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| Isn't Detroit 90 percent Black? Why don't they fight for the Detroit Symphony Orchestra? Oh.. |
is the only book ever published that dares point out that the 90 percent Black population in 2012 Detroit is directly responsible for the sorrowful state of the city, just as the 98 percent white population in 1912 Detroit was responsible for its rise to becoming "the Paris of the West."It is said that the Library of Alexandria was destroyed by fire; perhaps we will one day learn that the Detroit Institute of Arts was totally annihilated by the Black Undertow, with Matthew Dolan of the Wall Street Journal reporting:
Voters in Detroit and its suburbs will decide Tuesday whether keeping one of the nation's premier fine-arts museums open is worth a hit to their wallets.
The Detroit Institute of Arts, hurt by a loss of deep-pocketed benefactors and significant public backing, is asking residents in three counties to support a 10-year property tax to support the museum. In return, residents of those counties, which include Detroit, would get free admission.
"We're getting 10 years of security," museum director Graham Beal said. "With those funds coming in, we can become a normal museum."
The vote will test the limits of a gradual shift toward regional solutions to the funding shortages that dog economic and cultural institutions in Detroit, which has lost hundreds of thousands of residents. In recent years, the city and surrounding municipalities have forged new relationships to jointly support—and oversee—the city's water department, zoo and convention center.
The DIA tax would cost Metro Detroiters $15 a year for every $150,000 in fair-market home value. The museum expects to collect $23 million a year from the tax, while separately seeking $400 million for its endowment, in hopes of becoming largely self-sufficient when the tax expires. Without the tax, museum officials say, the DIA would slash staff and cut museum hours to as little as two days a week.
Polling suggests support for the measure, officials say. A small telephone survey last month by Lansing, Mich., polling firm EPIC-MRA reported about 70% support.
But some residents climbing slowly out of the recession remain wary of expanding taxpayer funding for the arts. "It's a luxury for the area," Robert Gosselin, an Oakland County commissioner who voted against putting the measure on Tuesday's ballot. "It's not the role of government to provide a source of money for this type of thing."
Some critics of the tax call it an extravagance, pointing to Mr. Beal's pay package—$442,433 in 2010—and the museum's endowment of $160 million. Museum officials say Mr. Beal's compensation falls within the range of what other major museums pay, and that about half the endowment goes toward buying art.The new of fine arts and culture dying in 90 percent Black Detroit comes on the heels of Kid Rock performing a benefit concert in May of 2012 to raise $1 million dollars to supply the Detroit Symphony Orchestra with much needed contributions. It appears that the new, majority population of Detroit (90 percent Black in 2012, after being roughly 85 percent white in 1950) is incapable of sustaining a symphony orchestra. Here is the New York Times in 2010:
The Detroit Symphony Orchestra has weathered decades of strikes, deficits, criticism over its racial makeup, mediocre concert homes, cuts in state aid and canceled tours.
It has always bounced back, rescuing and restoring its beautiful old concert hall, enjoying moments of critical acclaim and recording fame, and becoming a leader in efforts to bring blacks into the symphony world (although it still has only three black players).
Now it faces another hurdle, one that its members and managers say could alter its course for good. The players, who were scheduled to begin rehearsals on Monday morning for the new season, have declared their intention to strike over extensive cuts in pay and benefits and extensive changes in how they perform their jobs.
As so often happens in orchestra labor strife, one side raises alarms about quality and the other about survivability. The musicians argue that the kind of cuts sought by management would scare away top new talents and even current members, eroding the orchestra’s finely wrought musical level.
“The bottom line for us is, we want the artistic quality of the orchestra to stay the same or get better,” said Haden McKay, an orchestra cellist and the players’ spokesman. “The cuts are so deep, it’s really going to damage the quality of the orchestra long term.”
Management contends that the issue of quality will be moot if the orchestra dies, and that Detroit simply cannot afford an orchestra of the kind that now exists. “The contract has to reflect what’s sustainable in the city you’re living in,” said Anne Parsons, the orchestra’s president and chief executive.
“You can’t have excellence if you don’t have viability,” Ms. Parsons added. “Who would want to come to an orchestra that’s on the edge of financial disaster?” she said of prospective members.
Yet few cities have suffered like Detroit. And that argument has helped generate support for management’s side. The Detroit News, in an editorial on Thursday, pointed out that household incomes in Michigan have dropped 21.3 percent over the last decade and that 16.2 percent of the population now lives below the poverty level.
The players, it argued, should make the same sacrifices Michigan’s other workers have had to make and should not risk the orchestra’s future with a strike.
But management’s plan is “not a pathway to survival,” said Bruce Ridge, the chairman of the International Conference of Symphony and Opera Musicians. “It’s the beginning of the end.”
“The Detroit Symphony is an incredibly positive force in the middle of a city that needs positive forces,” Mr. Ridge added.
Correction: October 5, 2010
90 percent Black Detroit could only produce three (not two) Blacks capable of playing in the Detroit Symphony Orchestra? Bet one of their names is Rick Robinson, who both the World Socialist Web Site and NPR profiled recently. Robinson realized he was nothing but a token Black in 2001, telling NPR:
An article on Monday about a strike by the musicians of the Detroit Symphony Orchestra, using information from an orchestra official, misstated the number of black players in the symphony, which faced criticism over its racial makeup and then became a leader in trying to bring blacks into the symphony world. There are three, not two.
Twenty-two years ago, bassist Rick Robinson became just the second African-American to join the Detroit Symphony Orchestra.
But at the end of this month, he's stepping away from his post — perhaps permanently. He'll be touring with smaller ensembles in an effort to bring classical music to African-American and other underserved communities.
"What I've come to conclude, at least at this point, is that there's something about the large concert hall and the huge number of people, and then separated into a huge number of people in the audience — it's just overwhelming," Robinson says. "And the concert experience itself — if no one greets people or tells a joke or explains anything about the music that they're about to hear in a personal or emotional context, they're just left wondering, 'Well, why am I here? It doesn't seem to make any difference that I'm here.'"In 2011, a reunion was held (of sorts) but longtime members of the Detroit Symphony Orchestra still continued blame the 90 percent Black population for the decline in funds available for classical music, with the New York Times reporting:
Despite the Saturday night love fest serious problems remain. Even with the cost savings, the symphony is projecting a yearly deficit of $3 million and labors under a $54 million debt from the music center that was built to supplement its hall, a 1919 gem that seats 2,000 people.
The city’s decline has sapped donations and ticket sales. Its reputation keeps some wealthy suburbanites away. “Downtown is still a tough ticket for people,” Mr. Slatkin said in an interview. “It has some frightening images.”
Much bitterness remains. “I resent what’s gone down,” said Joseph Striplin, a Detroit native who has played violin in the orchestra since 1972. He blamed board members and orchestra executives, “a mix of politically reactionary right-wing figures who never saw a union they didn’t hate” and a leadership with a “distorted vision of what a symphony orchestra should be.”
But like others who expressed lingering anger, Mr. Striplin said he still loves the orchestra and the city, and promised that the musicians’ professionalism would shine through.
Yes, right-wingers are to blame for Detroit's demise. Not the 90 percent Black occupants of the city...they are above criticism.“We are not going to go out there and pout and not play well,” he said. “It’s you and the music now, and the music is why you are there.”
The music will die in Detroit, with the Detroit Symphony Orchestra inevitably closing for good. Only then, will classical music be used city wide as a last resort to drive down high crime rates on loud speakers...
It's dead; the music in Detroit. Though no one dares point the problem, the music is dead in Detroit. Maybe one day, it will rise again.
Have we started a fire yet?
66 comments:
Only black people could bring down a once great city so fast.
"...It appears that the new, majority population of Detroit (90 percent Black in 2012, after being roughly 85 percent white in 1950) is incapable of sustaining a symphony orchestra..."
Most of them can't even spell symphony, much less understand the teamwork involved.
And as for that museum, they should make plans to evacuate the premises before they get flash mobbed and the works are destroyed. You know, like when the Taliban destroyed those centuries-old statues.
Regression to the mean. Nothing else needs to be said.
"He blamed board members and orchestra executives, “a mix of politically reactionary right-wing figures who never saw a union they didn’t hate” and a leadership with a “distorted vision of what a symphony orchestra should be.”"
LOLOL In a black city completely controlled by Democrats for over 40 years, only a gutless DWL would blame "right-wingers".
Too funny.
Just imagine if that plane carrying Buddy Holly, Ritchie Valens and The Big Bopper had been carrying Chuck Berry, Little Richard and Fatass Domino instead ....
America might be a very different place today. Who knows.
The DIA needs the money because the execs will not take a cut in pay and they took $100 million of the endowment and restricted it to stir up a scare into the 'burbs funding them. It has been about their bloated salaries and nothing else. Last time I checked the bills was passing with 70% approval.
The DSO has already taken cuts across the board, including the director, who is only making a measely $220,000 give or take last I heard. The only way for the DSO to survive is to move to Oakland County, maybe Bloomfield Hills or Royal Oak, where the Detroit Zoo is.
PK - You are a hard working individual. You've always got a unique look at the destruction the negroes bring.
If it were me, I'd find myself returning daily to chronicling the savage, inhumane acts of negro violence and criminality; the rapes, murders, torture and physical destruction they cause.
I find that the mugshots with the lifeless eyes and hateful, imbecilic expressions tell us far more than any words can convey.
I came upon an article today describing the attempts to exonerate the blacks who confessed to the rape and beating in 1989 of the lady known as the "central park jogger". Ken Burns is somehow involved in a film supporting these rapists.
What happened to this country?
The only "music" any of those black savage baboons would ever care about consists of ooking, eeking, a drum machine, and the scratching of vinyl records.
I would be willing to bet that 90% or more of the management and players in the Detroit Symphony are "true-believer" leftist DWLs of the very worst type. Staunch supporters of BRA, NPR, PBS, etc.
There would be a certain delicious irony if they all had to pick up and move away to some white city to be able to collect fat unionized salaries - a portion of which will no doubt go towards funding shoe-string operations such as the $PLC and ACLU. Somewhere in hell, a tiny violin wails a lament.
Some people are just walking stereotypes. Robinson notes that, minus a conversation, black people cannot identify with a symphony and ask "What's in it for me? Why am I here?" God, it's classic - the desperate craving for attention and the demand for personal benefit.
And then we have Mr. Slatkin, who blames right-wing extremists for the demise of black Detroit's orchestra.
You just can't make these things up.
Sinphoney?
Tat is tat new porn actress, homie, knowwhamsayin, hahaha!
How many blacks go to a classical music concert?
About as many as go to a country music one, I would venture to guess.
Detroit orchestra? I thought the only musicians left in D'Town were shit rock, ICP, and that lil' sell his soul out beeyatch M&M. Oh yeah, what's that new one, 'blaze ya dead homey'. Seems like the whites are the only famous rappers coming out of a majority black city. Anyone else care to elaborate?
Have to admit though, if you youtube 'dj clay psyfer3', there's 15 minutes of laughable entertainment or hell. I personally think the clown make up helps make it more interesting. Not a juggalo, not calling it music, just what I'm finding funny to watch this week.
I can't help but think of a book of photographs showing the once grand buildings of Detroit standing in ruin today. Two pictures stood out among the rest. One was a library that had been ransacked and looted of everything but the bookshelves were still full of books. The other picture was a once beautiful hotel that was similarly ransacked and looted and sitting amongst the ruin was a baby grand piano.
Another cultural loss that Detroit suffered was the closure of the Aquarium. In my youth, I was friends with the fellow who served as its last Director. I was a college student in Alabama and he was a curator at the Detroit Zoo. We went on a couple of snake-hunting trips to West Texas. He would drive down to Birmingham to get me, or me and my Communist brother, and then on the drive across Mississippi he would educate me about what barbarians Southern Whites were, lynching, Charles Mack Parker etc. I would let it go in one ear and out the other in order to get to the desert and hunt snakes, but now I enjoy the irony that the group he saw as oppressed destroyed the only things he really cared about. And looking at African rule, I truly understand why Jim Crow was necessary.
Okay, but save Motown.
How many would support a new Basketball Court
Ken Burns is a F.....d up Negro worshiping Traitor
The DIA millage passed in all three counties.
Maybe I'm a cynic but I doubt those slovenly dressed White leftards have any real appreciation for Western classical music. They're just jumping on this as an opportunity to scream about "discrimination" and so on.
Some critics of the tax call it an extravagance, pointing to Mr. Beal's pay package—$442,433 in 2010—and the museum's endowment of $160 million.
What, no leadership by example? Time to take a pay cut, Mr. Beal. (Any bets that this guy is a raving Liberal?) No voluntary salary reduction? Then you can sit at home and fart through silk while your beloved museum opens only two days a week. Executive overcompensation (pdf) is killing America, right down to its cultural roots.
It has always bounced back, rescuing and restoring its beautiful old concert hall, enjoying moments of critical acclaim and recording fame, and becoming a leader in efforts to bring blacks into the symphony world (although it still has only three black players). [emphasis added]
Bustin' a hip hop beat on da French horn be hard, maing!
The players, it argued, should make the same sacrifices Michigan’s other workers have had to make and should not risk the orchestra’s future with a strike.
Maybe Mr. Beal could kick down some of that nearly half-million dollar salary of his to help fellow artists? Where's the corporate philanthropy that should be stepping up to the plate about now? Oh, the CEOs are too busy posing with "underprivileged" sprogs down at the daycare center because that looks better on their executive resume than boosting a bunch of White people playing tunes composed by a bunch of DWM (Dead White Men).
But at the end of this month, he's stepping away from his post — perhaps permanently. He'll be touring with smaller ensembles in an effort to bring classical music to African-American and other underserved communities.
Good luck with that, Mr. Robinson. But at least he's leading by example. I just wonder how much enthusiasm he is going to spark in kids that are immersed in (c)rap "culture". If there is one thing that is a supreme form of "acting White", it's got to be liking classical music.
"And the concert experience itself — if no one greets people or tells a joke or explains anything about the music that they're about to hear in a personal or emotional context, they're just left wondering, 'Well, why am I here? It doesn't seem to make any difference that I'm here.'"
Trust a Black person to strike the "it's all about me" chord.
Why is anyone there? Maybe it has to do with a fondness for uplifting and evocative symphonic performances that provide a glimpse of the magnificence that mankind's artistic endeavors can achieve. But don't expect Blacks to understand how the Western European orchestral tradition represents what is probably the pinnacle of artistic musical expression.
The music will die in Detroit, with the Detroit Symphony Orchestra inevitably closing for good. Only then, will classical music be used city wide as a last resort to drive down high crime rates on loud speakers...
This is at once a commendation of classical music and a damning indictment of modern "youth" that they should be repelled by such high art. It also demonstrates what a diametric polar opposite the tripe volcano of (c)rap and hip hop "music" are in comparison to classical. The monotonous broken-washing-machine beat and bowel sounds of (c)rap will be a dim memory centuries from now when Bach is still being aired and performed live.
Anon (8/7, 2012 9:26 PM): Just imagine if that plane carrying Buddy Holly, Ritchie Valens and The Big Bopper had been carrying Chuck Berry, Little Richard and Fatass Domino instead ....
If Karen Carpenter had just eaten that ham sandwich that Mama Cass Elliot choked to death on, they might both be alive today!
Willfred Tiberius Fergeson: Seems like the whites are the only famous rappers coming out of a majority black city. Anyone else care to elaborate?
Can you imagine the almost orgasmic gratification Blacks must experience when they some fool whigger prancing around on stage busting out some ooks and eeks. Hell, it must be like Muslims gloating over the WTC collapse.
Degradation and destruction; pulling everyone else down to their level. What do these savages care if it's lower than a snake's belly full of buckshot?
Whites make, Blacks break.
Everything that has ever been said and ever will be said on this and similar sites will only be an elaboration of those four simple words.
Has anybody got a plan to fix this problem that doesn't involve weapons, kicked in doors and lengthy prison terms?
Ex New Yorker here....What passes for "black music" these days is some moron yelling into a microphone as he jumps up and down on stage grabbing his dick. Blacks going to a symphony. This has to be some kind of cruel joke.
200,000 years of evolution in the tropics have supurbly equiped Africans to destroy culture.
They are amazingly good at it.
Has anybody got a plan to fix this problem that doesn't involve weapons, kicked in doors and lengthy prison terms?
The example of MOVE in Killadelphia shows there's another option. If the architecture is of the Instant Urban Blight style, it may even be preferable; it not only deals with the problem, it prevents new ones from migrating (or being migrated) to replace it.
I'm sure smart people here can think of more ways to skin this particular cat.
As a Doctorate-holding classical musician in Academia, I can tell you that the vast majority of serious musician colleagues around the USA/Canda are CLUELESS as to the inability of most (not all, just most- like 98.9999999%) Blacks to even have the talent to do serious music, let alone INTELLECTUALLY comprehend the cultural, religious, and utterly WHITE ethnic nature of all great Western Art Music. Yet they keep hoping/admitting to colleges these types. (to use a phrase- "It's a WHITE thing; you wouldn't understand.")
Over twenty years in this field, and nothing changes. Music Departments all over are infected with this 'let's help the minorites' claptrap. We get kids from the 'ghet-toe' in every major instrument (Voice, Piano, Guitar, Bass, Drums)- and strangely, never 'white instruments' like oboe, organ, or even viola. Having admitted these kids from the inner city, the inevitable eventually happens, and these ghetto kids either: lose interest- because they can't get 'instant gratification' or they accuse us of 'preujudice' because their 'instant gratification' system isn't immediately rewarded. This false Pavlovian reward system- taught them in black culture, and a lax academic upbringing in PS29, doesn't grant them a 'contract' in a Conservatory setting, so they leave, never knowing it was what was wrong with THEM, and not what was 'wrong' with Us. Or, (what is more germane to the fact) they can't stand the rigor of practicing five hours a day (if Instrumentalists/pianists) or learning Art Songs in four foreign languages,- and knowing what they are saying- before they even 'advance to candidacy,' in order to get their B.A.
part I
While there are those 'persons of color' who DO get to Schools like Eastman, Julliard, Curtis, etc. (nd an even fewer number who go on to Grad School) they almost ALWAYS carry a 'chip' on their shoulder, that poisons their cameraderie in a field known for mandating 'getting along.' And the most racist element of this charade, is that the Black Vocie students ALWAYS study with a "Black" teacher- who often knows less of voice science than THEY do.
Many of the 'great' African-American instructors in Voice (for example) don't have advanced degrees - hmm, wonder why? They got in on their 'talent' singing 'classically'- yet they can't "teach their way out of a paper bag"- And then, when the Academic Departments find these 'stars' can't teach, (because they never took Vocal Pedagogy, and/or because their physiognomies allowed them to sing 'wrong' for twenty/thirty years, without diagnosing their technical problems) they literally offer White Adults with Master's or Doctoral degrees, merely some p/t work, to 'repair' that which 'Mr. Great Wagnerian black singer' has done- as one of the students in my academic classes told me had been offered to him (he wisely turned it down).
part II
And the main reasons for these retired 'Artists' and their 'success'? Not hard work, in many cases- but a sense of 'entitlement' fostered by competition judges, agents, casting directors, directors of conservatories having to have 'equal representation of al racial groups in their admissions data for EEOC,' etc. AD NAUSEUM.
Popular music has its own traps, devices, and desires, that music departments usually didn't involve themselves with. But now, 'Music Industry' divisions in almost EVERY MUSIC DEPT. in colleges and Universities in the US, are cheapening (as well as culturally destroying) what once were bastions of Western, White Culture.
As Bel Canto (Classical/Opera singing) was created for WHITE throats, the different spaces, resonances, and articulatory organs of non-Whites are often immediately impressive- this applies to Korean/Chinese/Black singers; but these latter neither have the spirit of "Service" (what the Germans call 'Dienen') or the Craft to do their art- to 'go the distance' as it was once said. Meanwhile, talented White singers are 'passed over' or blatantly denied a spot in the limelight. Can we call THIS racism, too?
All of this article points to one simple realistic thing that all Whites in America once knew, in the generation before Marian Anderson besmirched the Met, or your local symphony hired a dreadlocked violinist - you can't make a silk purse out of a sow's ear, no matter how hard you try. Once in a VERY GREAT while you get a Leontyne Price, or a Yo-yo Ma. But we're talking about a WHITE ART FORM. Is NOTHING of our culture to remain to be interpreted by US? Then why is it presumed that 'only blacks' can do jazz? There is also the visual dichotomy of non-whites in White Art forms. Putting even Ms. Price in a costume, devoted to White Beauties of a bygone age, and then pretending she's as pretty as a Callas, Sills, or Riciarelli, is often too much for an already overworked 'willing suspension of disbelief,' to make it worth the public's while. No, the cost to find such a 'diamond' isn't worth it- even if you have to be called a 'racissss' for speaking the truth.
-Hieronymous Anonymous (V)
And the concert experience itself — if no one greets people or tells a joke or explains anything about the music that they're about to hear in a personal or emotional context, they're just left wondering, 'Well, why am I here? It doesn't seem to make any difference that I'm here.'"
How in hell's name does thinking like this survive classical training, I don't believe it would, he probably doesn't know how to read music he probably inpromtus as he goes along, music is logic, so how does thinking like this survive studying classical music, blacks hate cold logic, that's why there are no, black soloists around , too much effort, discipline and hard work is required to become an international soloist, that's why so few if any black soloists are around.
In south africa, some white women went and took under priveledged black kids from soweto under her wing, and formed buskaid or something to that effect. In all these years one black kid has taken classical music as a career, he is in the london symphony or so, more for novelty than actual talent, the white cultured liberals are tired of white soloists and like seeing a black man play the violin.
There is also the soweto string quartet, that totally africanize classical quartet pieces, I actually never knew that you could make classical music sound horrible but these idiots have, being a purist I don't like dumb asses flavouring music with their sub mediocre cultural perspectives. They have a way of playing pieces that get a destinctive african sound to them, mozart must be turning in his grave, they desecrate everything.
But liberal whores like that sort of stuff. Google joshua bell and the subway experiment, and you will see that most people go to the symphony because they think it portrays how cultured and sophisticated they are, they say that experiment is about contextualizing but I don't agree.
Also black opera singers especially black males, something about their voice that grates me, I don't know what it is, but I can hear when its a black voice, there is a certain quality to their voice that I hate, my fovorite male voice is andrea bocelli, that quality of voice will never come from a black man. To express what quality I hear in a black male operatic voice the closest I can come to is ja rules voice, that grating quality which is exagerated in ja rule's voice is what I hear in all black male voices and when they sing opera its still there. Funnily enough i hear that timbre in black males when they speak english, you can give me a blind test and I can identify if the voice is black or not, not because of the eubonics, but because there is a tonal quality to it, but when black males speak a language like italian or french or spanish, and its their natural language, I don't hear that tonal quality come thru, it just seems to be english.
Its better they keep well away from classical music, I hope they hear nails scratching against a black board, when the hear bach , beethoven, and mozart
Thanks Hiero.
You reminded me about the recent study done on pop music over the past 60 years. They analyzed all the rythms & such; apologies for lack of elaborating or a link.
What was discovered, not by surprise, that all the trendy shite is just the same shite.
What do you think of Dimmu Borgir & them playing with orchestras? Much superior than that metallica crap.
It took an atomic bomb to destroy Hiroshima.
Former red Tail Coleman Young was able to do the same to Detroit.
Hieronymous Anonymous: Then why is it presumed that 'only blacks' can do jazz?
Patently false.
Oops! I also meant to add:
Great comment about serious music, Hieronymous Anonymous!
Here is a fascinating look at the abandoned buildings of Detroit. You can spend hours looking at this website. Great photography!
http://detroiturbex.com/
"Robinson says. "And the concert experience itself — if no one greets people or tells a joke or explains anything about the music that they're about to hear in a personal or emotional context, they're just left wondering, 'Well, why am I here? It doesn't seem to make any difference that I'm here.'"
The black mind in a nutshell. It reminds me of the Ugandan President that wanted a Pan African Space Program so they could ask Whites "What you doing up here on the moon?"
Entebbe, Uganda - Africans must travel to the moon to investigate what developed nations have been doing in outer space, Ugandan President Yoweri Museveni said on Saturday.
"The Americans have gone to the moon. And the Russians. The Chinese and Indians will go there soon. Africans are the only ones who are stuck here," Museveni said, addressing a meeting of the Uganda Law Society in Entebbe.
"We must also go there and say: 'What are you people doing up here?'."
This is the fundamental limit of the negroid mind on full display. There is no understanding of teamwork, of achieving a goal for the sake of the future, for the sake of the Adventure, to learn and grow as a people. The landing of "Curiosity" on Mars is an unbelievable example of rationality over chaos which negros will never understand on a gut level because they really don't understand the underlying fundamentals, the subtle complexities, the millions of experiences and efforts over the long haul that must be made to accomplish great deeds, like performing a concert or landing a probe on the moon. Even a high functioning negro scratches his head and says (Paraphrase): ""And the Mars Landing experience itself — if no one greets people or tells a joke or explains anything about the landing that they're about to see in a personal or emotional context, they're just left wondering, 'Well, why am I here? It doesn't seem to make any difference that I'm here.'"
It is a cultural chasm that can not be crossed. The idea that everyone understands the stories behind the music and that accomplishment of THE MUSIC ITSELF is the "emotional context". Even to negroids that participate this concept is a mental wall negroids can't grasp. I don't need some standup comic telling me why The Blue Danube" stirs me emotionally. They are limited savage minds and always will be.
Support abortion, implant birth Control, Voluntary Sterilization, Repatriation.
When you appreciate classical music you will notice how one layered and boring modern music is, if you listen to a symphony, which isn't my fav, I prefer string quartets, you can here a near infinite variation, listen to a sympohony and then listen to some modern music, and you will hear how sonically boring modern music is.
It shouldn't come as surprise, since most modern musicians aren't classically trained.
It gets to me that because of political correctness blacks are placed into orchestras because of novelty, to prove that black people can do classical music too, so white liberals can get amusement by seeing black ppl performing in the midst of a white context, same effect as m&m being white in a black niche culture
WTF said : "What do you think of Dimmu Borgir & them playing with orchestras? Much superior than that metallica crap."
Out of all the bands out there you call out metallica? While I'm not a huge fan I did go through my metallica phase (what white american teen doesn't?). You do realize that metallica released an amazing LIVE album where they played with the San Francisco Symphony.
Metallica and San Fransisco Symphony Live Full Concert
I mean you can hate on metal bands and metallica all you want, but people do not fall out of bed knowing how to play Master of Puppets. Kirk Hammett (metallica's lead guitarist) was trained by some dude named Joe Satriani. Hammett is a FAR more accomplished musician than most any symphony orchestra player. Additionally the idea to play live with a symphony orchestra was the dream of Metallica's first bassist, CLiff Burton, who died in a tragic bus accident. Burton was heavily influenced by classical music, especially Bach. IF you ever bothered to listen to Metallica's "Ride the Lightning" or "Master of Puppets" albums the influence of classical music on many instrumental parts and melodies is blindingly obvious. If you don't like guitars and metal that's O.K. I understand that the world is a scary place and loud noises are frightening.
10MM,
Thank you for your support of abortion. I agreed with the Indian doctor,"who wants to adopt an ugly black baby?" I guarantee not one of those people on his door step had an adoptive child and it would be doubtful such child is black.
Those of you against abortion YOU support all the black and brown babies from those to irresponsible to regulate their sexuality.
I disagree with "theres my cheese" who stated that liberals are "amused" by Leroy performing in a symphony. Wrong! The libs,especially the middle-aged NWL (Nice White Ladies) are transfixed and enraptured by the sight of a negro playing Bach! They would erupt in rage if its pointed out that the black cant play. "Nonsense!He is superb!!" Then the counter-attack:"You're jealous because you arent nearly so accomplished!!" Tears running down her wrinkled cheeks the NWL blissfully adores her negro as he interprets the score. As for "m&m" being treated similarly:Again,no,not hardly! Eminem is tolerated with unease and veiled hostility by the blacketty-blax. Its completely the opposite! There are no NWNL's (nice white negro ladies) who seek to burnish their Christian soul by adoration of a white man. (Ironic,since the idea of a white Jesus has caused so much consternation among the blax.)
I enjoy jazz provided it is full of joy, intrigue and romance.I like Stan Getz especially, For a great listening experience I suggest the album "Focus" by Stan; in this album he is backed up by Hershey Kaye's string ensemble. I have heard some critics say it is the greatest jazz album ever.
I wasn't knocking metallica. Alone, they are great. Their music does not sound good with the orchestra.
In some of Dimmu Borgir's songs, they were written to include an orchastra. You tube them. "Dimmu+philharmonic". You will find some epic, awe inspiring music that is also dark & heavy.
Similar to how Pink Floyd makes some epic songs.
Just tired of metallica due to extensive radio play and newer stuff that is honestly lame. Justice was the last great album, 'Bleeding me' was the last great single.
Hear hear, Muay Tyson! Margaret Sanger was a visionary.
Related to 10mm AUTO above: This comment on the Curiosity landing page is so typical:
On Aug 8, 2012 10:39 AM Mrcantbfool wrote:
This is fake and why they dont have a vid on how the booster jets work not on mars but here on earth? With all the billions nasa gets and spend we get black and white pics? C'mon really? If we can have hd camaras on our small phones they can put them on the rover im very disapointed......
However, I suspect it was written by a White troll; the spelling isn't bad enough.
I'm glad you brought up Stan Getz, Anonymous. One of my faves, and proof that White people can do jazz better than anyone. Now, bebop... you couldn't pay me to listen to Coltraine or Parker. The popularity comes from the same Marxist subversion program to promote ugly art in public spaces.
Maybe Congoleeza Rice could volunteer for the DSO. I hear she's available (unless Romney picks her for VP).
In Detroit I can pretty much assure you when you say 90% black the other 10% is 7% Mexican and approx3% white. And the tax just passed for YT to pay an increase mil on Their property to save the DSO . Tri county area 5 million people paying for 750,000 negroes . Wish Atlanta would of kept em 50 years ago , thanks Henry Ford !
The DSO occupies Orchestra Hall, which is an irreplaceable early 20th century building which is on the National Register of Historic Places (pre-BRA). The DSO's musicians and management are an enclave of whiteness in the Black miasma of Wayne County. Funding the DSO is one way for Whites in other counties to thumb their noses at the Black power establishment in Detroit... without laying themselves open to charges of "racism".
When I go to a concert hall, or to a play, there may be one or two black people in the theater - aside from the ushers - out of several thousand people. The audience is whiter than a tea party convention. Blacks have no interest in preserving civilization.
Zenster said: "Executive overcompensation (pdf) is killing America, right down to its cultural roots."
I once went on a job interview at a defense contractor. I wasn't a good fit for the job and told them so. What burned me up, though, was having to drive around the parking lot looking for a legal spot to park while hundreds of empty spots were marked "Reserved for Management". There were cars parked outside the lots wherever they could find a curb space. And inside the building, management had its own separate entrance so they wouldn't have to get close to the workers. The "elites" hate us.
"Has anybody got a plan to fix this problem that doesn't involve weapons, kicked in doors and lengthy prison terms?"
Vasectomy at birth.
"And the concert experience itself — if no one greets people or tells a joke or explains anything about the music that they're about to hear in a personal or emotional context, they're just left wondering, 'Well, why am I here? It doesn't seem to make any difference that I'm here.'"
Oh, I'm sorry, you're in the wrong place. You want the comedy club down the street. Here, you can use this emergency exit. Don't mind the alarm. No need to thank me, it's my pleasure.
"Only blacks could bring down a once great city so fast".
True ... but only WHITE people are weak and gullible enough to let them. Sorry, truth.
"Why is anyone there? Maybe it has to do with a fondness for uplifting and evocative symphonic performances that provide a glimpse of the magnificence that mankind's artistic endeavors can achieve." Zenster, thank you for putting into words so ably what classical music is & summarizing its importance. As one who enjoys listening to this kind of music, whose children play in local & college orchestras, & who has seen the good that comes of young people being introduced to making this music at an early age, I feel such a sadness & frustration reading this article.
Your question, "why is anyone there?" speaks to such a large problem with a good many people today. I hear & read of the importance of relevance...is this story relevant, or does such & such an incident speak to me, etc. etc. I want to shake those who worry about that, & tell them simply to SIT STILL, & BE QUIET. The very hand of God is evident in beautiful music, & is a gift to us humans. Not all performance needs to be an interactive exercise!
"You reminded me about the recent study done on pop music over the past 60 years. They analyzed all the rythms & such; apologies for lack of elaborating or a link.
What was discovered, not by surprise, that all the trendy shite is just the same shite."
This may be the article you were referring to:
Study Finds New Pop Music Does All Sound the Same
@ Hieronymous Anonymous -
No one presumes only blacks can do jazz. There have been white jazz artists from the beginning, and they're some of the best. Woody Herman, Red Norvo, Stan Kenton, Stan Getz, Antonio Carlos Jobim, Jean-Luc Ponty ... I could go on. Most of these guys get passed over in favor of boring, overrated negroes like Miles and Coltrane. A shame; I really wish more people didn't look at jazz simply as "ni66er music".
Oh, and don't forget Django! He wasn't black OR white, but he was the best.
Excellent work.
That a black orchestra member feels no purpose is not surprising at all.
"who wants to adopt an ugly black baby?"
Idiots like Madonna, Sandra Bullock, Charlize Theron.
I own the Detroit Symphony a debt. Way back, when William Steinberg was the conductor, you could get their recordings for two bucks, much less than anything recorded by the New York, Boston, or Philadelphia orchestras. I can never hear Beethoven's 7th without thinking of them and feeling grateful that they made great music affordable.
Here is an idea: Gut Detroit's symphony hall and turn it into a Walmart. Then, music like this can be played:
http://www.youtube.com/watch?v=wFY0KU2DNAQ
Simple - Detroit: de-evolving every day
Anon (8/8 11:04 PM): Zenster, thank you for putting into words so ably what classical music is & summarizing its importance.
You are most thoroughly welcome.
As one who enjoys listening to this kind of music, whose children play in local & college orchestras, & who has seen the good that comes of young people being introduced to making this music at an early age, I feel such a sadness & frustration reading this article.
As well you should. Again, why is museum director Beal pulling down almost half a million dollars in salary? Hell, that's probably the money they need to keep the doors open.
Also, you have given your children one of life's most magnificent gifts. Just like you never see someone dropping to the pavement clutching at their heart and saying, "Geeze, I wish I had spent more time at the office!" so, too, will you never see anyone throw up their hands and say, "I wish I had never learned how to play the piano!"
The multiple side-benefits that serious music confers, even just upon listeners, much less its players, are almost too numerous to list here. I am self-taught on flute, sax, guitar (electric & acoustic), harmonica (Mississippi saxophone), recorder and synthesizer. I also compose in R&R, R&B, jazz, blues, folk, classical, far eastern and ballads plus write all my own lyrics. And yet, I cannot read a note of sheet music.
Your question, "why is anyone there?" speaks to such a large problem with a good many people today. I hear & read of the importance of relevance...is this story relevant, or does such & such an incident speak to me, etc. etc. I want to shake those who worry about that, & tell them simply to SIT STILL, & BE QUIET. The very hand of God is evident in beautiful music, & is a gift to us humans. Not all performance needs to be an interactive exercise!
While I do agree with you, for Blacks (especially) but also a lot of youth, events do have to be "interactive" because it's all about them!
Again, especially with Blacks, if they aren't center-stage in the spotlight then there's nothing in it for them. Being a patient observer, something crucial for scientific pursuits, just isn't in their blood or character.
Even though I am a devout agnostic, I will heartily agree with you that there is something, quite literally, divine about music. Its transcendent qualities defy definition even as they reach into our very souls.
PS: I'm hugely disappointed that no one has seen fit to mention Paul Desmond's saxophone work with Brubeck. Tunes like Take Five, Lover, Morning Meadowlark and Blue Rondo ala Turk are immortal jazz pieces. He will remain one of my sax idols for life.
Another under-appreciated saxophonist is Dick Heckstall Smith who played with British blues giant Alexis Korner. Pick up a copy of "Blues Incorporated" and check out the tracks, "Chris Trundle's Habit" and "Royal Doogie". Prepare to have your ears pinned back by some simply amazing work from a group of jazz geniuses.
Blacks are also trying to PC their way into ballet. I have wondered if the trend towards hyper-extension and athletic type leaps at the expense of technical refinement and lyrical expression in classical ballet has anything to do(perhaps subconsciously) with the absurd attempt to shoehorn blacks into what I consider to be one of the ultimate expressions of white artistry. The average black female body is incapable of the grace and lyricism which ballet has traditionally required, instead they rely on exaggerration of forms (as they do when aping almost any white art form). They simply cannot understand subtlety. It's why everything must be "dumbed-down", or reduced to its basic elements, for them. Thank God that so far too few have been interested in ballet to destroy it, but I know that it's just a matter of time before some DWL comes along and ruins that. The black tools will still have no interest in ballet, but will allow themselves to be used because nothing white can be allowed to remain untouched by the tar brush. I know that there has already been a blackskinned "Giselle" somewhere, all angular arms, jerky spins, and crotch-flashing extensions. Oh the sacrilege of the ethereal, paleskinned, graceful ballerina, the epitome of idealised white womanhood, being portrayed by a blackskinned bubble-butted eartthbound piece of human solidity. Blacks will leave no stone unturned in their eternal efforts to degrade anything sublime, hence beyond their comprehension. In their inherent crudeness, they are bound to destroy beauty.
I think you meant "Strange Meadowlark", Zenster. You're absolutely right about Brubeck (whom I've seen perform, and hope to again), but if we're going to turn this into a list of great White jazz composers and performers, we wouldn't get onto anything else for a while.
Mr. Rational: I think you meant "Strange Meadowlark", Zenster.
Yes, I did. At the exact same time in which I recalled the proper title of that tune, I knew that, if anyone would, it would be you who might correct my inadvertent error. Now, explain to the studio audience and all the folks at home, exactly why you, a self-confessed jazz aficionado, neglected giving Desmond his due?
If you actually play a wind instrument yourself, then you must know that the man's fingerings are quite difficult enough without even delving into his superb mastery of vibrato and nuance.
Your punishment is to order Korner's "Blues Incorporated" (with the above tracks that are now available on CD) and then writhe in agony knowing that I suggested something which you cannot possibly find fault with; not even the monophonic recording of that album!
I dare you. "Chris Trundle's Habit" will make you squirm. I promise. It has a similar joyous sort of ensemble esprit that you sense when listening to the more vigorous passages of Bach's Brandenburg Concertos.
Hah!
explain to the studio audience and all the folks at home, exactly why you, a self-confessed jazz aficionado, neglected giving Desmond his due?
I already explained that, silly: it was never my intent to turn this into an exhaustive listing of great White jazz composers and performers. You can feel free if you want (and count coup if you want also); I was just noting the correct title for readers who might wish to scare it up on e.g. YouTube.
I'll keep an eye peeled for "Blues Incorporated" now. I get most of my material from the used bins, so it may be a while before a copy turns up.
Observing the strings programs in schools (I was band,i.e., brass, woodwinds and such) I saw a modest number of upscale blacks who made rapid progress in the lower stages of music education in classically oriented music programs. A few of these did go on to be conservatory quality students and could have had successful careers teaching and playing in smaller orchestras, but few wanted that.
Relatively speaking, blacks are talented at music. If they have a 100 IQ they generally can learn to read music and can play classical music at the advanced amateur level. Some actually enjoy this.
Real success for them is elusive, not because of outsiders' "prejudice", but basically because classical music is not a good fit with them biologically. Most would do better in jazz and know it.
And it has to be said, that what the great jazz men do is in some sense mental, that the great white players are usually technical masters, whereas the great black jazzmen usually combine fine (if often unorthodox) technique-but rarely that of the whites-with superb improvisatory skills.
Miles Davis, Coltrane, Parker often laid down solos that upon later analysis have a structure that, if we heard it on a SETI search from space, we would conclude to be an obviously highly intelligent alien transmission. Of course, they may have been higher than a kite when they played it, but that isn't the point. Intellectual analysis can understand it but never could have generated it.
Is it any good? I don't know. You like it or you don't.
A lot of whites like jazz and I don't see any harm in it. A lot don't. A lot of whites think classical music is boring and dull too.
In my own case my mother would have preferred I pursued a classical music education, but I knew myself better than that. I no longer do music for a living but it was very rewarding and gave me insight into a lot of other different areas, so I have no regrets. I worked with a lot of blacks-mainly upscale rather than ghetto ones-during my career and found some of them to be likeable and productive people, but I'm fully cognizant that I was dealing with a preselected elite bunch, and even at that many had some glaring deficits by white standards. Flamboastin' behavior (though rarely violent or scary, with these kids) was common and the noise level could get high fast when outside the acoustically tiled band room. And incidents of other types happened with the blacks so much more often. You haven't had your Straight Face tested until when at the podium of a band shell when your first clarinet has her leather skirt dripping blood from the hem as her open legs reveal saturated panties from an unanticipated period or when a trombonist decides diesel fuel is just the thing for slide oil and another student decides lighting a match to "kill that fart smell" is a good idea.
Excellent comments by Hieronymous Anonymous and Melanie. I had always noticed the different timbre of the black voice, Hieronymous, but hadn't really attributed it to the fact that classical singing was designed for White physiognomy. This: "As Bel Canto (Classical/Opera singing) was created for WHITE throats, the different spaces, resonances, and articulatory organs of non-Whites are often immediately impressive- this applies to Korean/Chinese/Black singers; but these latter neither have the spirit of "Service" (what the Germans call 'Dienen') or the Craft to do their art- to 'go the distance' as it was once said. Meanwhile, talented White singers are 'passed over' or blatantly denied a spot in the limelight." This lack of "Dienen" applies to Asian classical musicians, as well.
Melanie, I love your sublime prose and plan to copy it (with your permission) whenever I find the opportunity: ". . . they rely on exaggerration of forms (as they do when aping almost any white art form). They simply cannot understand subtlety. It's why everything must be "dumbed-down", or reduced to its basic elements, for them."
And this is my favorite: "Oh the sacrilege of the ethereal, paleskinned, graceful ballerina, the epitome of idealised white womanhood, being portrayed by a blackskinned bubble-butted eartthbound piece of human solidity. Blacks will leave no stone unturned in their eternal efforts to degrade anything sublime, hence beyond their comprehension. In their inherent crudeness, they are bound to destroy beauty." Bravissima!
A blog based on generalizing a whole racial group? Now I've seen everything. Well it IS popular. And people still say racism is dead because "We have a black president." Dumbasses... They need to learn that they hide their opinions from the public and reside in blogs where they feel comfortable.
I remember when racist people weren't ashamed of their own racism and didn't hide like you lot. At least it was helpful for black people. Caused progression. This? This is just cowardice.
But this probably won't even go through...
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