by being hidden by the parish priest; and “A Duel,” a similar story about a nebbish little man whose sudden rage fills him with power sufficient to kill a Prussian officer in a duel, his first ever, and for the Prussian his last of many. But I did not see any parallel incidents to these de Maupassant stories in either “Catch-22” or “Slaughterhouse Five,” despite their extensive periods in wartime settings.

Heller’s portrayal of the whorehouse in Rome frequented by Yossarian (the protagonist of Catch-22) and his buddies has many echoes of de Maupassant’s story “Madam Tellier’s Establishment,” of simple souls with simple dreams mixed with desperate longings and simple pleasures. Guy de Maupassant wrote many stories involving carnal affairs, licit and illicit, with a keen eye to human foibles and hypocrisy, and a sophisticated savoir faire combined with a very deep compassion to the human condition, so like Mark Twain’s.

Much of the anguish and histrionics of English and American marital-sexual-relationship dramas is refreshingly absent in de Maupassant’s stories because of his honest clear-sighted presentation of the situational and psychological facts. The hypocritical Victorian prudery of the English and the Americans is absent from de Maupassant and many of his characters, who are after all drawn from real life as de Maupassant saw it. That naturalness, pioneered by Gustave Flaubert (among others), de Maupassant’s mentor and teacher of literary art, is at the heart of Heller’s verve in “Catch-22.”

The direct root from Guy de Maupassant that grew out into English literature was W. Somerset Maugham (1874-1965), another great short story writer, as well as playwright, novelist and essayist. The keenest insights about women that I have seen in literature are by Guy de Maupassant and W. Somerset Maugham. Perhaps F. Scott Fitzgerald (1896-1940) has some as well (particularly in “Tender Is The Night,” 1934), but he was often much more lyrical and because of that honeyed radiance thus more vague.

Guy de Maupassant by contrast offered gems of clarity (not necessarily desired by society at large) cut with such precision as to bring out the sparkle of insights that pierced through the fog of all illusions. This deemed de Maupassant smutty and immoral to many socially correct readers (especially English and American ones) up to the present day.

My favorite novel of Maugham’s is “The Moon and Sixpence” (1919), a novelization of the life of the French Impressionist painter (and pal of Vincent van Gogh, 1853-1890) Paul Gauguin (1848-1903), told as the story of Charles Strickland, a fictional English equivalent to Gauguin. Maugham’s “The Moon and Sixpence” is an epigrammatic novel worthy of Oscar Wilde (1854-1900) and Maugham’s acknowledged inspiration: Guy de Maupassant.

Guy de Maupassant has written the best and most detailed descriptions of eating, food, cuisine and dining that I have ever read; he has done what Flaubert had taught him: to let you smell the aromas and taste the flavors just from reading the worlds. His touching yet earthy matter-of-fact slice-of-life story, “Idyll,” is echoed by John Steinbeck (1902-1968) as the grand and incandescent metaphor at the end of his “Grapes of Wrath” (1939), for the desperate and self-sacrificing human compassion and solidarity during a time of economic catastrophe that some of its victims could find to bring out of their own destitution and grief, to generously give others the milk of human kindness.

How fortunate I am to be able to read so many wonderful books. The overall lesson they have given me is simply to see with greater appreciation the intrinsic beauty of life despite the many hardships and random tragedies it also entails.

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