All posts by Syd Fablo

Little Krilly Poot Poot

Julian Vigo – The Spawn: Feminism’s Misandry Problem

Link to an article by Julian Vigo:

“The Spawn: Feminism’s Misandry Problem”

 

Bonus Quotes:

“one should . . . admit how problematic it is to anchor one’s political demands to status of victimhood. Is the basic characteristic of today’s subjectivity not the weird combination of the free subject who believes themselves ultimately responsible for their own fate and the subject who bases their argument on their status as a victim of circumstances beyond their own control? Every contact with another human being is experienced as a potential threat – if the other smokes, if he casts a covetous glance at me, he already hurts me; this logic of victimization is today universalized, reaching well beyond the standard cases of sexual or racist harassment.”

Slavoj Žižek, “Sex and ’68: Liberal Movement Revolutionized ‘Sexuality’ But at What Cost?”

“They play the Beautiful Soul, which feels superior to the corrupted world while secretly participating in it: they need this corrupted world as the only terrain where they can exert their moral superiority.”

Slavoj Žižek, Refugees, Terror and Other Troubles with the Neighbors: Against the Double Blackmail (2016)

“PC anti-racism is sustained by the surplus-enjoyment which emerges when the PC-subject triumphantly reveals the hidden racist bias on an apparently neutral statement or gesture”

Slavoj Žižek, “The Need to Traverse the Fantasy”

“In short, the extreme horror of Auschwitz did not make it into a place which intrinsically purifies every single one of its surviving victims into ethically sensitive subjects who got rid of all petty egotistic interests.”

Slavoj Žižek, “We Need to Examine the Reasons Why We Equate Criticism of Israel with Antisemitism”

My only disagreement with Vigo’s article is her characterization of “motherhood privilege” (more broadly, “parenthood privilege”) as “delusional nonsense”.  Laws and corporate policies do sometimes grant benefits to parents that are not given to the childless — isn’t that a parenthood privilege?

Slavoj Žižek – Quasi Duo Fantasias: A Straussian Reading of “Black Panther”

Link to a review of the film Black Panther (2018) by Slavoj Žižek:

“Quasi Duo Fantasias: A Straussian Reading of ‘Black Panther’”

 

Bonus Links: “Woke Hollywood? The Marketing of Black Panther” and “The Politics of Batman” and War and Revolution: Rethinking the Twentieth Century and “Making Greater Possibilities Inconceivable: Another Thought or Two on the Logic of Lesser Evilism” and “Batman v Superman: Dawn of Justice and Captain America: Civil War”

The Shape of Jazz to Come: A Guide to the Music of Ornette Coleman

A guide by Syd Fablo, Bruno Bickleby, and Patrick.

Introduction

 

This is a guide to the music of Ornette Coleman.  Albums are listed chronologically by recording date, broken down into multiple periods of his life and career and supplemented with biographical information.  Outtake and various artists collections are shown indented and with smaller font and images.  Bootlegs are listed, indented, but images and details are provided for only a few selected bootlegs that are of particular significance.  Guest and sideman appearances are listed separately toward the end.  Book, film/video/TV, and web site resources about or featuring Ornette are listed at the end.  The authors also provide curators’ picks and some other items of interest at the end.  While there are some compilations and box sets of Ornette’s work available, note that (with one exception) most focus on only a narrow period of time or are explicitly record label specific — the most significant of the label-specific ones being Beauty Is a Rare Thing: The Complete Atlantic Recordings.  It is somewhat unfortunate that many of Coleman’s recordings are currently out of print.  Moreover, unlike the deluge of archival, outtake and bonus material issued for certain other famous musical contemporaries of Ornette, there has been comparatively little of such material by him officially released to date.


A Brief Biography

 

Birth Name: Randolph Denard Ornette Coleman

Born: March 19, 1930 (or possibly March 9, 1930), Fort Worth, TX.

Died: June 11, 2015, New York, NY.

Ornette received almost no formal musical training, and was a noted autodidact.  Reports of him being unable to read music are often exaggerated in order to present him as a kind of primitive musical savant, rather than as someone from humble roots who willfully bucked convention.  Though he began playing music professionally while still a teenager, it was not until he was in his late 20s that he recorded as a bandleader and he was almost 30 years old before he found success as a solo act — rather late by typical jazz standards.  His music was resisted and disliked by many, but he showed an uncommon amount of “grit” in sticking with it despite adversities and setbacks.  Listeners tend to have a “love him or hate him” sort of reaction.  Usually described as shy (i.e., introverted), he also struck many as an unusual guy for his mannerisms and outlook on life.  He eventually developed his own musical theory that he dubbed “Harmolodics”, which he insisted can be applied to how one conducts their own life and to other artistic forms.  Often he described himself as a composer who performs.  “Lonely Woman” was his first “Harmolodic” composition, and is perhaps his best-known song.  One-time collaborator Pat Metheny said about him, “Ornette is the rare example of a musician who has created his own world, his own reality, his own language – effective to the point where emulation and absorbtion [sic] of it is not only impossible, it is simply too daunting a task for most musicians to even consider.”  His career (and fortunes) ebbed and flowed, with periods of intense activities and long stretches of public inactivity.  He nonetheless came to be regarded as one of America’s greatest musical innovators.  He also had a considerable art collection, and partly due to those interest notable contemporary artworks were reproduced on many of his albums, on the cover, back and/or inserts.  At least after achieving career success, he was a dapper dresser, often wearing brightly colored custom made suits.  His sister Truvenza (Trudy) Coleman also had a musical career, though she did not work with her brother professionally.


Legend

🎷🎷🎷 = top-tier; an essential

🎷🎷 = second tier; enjoyable but more for the confirmed fan; worthwhile after you’ve explored the essentials and still want more

🎷 = third tier; a lesser release, for completists only



Continue reading The Shape of Jazz to Come: A Guide to the Music of Ornette Coleman

Some Critiques of Silicon Valley User Exploitation

Selected links to materials critiquing the morally dubious and exploitative nature of the business models of “online” software companies from places like Silicon Valley, as well as a few relevant quotes.  While the latest buzz in the mass media is about privacy, that is really only one relatively small part of a larger set of issues about exploitative conduct.

 

“They Didn’t Even Need to Hack Facebook”

“Facebook’s Latest Data Breach Reveals Silicon Valley’s Fortunes Are Built on Pilfering Privacy”

“‘The Gig Economy’ Is the New Term for Serfdom”

“Cambridge Analytica Didn’t Abuse the Happiness Industry – It Was Used Exactly How It Was Intended to Be” (and “Assange Works for the People – Now We Need to Save Him”)

“Can We Be Saved From Facebook?” (note the casual deployment of “horseshoe theory” and “cognitivism”/”scientism” here)

“Imagine Having So Much Money You Can Spend It on Instagram ‘Influencers’”

“Goodbye Facebook, and Screw You Too”

“Facebook CEO Presents Plans for Mass Censorship at Senate Hearing”

“RYM Shitheads”

The People’s Platform

“Cloud Computing Is a Trap, Warns GNU Founder Richard Stallman”

“The Limits of the Web in an Age of Communicative Capitalism”

“The Massive Monopolies of Google, Facebook and Amazon, and Their Role in Destroying Privacy, Producing Inequality and Undermining Democracy”

Jodi Dean, “Communicative Capitalism and Class Struggle”:

“In communicative capitalism, capitalist productivity derives from its expropriation and exploitation of communicative processes.

***

“If we are honest, we have to admit that there is actually no such thing as social media. Digital media is class media. Networked communication does not eliminate hierarchy, as we believed, in entrenches it as it uses our own choices against us.

***

“Dispossession, rather than happening all at once, is an ongoing process. No one will deny the ongoingness of data dispossession. Sometimes it is blatant: the announcement that our call will be monitored for quality assurance, the injunctions to approve Apple’s privacy changes again or the necessity of renewing passwords and credit card information. Sometimes the ongoingness is more subtle; in maps, GPS signals, video surveillance, and the RFID tags on and in items we purchase. And sometimes the ongoingness is completely beyond our grasp, as when datasets are combined and mined so as to give states and corporations actionable data for producing products, patterns, and policies based on knowing things about our interrelations one to another that we do not know ourselves. Here the currents of lives as they are lived are frozen into infinitely separable, countable, and combinatory data-points.

“Approached in terms of class struggle, big data looks like further escalation of capital’s war against labor.”

 

Slavoj Žižek, Revolution at the Gates:

“[Adapting a statement of Lenin regarding central banks,] can we also say that ‘without the World Wide Web socialism would be impossible . . . . Our task is here merely to lop off what capitalistically mutilates this excellent apparatus, to make it even bigger, even more democratic, even more comprehensive?” (p. 293)

“However, does capitalism really provide the ‘natural’ frame of relations of production for the digital universe?  Is there not also, in the World Wide Web, an explosive potential for capitalism itself?  Is not the lesson of the Microsoft monopoly precisely the Leninist one: instead of fighting this monopoly through the state apparatus (remember the court-ordered splitting up of the Microsoft Corporation), would it not be more ‘logical’ simply to nationalize it, making it freely accessible?  So today, I am thus tempted to paraphrase Lenin’s well-known slogan ‘Socialism = electrification + the power of the soviets’: ‘Socialism = free access to the Internet + the power of the soviets.’  (The second element is crucial, since it specifies the only social organization within which the Internet can realize its liberating potential; without it, we would have a new version of crude technological determinism.”  (p. 294).

For a more watered-down, less practical alternative to nationalization, see “Facebook: A Cooperative Transformation”

Bill Dixon Orchestra – Intents and Purposes

Intents and Purposes

The Bill Dixon OrchestraIntents and Purposes RCA Victor LSP-3844 (1967)


The 1960s represented a crucial period for jazz music, with its commercial appeal dropping precipitously, a host of radical new innovations developing, and recording technology reaching an important plateau of sorts.  It was an era producing many acclaimed albums, which the album format in general coming into its own during the decade.  But even among the many great jazz albums of the era, Intents and Purposes stands out.  Bill Dixon was one of the great jazz artists of the 20th century, though for a variety of reasons his name is not particularly well known and his relatively small catalog of recordings has not consistently remained in print.  That was somewhat the fate of Intents and Purposes.

Recorded with a large group orchestra, the music is able to realize a wide range of textures and produce rather large swings in dynamics.  The pieces tend to, strangely enough, include many highly conventional elements of jazz and classical music.  There are clear melodic statements, tightly choreographed harmonies, and even syncopated rhythms.  But what makes the album so unique is that those conventional elements are a rather small part of the music as a whole.  Dixon places an unusually large emphasis on timbre/texture, space, and compositional movement.  There are frequently almost independent statements, such as a passage with a simultaneous trumpet improvisation, string harmonies, a pizzicato bassline, and skittering percussion, each of which might have stood on its own.  The way Dixon puts these elements together largely eliminates distinctions between foreground and background.  Filmmaker Robert Bresson famously said that while most people considered film the combination of theater and photography, he saw it as the combination of painting and music.  With Dixon, he seems to make music that combines philosophy and (wordless) poetry.

It has been noted that Dixon drew substantial influence from the work of Ornette Coleman, whose unique style of composition and performance utilized motive structures (as described by Gunther Schuller in the liner notes to Ornette!).  Dixon offers his own take on Coleman’s motivic development.  It is fair — and perhaps appropriate — to call Intents and Purposes “harmolodic” music, after Coleman’s portmanteau term for his own artistic theory.  Though Coleman tended to always emphasize elements of juxtaposition, while Dixon emphasizes synthesis a bit more.  That is evident in how he merges foreground and background, eliminating soloist/accompaniment distinctions.  There are also some resemblances here to “third stream” music, such as the collaborative album Jazz Abstractions.  Of course, The Jazz Composer’s Orchestra grew out of Dixon’s earlier, less documented efforts and is certainly one of the closest counterparts to this music — compare their self-titled album from the following year.

There is a very non-competitive aspect to this music.  It asserts itself through a kind of self-actualization, but resists easy comparisons and the sort of jockeying for recognition and prestige that characterizes most other music. That sort of an outlook characterized most of Dixon’s career, in which he spent comparatively more time as an educator, recording infrequently and often merely privately.

More than half a century later, this album still sounds unique and impressive.  That is to say it hasn’t aged a day.  But that shouldn’t surprise, because while this certainly is a part of the social fabric of its time, it was always a work of unique self-expression that showed no deference to commercial trends or fads.