When one artwork passes another

Not my best composition ever, I must admit…this is WAY too busy. We were sitting in a turn lane in Geneva, NY, waiting to turn left to go into downtown and visit a favorite breakfast place, and a train was rolling by. In Geneva the main rail line lies right between the downtown and US20, so sometimes you have to wait to enter the city. That’s totally fine! I love railroads and trains and I am firmly on Team MOAR TRAINS. What was pretty cool here is that my left-turn signal was obviously keyed to the railroad crossing, so I wasn’t tasked with turning into that little stub of street.

As for the photo itself, I wanted to capture the graffiti on that hopper car. I actually like graffiti tags a lot of time. Setting aside that it’s technically vandalism, there is often a ton of skill and artistry involved. I consider stuff like this “mobile public art”. In this case, I caught it (using Ophelia, my phone) as it was rolling past a big permanent mural on the back of one of Geneva’s buildings.

I really love the old train-towns of Upstate NY, the ones that grew along the rail lines that once provided the transportation infrastructure for the industries of the region. I hope they regain some of their former energy, someday.

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No answers….

Note: I have edited, and added to, this post several times since it went live. This is because my thoughts on this subject are a mess, and there’s a good chance they present as such in the material below.

GRADY: We’re trying to solve a problem here, Billy.
BILLY BEANE: Not like this, you’re not. You’re not even looking at the problem.

Moneyball (2011)

I haven’t written about the situation in Gaza at all, going back to when it all began with the horrific and unprecedented attacks by Hamas terrorists against citizens of Israel on October 7, 2023. Why haven’t I mentioned it? Mainly because I find the topic of Middle Eastern violence unbelievably saddening, and I have no answers to offer on the situation. It’s been that way since before I was born, and more than that, it’s been that way since thousands of years before I was born.

But maybe that’s not a good enough reason to avoid discussing it entirely. At some point one must offer a testimony to one’s humanity by noting the horrors we keep making for ourselves. (“We” is meant to refer to the entire species here.) I don’t know if powerlessness is a good reason for silence. Maybe it is. Maybe it isn’t.

I did make one post on Facebook about the events that have taken place in Gaza since all of this current situation began. One, in reaction to a single incident in the ongoing Israeli response. A friend of mine who is actually an Israeli Jew took me to task for that post, and I had to quickly admit that she was right. I took down the post, and we shared an exchange of messages about what’s been happening over there.

My starting point here is that I have never liked or trusted Benjamin Netanyahu. He is far too conservative and belligerent for my tastes, and I do not trust his motivations or goals in the way he is prosecuting the current conflict. I think there is much to justifiably criticize of his worldview in general, and the way it is manifesting in the way he is directing the current war in Gaza.

Maybe it’s the liberal leftist peacenik in me, but I have found myself sympathetic to the throngs of people decrying the violence being visited upon innocent people in Gaza who have had Hamas thrust upon them for too long. Hamas is, after all, not a legitimate governmental body but a terrorist organization, and one of the most militant and violent, to boot. They have taken root in Gaza and assumed control of that region not through any legitimate means, and many Palestinians living in Gaza really are caught between awfulness on one side and a rage-filled response to that awfulness on the other. My sympathy was frustrated in the last American election by people who insisted that they would not vote for the existing administration under the assumption that there was some single act, or small selection of acts, that Joe Biden could have undertaken to end the violence entirely.

Those sympathies were real, but they had limits. And I’m not sure my limits were in the right place.

The Jewish Israeli friend I mention above, and another Jewish author friend, continued to decry what they saw as antisemitism on the part of people who protested the war. This I did not understand, for a long time. I did not see how disapproval of this war was also emblematic of disapproval of Jews in general.

But then, something clicked, during discussions over the last few days on Facebook regarding a recent release of Israeli prisoners by Hamas. One man, held since October 7, 2023, is reported to have stated eagerness to see his wife and children again, not knowing that his very captors murdered them that same day.

That was a brutal reminder that wars don’t happen in a vacuum, and there is never just one set of moral actors in any conflict. And someone, either one of my two friends or someone in their comments, noted something that stopped me in my tracks: Why did all the people who have condemned Israel’s response so stridently said nothing about anything that Hamas has done?

I’ll circle back to that in a minute. First, a literary memory.

(Yes, it will be relevant.)

There was an author in the 20th century named John D. Fitzgerald who is best known for a series of children’s books he wrote, called the Great Brain books. There’s no name for the entire series, but they start off with The Great Brain and those words feature in all the titles that followed. The books tell the story of a Catholic family living in rural Utah in the 1890s, and they are based on real events and experiences from Fitzgerald’s own life. The books are wildly entertaining, though they have admittedly not aged all that well in the nearly sixty years since the series began. As noted the books are loosely (very loosely, I later learned) autobiographical, and Fitzgerald writes them from his own viewpoint, but the main character–the “Great Brain” of the series–is his older brother Tom, who is incredibly intelligent and who never lets anybody forget it. He also has what Fitzgerald, writing as “J.D.”, his younger self, calls a “money-loving heart”. Thomas spends the books cooking up one scheme after another to move money from his brothers’ and his friends’ pockets into his own, and a lot of it is straight-up con-man stuff.

The books also depict what life might have been like in a small Utah town back then. I do not remember if the books take place just before or just after Utah was admitted to the Union, but relationships with Mormons form part of the backbone of the stories, along with the trials and tribulations of young boys growing up in that environment. The depiction of masculinity in these books is admittedly not the best; corporal punishment is routine and accepted, and backing up one’s boasts with one’s fists was always necessary. It’s the kind of world where no dare could be ignored and no fight backed away from.

In one of the first couple books–I don’t recall which one–an old Jewish man moves in to town. His intention is to open his own general store and make his living that way. I honestly don’t remember much about his story, except the end. His name in the book was Abie. Somehow, it’s discovered that Abie is very ill, and it turns out that he’s very ill because he is literally starving to death. His store has failed miserably, he has no money, and he has no food. The Fitzgeralds gather around Abie to try to revive him and give him food, but it’s too late and Abie dies.

Later on, they’re all wondering why Abie never said anything, why they didn’t know that this nice old Jew had starved to death right in the middle of their own community where everyone theoretically cares about everyone else. Fitzgerald’s father, who runs the local newspaper and is often depicted in the books as the smartest man in the town, provides the answer: it’s precisely because Abie was a Jew.

I don’t have copies of these books at all, so I can’t quote them directly, but the reason no one noticed a starving Jew in their own neighborhood was horrible and blunt (and honestly shocking, coming in the middle of a book that’s mostly an entertaining story for middle-grade readers). This isn’t anywhere near the way Fitzgerald has anybody say it in the book, but it boils down very simply to this:

Nobody cares what happens to a Jew.

I’ve thought about that passage off and on for many years. I read those books, several times, each, when I was a kid. I never understood it, not really, or why author Fitzgerald chose to put such a sad and stark lesson right in the middle of a children’s lit novel. And I still don’t, but Fitzgerald was himself a journalist and writer for a time and he wrote his novels in the 1960s, when knowledge of the Holocaust was still pretty new.

I haven’t understood it. I have to be honest about that. I took that anecdote, which stands quite alone in Fitzgerald’s books, to refer to our failure to address with concern the needs of people who are strangers to our community, to people who are “other”. There’s a lot of truth to that, yes. But I suspect that anyone who is a Jew who read those books recognized a different lesson loud and clear: it’s not just an illustration of general suspicion of people who are “other”, it’s that throughout just about all of human history during which Jews existed, Jews have always been “other”.

Back to the main problem, then.

That quote at the top of this post is a useful one, I think. It comes from a movie about baseball, but it’s absolutely true that you can’t hope to solve a problem unless you’ve at least actually identified the problem.

So what is the problem here, today, in Gaza and elsewhere?

It’s a problem with a lot of horrible facets, that much is sure. Can it be reduced to a single sentence? Here’s one way Aaron Sorkin summed it up in The West Wing:

PRESIDENT BARTLET: Ellie had a teacher named Mr. Pordy, who had no interest in nuance. He asked the class why there’s always been conflict in the Middle East and Ellie raised her hand and said “It’s a centuries old religious conflict involving land and suspicions and culture and…” “Wrong.” Mr. Pordy said, “It’s because it’s incredibly hot and there’s no water.”

Is that all it is? I honestly don’t know. That’s probably a bigger piece of it than many prefer to admit, but…well, come on, now. I have no idea what Sorkin was getting at when he wrote that. Yes, there’s a lot of hot and arid country in that part of the world. There are also several great river valleys that saw the rise of some of the greatest early civilizations in the history of our species.

All the other stuff can’t be discounted. Ancient religious hatreds can’t be ignored. (And lest I turn this into a screed against Aaron Sorkin, it baffles me that he takes this route here, because in the first season he dramatized a conflict between India and Pakistan that he directly attributed to “the Subcontinent’s religious malevolence”.) But when we look at the current events in Gaza, and when we’re confronted by people who are rightly horrified by the suffering being visited upon the Palestinians in that land, there’s a question, or a series of questions, that my Jewish friends, and only my Jewish friends, have asked:

Where is the similar condemnation of the attacks on October 7, 2023?

That question leads to others:

Are the Israelis to ignore those attacks? Are they allowed to make response to that level of unprovoked viciousness? Are they supposed to just…accept it? Take it?

And those questions lead to more, which ultimately boil down to one question:

Why is the suffering of Jews just a thing that’s to be accepted in this world?

I have no answer to that. I’m not sure an answer exists that satisfies. I mean, there is an obvious answer to that: it’s just good old garden-variety as-old-as-the-hills anti-Semitism.

So my question ends up being, Why in the world is anti-Semitism so permanent? How is it still a thing? Because I have to conclude that this is very much a part of the constant and ongoing discussion. After a year and a half of listening to folks online and off decrying this war, and as saddened as I am by the war and by my new President’s insanely unhelpful statements about what’s to come, I do have to wonder why it really seems as if the general idea is that the people of Israel, and by extension the worldwide Jewish community, are just supposed to suffer in silence. The suffering of Jews is just factored in, it seems. It’s the cost of doing business.

It saddens me that I’m just now seeing this. My Jewish friends have seen it all their lives, and their parents saw it, and their parents saw it before them. And their children are seeing it.

I’ve seen many protests on behalf of the innocent Palestinians in Gaza, but I haven’t seen any on behalf of the innocents on both sides of this horror, and that has to include Israelis. It has to include Jews. October 7, 2023 was one of the most horrific days for the worldwide Jewish community since the Holocaust itself ended. Were they really to make no response to this? Or have they made the wrong response? If the latter, then…what is the right response? I’m not seeing any of these questions being asked, and it seems to me they need to be. I understand the impulse to center the suffering of the Palestinian community in Gaza as everything has been unfolding, but too often that kind of commentary has shaded toward the idea that the Israelis contributed to the problem in the first place. And as a historical matter, there is absolutely some truth to that, because there is always some truth to that. Events like October 7, 2023 don’t happen out of nowhere.

But we have to be very careful about that line of thinking, because it’s really easy to frame that argument in such a way as to grant the premise that Hamas’s actions on October 7, 2023 were a reasonable and justifiable response to something Israel did previously. And I am unwilling to go that far.

I don’t know what the solution here is. I don’t know that endless war, and a concurrent and constant turning up of the heat, is ever going to accomplish anything. But I think that any movement toward any kind of lasting peace in that region must start with a rejection of the idea, subconscious though it may be, that there exists in this world a population of human beings whose suffering is just baked in to the whole affair. We really do seem largely accepting of the suffering of the Jews, and I don’t believe any of these issues can be solved without acknowledging that. Without looking at the whole problem.

Comments are off for this post. Also, I feel it necessary to note what is screamingly obvious: I am not a Jew, so these thoughts are those of an outsider who cannot ever fully grapple with this entire problem the way someone who is actually IN that community can.

 

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Something for Thursday

It’s always struck me as a shame that as the trumpet became a fully chromatic instrument in the 1800s, with the invention of valves, it still languished in the back of the orchestra, getting few opportunities for feature solo work. Here’s one such piece, actually written for the cornet and a virtuoso of that instrument, Jules Levi. Jacques Offenbach wrote this, and it’s a pleasantly fun and lovely piece. A deep work it’s not. Depth in concerted music for the trumpet would have to wait until the 20th century, unfortunately.

Here is the American Eagle Waltz by Jacques Offenbach.

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A scene from Seneca Falls

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Tuesday Tones

Here’s a piece I heard last week on my drive home from work. I was immediately transfixed by its color and energy, to the point that I sat in my car in the driveway while it finished. The composer is Black American Jessie Montgomery, and the piece is called Starburst. It is written for string orchestra. It’s very short, only about three and a half minutes, but what a vibrant three and a half minutes they are!

Program notes (via):

Composer-violinist-educator Jessie Montgomery hails from New York’s Lower East Side, where her father managed a music studio. She was, in her words, “constantly surrounded by all different kinds of music.” Thus, her own compositions have drawn from many diverse influences, such as African-American spirituals, civil rights anthems, improvisational styles, modern jazz, film scoring, etc. From those early years, she developed, chiefly as a violinist, to receive degrees from the Juilliard School and New York University. In her professional performing life, Montgomery has been a member of the Providence String Quartet and the Catalyst Quartet. The latter began as a project of the Detroit-based Sphinx Organization, which creates opportunities for African-American and Latino string players.

As a composer, Montgomery was the resident Composer-Educator for the Albany Symphony during the 2015-16 season. In addition she has been recognized with grants and fellowships from the American Composers Orchestra, the Sphinx Organization, the Joyce Foundation, and the Sorel Organization. Her reputation has been spreading steadily, mainly in North America, beginning in New York City, Providence, and Boston, reaching out to Deer Valley, Utah; Miami Beach, Florida; Birmingham, Alabama; and Toronto, Ontario. Montgomery’s debut record album Strum: Music for Strings (including Starburst) was released on the Azica Records label in late 2015.

Starburst was commissioned by the Sphinx Organization and premiered by its resident Sphinx Virtuosi in 2012. About it, Montgomery writes:

This brief one-movement work for string orchestra is a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape. A common definition of a starburst, “the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly,” lends itself almost literally to the nature of the performing ensemble that premiered the work, the Sphinx Virtuosi, and I wrote the piece with their dynamic in mind.

Program Notes by Dr. Michael Fink © 2020 ALL RIGHTS RESERVED

Here is Starburst. Enjoy! Play it twice! You’ve got time, and it’s good!

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Exercise caution…

…when eating popcorn while wearing overalls.

Sometimes after an afternoon or evening at the cinema I’ve had to shake myself out. It’s not a great look, folks. (Now, you’d think I’d wise up and choose one of my many pairs that have bib pockets that actually close up, but who thinks about details like that?)

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An observation

It’s quite a jolt when you’re watching a marathon of The Office and you catch the last three episodes and then it goes right back to Season One, Episode One.

Another observation: I’ve no idea how people deal with commercials on teevee. Lord, commercials suck.

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Something for Thursday

The birthday of the great Jerry Goldsmith was the other day, on the 10th. And honestly, Goldsmith deserves a more poetic tribute than I’ve got in me right now, because it’s late in the work week and I’m tired and as I write this I have already consumed half of a beverage, if you take my meaning. So I’ll just let a selection of his music speak for itself. Luckily, Jerry Goldsmith was one of the greats of 20th century music (not just film music, but music in general!), and this is probably my favorite score of his. Here is a suite from The Wind and the Lion.

By the way, The Wind and the Lion is a good entry in the “What movie has the best closing line?” sweepstakes: “Is there not one thing in your life that is worth losing everything for?”

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Shadows

The moon shone bright and clear last night. Look at these shadows in my backyard!

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Tuesday Tones

Nkeiru Okoye was born in New York City in 1972 to a Nigerian father and an African-American mother. She graduated from Oberlin in 1993, which is the same year I graduated Wartburg College. Okoye is almost entirely contemporary with me. I am less than a year older than she is. According to the bio on her website, Okoye has had an already-amazing career as a composer…and I only heard a piece of hers for the first time yesterday.

Sigh. There is so much wonderful music out there to hear! Would that I could do just that, and nothing else. Well, writing too. And photography. And….

I found this piece almost entirely accidentally on YouTube, and I listened to it over my lunch break yesterday. It’s one of the most refreshing things I’ve ever heard, containing a mixture of styles and genres and techniques that blend together into something wonderfully old and  new. Looking up Okoye’s work and trying to learn what her compositional style is, I found this profile which includes this:

With an output containing a plethora of orchestral, band, choral, and chamber works as well as operas composed over a career spanning nearly 30 years, Dr. Okoye has written across nearly every musical medium. Her genre-bending compositions draw from Classical, Gospel, Folk, Jazz, R&B, and African diasporic music, and are often infused with African American improvisatory techniques.

I don’t know how much of this piece is improvisatory, but you can certainly hear all of those influences in this piece’s pages. I thought this was wonderful, and I hope you will, too.

Here is Black Bottom by Nkieru Okoye.

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