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Obama’s Team: Pro Biz, Pro War
Did Obama’s progressive base get anything? Is it going to be four years of let-down? CounterPunch editors Cockburn and St Clair take a hard, sharp look at the new line-up. A MUST for all Paul Craig Roberts fans: part one of the shortest, simplest, sharpest outline of economics ever written. Alexander Cockburn’s Trans-America Diary: this time it’s the story of a true conspiracy: the Secrets of Jekyll Island. Get your Legacy Edition today by subscribing online or calling 1-800-840-3683 Contributions to CounterPunch are tax-deductible. Click here to make a donation. If you find our site useful please: Subscribe Now! CounterPunch books and gear make great presents.Order CounterPunch By Email For Only $35 a Year !
Saul Landau in Portland January 23 / 24 Click Here for Details
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Today's Stories January 23 / 25, 2009 Alexander Cockburn Patrick Cockburn Alan Farago January 22, 2009 Paul Craig Roberts Kathy Kelly Allan Nairn Lawrence Velvel Andy Worthington Peter Morici Joseph G. Davis Adriana Kojeve Benjamin Dangl Website of the Day January 21, 2009 Gabriel Kolko Harry Browne Michael Colby Lawrence R. Velvel Audrey Stewart Wajahat Ali Binoy Kampmark David Kεr Thomson John Ross Allan Nairn Sheldon Richman Website of the Day January 20, 2009 Chuck Spinney Kathy Kelly Raymond Deane Ralph Nader Audrey Stewart Jonathan Cook Harvey Wasserman Christopher Ketcham Robert Jensen Dave Lindorff David Macaray January 19, 2009 Kevin Alexander Gray Uri Avnery Kathy Kelly Mike Whitney Lawrence R. Velvel Mats Svensson Harry Browne Norman Solomon Jeffrey Sommers Kenneth Libby Peter Ewart Bob Sommer Website of the Day
January 16-18, 2009 Alexander Cockburn Caoimhe Butterly Audrey Stewart / Jeffrey St. Clair Ellen Cantarow Neve Gordon Vijay Prashad Jonathan Cook Rannie Amiri Andy Worthington Joshua Frank Dave Lindorff Brian Cloughley Belén Fernández Missy Beattie Fred Gardner George Ciccariello-Maher John V. Whitbeck Stephen Fleischman Mischa Gaus Saul Landau Norm Kent Alejandro López David Yearsley James McEnteer Lorenzo Wolff Kim Nicolini Poets' Basement Website of the Day
January 15, 2009 Pam Martens Karl Grossman M. Shahid Alam Jules Rabin Alan Farago Ron Jacobs Timothy Seidel George Ochenski Todd Chretien Bob Fitrakis / Website of the Day January 14, 2009 Henry A. Giroux Kathy Kelly Franklin Lamb Mike Whitney Paul Craig Roberts Glen Ford Aditya Chakrabortty Dave Lindorff Jonathan Cook David Swanson Martha Rosenberg Website of the Day
January 13, 2009 Norman Finkelstein Jonathan Cook Michael Neumann Coleen Rowley / Robert Sandels Saul Landau David Swanson Wajahat Ali Sam Bahour Stanley Heller Robert Jensen Robin Mittenthal Website of the Day
January 12, 2009 Uri Avnery Paul Craig Roberts Mike Whitney Ewa Jasiewicz Bill Quigley Dave Lindorff Bill and Kathleen Christison Jonathan Cook Andy Worthington Kara N. Tina Brenda Norrell Nour Kharma Website of the Day
January 9/11, 2009 Alexander Cockburn Kathy Kelly Bill Quigley George Ciccariello-Maher Elaine C. Hagopian Mike Roselle Steve Hendricks Gary Leupp Jonathan Cook Karim Makdisi Rannie Amiri Peter Morici Peter Montague Ralph Nader Andy Worthington Nadia Hijab Dan Bacher Catherine Fenton David Macaray Valia Kaimaki Richard Morse David Yearsley Charles R. Larson Richard Rhames Stephen Martin Lorenzo Wolff Poets' Basement Website of the Weekend January 8, 2009 Jean Bricmont / Franklin Lamb Paul Craig Roberts Kevin Alexander Gray Chris Floyd Ewa Jasiewicz Steve Conn Harvey Wasserman Wayne S. Smith Linda Mamoun Adam Turl Chris Papaleonardos Website of the Day January 7, 2009 Saree Makdisi Franklin Lamb William Blum Belén Fernández Lawrence Davidson Allan Nairn Jonathan Cook Muhammad Idrees Ahmad Deepak Tripathi Cal Winslow Manuel Garcia, Jr. Dr. Hannah Safran Website of the Day January 6, 2009 Pam Martens Victoria Buch Neve Gordon Tami Sarfatti / Mike Whitney Alan Farago Gary Leupp Larry Everest Ron Jacobs David Macaray Stephanie Basile Stacey Warde Website of the Day January 5, 2009 Paul Craig Roberts Sousan Hammad Wajahat Ali Mats Svensson Jen Marlowe Muhammad Ali Khalidi Brian Cloughley Faheem Hussain William Cook Dr. Trudy Bond Christopher Ketcham Steve Early Dave Lindorff Website of the Day January 2 - 4, 2009 Alexander Cockburn Uri Avnery Jonathan Cook Paul Craig Roberts Brian Eno Ralph Nader Omar Barghouti Graham Usher P. Sainath Belén Fernández Deb Reich Gary Leupp Michael Yates Joanne Mariner Seth Sandronsky Cynthia McKinney Sonja Karkar Deepak Tripathi Robert Fantina John Ross Norm Kent Larry Portis Richard Rhames Dee C. Lubell David Yearsley Lorenzo Wolff Marc Catone Poets' Basement Website of the Weekend
January 1, 2008 Jennifer Loewenstein Oren Ben-Dor Wajahat Ali Saul Landau David Michael Green Website of the Day December 31, 2008 Pam Martens Neve Gordon / Ted Honderich Brian Cloughley Ron Jacobs Vijay Prashad Franklin Lamb Mike Whitney David Macaray Richard Thieme Mary Lynn Cramer Stephen Lendman Worthy Group of the Day December 30, 2008 Paul Craig Roberts Tariq Ali Robert Bryce Jonathan Cook Gary Leupp Dave Lindorff Brian McKenna John Walsh Ramzy Baroud Bob Sommer Worthy Activist of the Day
December 29, 2008 Jennifer Loewenstein Neve Gordon Joshua Frank George Salzman / Norman Solomon Ewa Jasiewicz Rob Larson Kenneth Libby Robert Weissman Elsa Johnson Nicola Nasser Belén Fernández Worthy Group of the Day December 26-28, 2008 Alexander Cockburn Dr Eyad Al Serraj Jeffrey St. Clair Bradley Simpson Ralph Nader Gary Leupp Ellen Cantarow Matt Landon David Macaray Patrick Bond Norm Kent Brian T. Ketcham Rannie Amiri Larry Portis Richard Rhames Stephen Lendman James L. Secor Ramzy Baroud Harold Pinter Cpt. Paul Watson Howard Lisnoff Michael Dee Steve Conn Poets' Basement Worthy Group of the Weekend December 25, 2008 Judy Gumbo Albert Rev. William E. Alberts Hannah Mermelstein Worthy Group of the Day December 24, 2008 Bill Quigley Saul Landau Sam Smith Brian Cloughley John Ross Eric Walberg Norm Kent Stephen Martin Worthy Group of the Day December 23, 2008 Michael Hudson Michael Yates Chuck Spinney Vijay Prashad Brian Horejsi David Macaray Neil Watkins / David Michael Green Worthy Group of the Day
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Weekend Edition Chamber Music for Obama's MassesThe Music That Wasn't ThereBy DAVID YEARSLEY Obama became President during one of the most preposterous musical events in history. It’s not that the music itself was terrible. One expects mediocrity at massed spectacles of this sort. It was the idea that was so utterly implausible: open air chamber music for a million people. Because control of the red button must be passed from one presidential finger to the next with precise timing, Obama took over at exactly noon, as puzzled politicians arrayed on Capitol Hill and a restless populace extending down the Mall endured four-minutes of superstar classical musicians—Yo-Yo Ma on cello, Itzhak Perlman on violin, Gabriella Montero on piano, and Anthony McGill on clarinet—performing Hollywood titan John Williams’ new composition/arrangment, “Air and Simple Gifts.” When the surreal four minutes were finally over, Obama was President even before taking the oath of office. Or more exactly put, the quartet seemed to be playing. As was disclosed to the public only after the event, the musicians were only going through the motions of music-making, forced, they claimed, into making a recording of the piece at the Marine Barracks in Washington and then playing along as the canned music blared out over the loudspeakers at the Inauguration. The oldest excuse in the book for any musician is to blame temperamental instruments or the performer’s own body: broken strings for violinists, a head cold for singers. How could anyone have ever believed that an outdoor performance was possible in January? To be sure, the cold temperatures and extremely dry air threatened the instruments even as the conditions constricted the movement of the agile fingers of the musicians. Only the pianist, Ms. Monter, wore gloves with cut-off fingers. It was a fine sartorial touch for the Venezuelan from tropical climes, though Hugo Chavez was doubtless cursing her for contributing her musical talent and glamour to this vast kitsch festival to the glorification of the Yankee devils. Perlman claimed that the circumstances warranted the deception: “This occasion’s got to be perfect. You can’t have any slip-ups.” But is it not unnerving to America that the moment of Obama’s ascendancy was accompanied by false musical pretences? Unlike Mlli-Vanilli and Luciano Pavarotti, the inaugural quartet and the networks made no secret of their theatrical reenactment, they there were careful not to give away the secret beforehand. In any case, the bogus rhetoric of accountability and honesty just won’t do. Simply because you don’t hide the fact you’re cheating, doesn’t change the fact that you’re doing just that—cheating. An ebullient performer, even when he’s really playing, Yo-Yo Ma did seem overly demonstrative in his movements and impressively detached from the score, as if the music had become part of him. I commented on this to a friend I was watching the show with. I must have known something was up. Perlman’s frail logic would spell an immediate end to live performance. It reminds me of the benefits proffered by the manufacturer’s Yahama Clavinova digital piano. You can play a piece on these keyboards and the thing remembers what you did. It’s a more sophisticated, though philosophically equivalent, version of the way old piano rolls captured the performances of Scott Joplin and his generation. Yahama’s advertisements promise an end to stage fright for the youngster at his or her group piano recital: simply record your piece beforehand, then at the recital take a seat at the Clavinova and relax as your flawless performance ensues. Mom, dad, grandma and grandpa, and above all, little Amy don’t have to confront the dread and joy of the real any longer. But more bizarre than the synchronized ruse itself was the programming of the piece in first place. One can guess how the idea gathered strength, even in the face of all common sense. Obama claims Bach’s suites for solo cello as among his top five musical favorites. Yo-Yo Ma’s recording of these suites is the most popular, though not the best. That honor belongs for the time being to Anner Bylsma, even over such 20th-century luminaries as Pablo Casals. (It is to Obama’s eternal credit that he even knows that the Bach cellos suites exist and that their searching melancholy and powerful projection of musical kinesthesis warrant a place on the Presidential play-list.) Given the liberal love affair with Hollywood, the summoning of John Williams’ was an all-too-obvious choice. His film scores have made him the planet’s most famous composer. One of his scores, that to Mel Gibson’s laughably overblown Revolutionary War pic The Patriot, boomed out over Grant Park for Obama’s victory speech. That scarily ecstatic music, owing so much to the sonorities of Christian Praise, was a bad omen for what is to come musically and politically in the next four years. A resounding echo of its overheated musical rhetoric rang out over the Mall as the musical mimes did their convincing best on Tuesday. What remained for the organizers of this chamber music for the masses was to calibrate the ethnicity of the quartet, and this they did with great skill: the Hispanic pianist, the Israeli-American violinist, and the African-American McGill. Where was Joe the Fiddler? There was apparently no room for the ethnically denatured in this group, though John Williams perhaps fulfilled that statistic in the quota, even though he was behind the scenes. Anyway, Joe was glad to be drinking a beer at the tavern rather than contributing to in this charade. As soon as the Obama’s fab four started their show, you can be sure Joe, gifted with a fine sense of irony, got up from his bar stool and put a couple quarters in the jukebox and chose that Bush favorite still played at Texas Ranger’s Rangers, “Centerfield” by John Fogerty: “Oh, put me in coach, I’m ready to play today.” Never has the incongruity between context and musical genre been greater than at noon on Tuesday. Chamber music is just that, music for the chamber, for a salon, a room; it was invented for intimate gatherings of amateurs and connoisseurs. Chamber music is already stretched beyond the limits of plausibility in a 2,000-seat concert hall. That is the problem with elitism: it is too expensive. For a string quartet to make sufficient money it must play for more people. Chamber music is not only about musical sound, but about the smile, the glance, the gesture, the perspiration, the creak of the chair. To have chamber music for millions is like singing underwater: it’s not that the music gets drowned out. It just drowns. Amplification, with or without miming musicians, only amplifies the absurdity of the context. It would be a mistake to dismiss this inaugural music as merely misplaced and to condemn the duplicity of its Potemkin performance. There was a message here for those few who had the resolve to listen. The meandering counterpoint of the introductory Air evoked the disparate aspirations of the individuals that make up the polyphonic fabric of American society: the violin and cello and then piano held to their distinct lines, pursuing their own agendas, threatening even to break apart in dissension. However full of potential, the music seemed unable to find itself. Then the Shaker hymn, imprinted indelibly in the catalog of Americana by Aaron Copland in his Appalachian Spring, pierced the cold air: the amorphous music found its direction, its purpose. A black man plays the noble tune of Simple Gifts on his clarinet. The quartet listens and is convinced, follows, and is rapturously united at the climax of the piece. Obama has called the tune. How can we not but let the melody lead us to a shining, harmonious future? David Yearsley teaches at Cornell University. A long-time contributor to the Anderson Valley Advertiser, he is author of Bach and the Meanings of Counterpoint His latest CD, “All Your Cares Beguile: Songs and Sonatas from Baroque London”, has just been released by Musica Omnia. He can be reached at dgy2@cornell.edu
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