Concert For A Cause Quotes

The ideological blackmail that has been in place since the original Live Aid concerts in 1985 has insisted that ‘caring individuals’ could end famine directly, without the need for any kind of political solution or systemic reorganization. It is necessary to act straight away, we were told; politics has to be suspended in the name of ethical immediacy. Bono’s Product Red brand wanted to dispense even with the philanthropic intermediary. ‘Philanthropy is like hippy music, holding hands’, Bono proclaimed. ‘Red is more like punk rock, hip hop, this should feel like hard commerce’. The point was not to offer an alternative to capitalism - on the contrary, Product Red’s ‘punk rock’ or ‘hip hop’ character consisted in its ‘realistic’ acceptance that capitalism is the only game in town. No, the aim was only to ensure that some of the proceeds of particular transactions went to good causes. The fantasy being that western consumerism, far from being intrinsically implicated in systemic global inequalities, could itself solve them. All we have to do is buy the right products.

For instance? Well, for instance, what it means to be a man. In a city. In a century. In transition. In a mass. Transformed by science. Under organized power. Subject to tremendous controls. In a condition caused by mechanization. After the late failure of radical hopes. In a society that was no community and devalued the person. Owing to the multiplied power of numbers which made the self negligible. Which spent military billions against foreign enemies but would not pay for order at home. Which permitted savagery and barbarism in its own great cities. At the same time, the pressure of human millions who have discovered what concerted efforts and thoughts can do. As megatons of water shape organisms on the ocean floor. As tides polish stones. As winds hollow cliffs. The beautiful supermachinery opening a new life for innumerable mankind. Would you deny them the right to exist? Would you ask them to labor and go hungry while you yourself enjoyed old-fashioned Values? You—you yourself are a child of this mass and a brother to all the rest. or else an ingrate, dilettante, idiot. There, Herzog, thought Herzog, since you ask for the instance, is the way it runs.

Books, music, painting are not life, can never be as full, rich, complex, surprising or beautiful, but the best of them can catch an echo of that, can turn you back to look out the window, go out the door aware that you’ve been enriched, that you have been in the company of something alive that has caused you to realise once again how astonishing life is, and you leave the book, gallery or concert hall with that illumination, which feels I’m going to say holy, by which I mean human raptness. So

For it is a peculiarity of persons who lead rich, emotional lives, and who (as the saying is) live intensely and with a wild poetry, that they read all kind of meanings into comparatively simple actions, especially the actions of other people who do not live intensely and with a wild poetry. Thus you may find them weeping passionately on their bed, and be told that you - you alone - are the cause because you said that awful thing to them at lunch. Or they wonder why you like going to concerts; there must be more to it than meets the eye.

In my past life, I was a mermaid. I lived deep in the ocean, swimming free, eating crustaceans, and singing five-octave ballads. My notes caused ripples in the sea-whales, turtles, and seahorses alike gathered for my daily concerts. But on land, I struggle to breathe. Humans don't understand my pescatarian diet, and singing is a concept, not an aspiration." - Enchanted

Because he let the entire world press upon him. For instance? Well, for instance, what it means to be a man. In a city. In a century. In transition. In a mass. Transformed by science. Under organized power. Subject to tremendous controls. In a condition caused by mechanization. After the late failure of radical hopes. In a society that was no community and devalued the person.Owing to the multiplied power of numbers which made the self negligible. Which spent military billions against foreign enemies but would not pay for order at home. Which permitted savagery and barbarism in its own great cities. At the same time, the pressure of human millions who have discovered what concerted efforts and thoughts can do.

She felt the State of Rock was symbolised by the stadium-type concerts given earlier that summer by the likes of the Who the Stones and Elton John, causing her to opine, 'The time is right for an aggressive infusion of life blood.' She also claimed the new London punk scene had not been inspired by the New York new wave, but was instead developing parallel to it.

We're like the teenager who "will die" if he or she can't go to a certain rock concert or see a certain friend. Because we tell ourselves it's absolutely crucial that [things should be a certain way right now] we create turmoil and anxiety. It's not [the way things are] that causes pain, it's the meaning we give to these events and our demand that such things not happen. While we can have preferences, the minute we start insisting that people and situations be different, we create internal turmoil - anger, hostility, sadness, and so on. It's our attachments that lead us to donning a mask, blaming others, or feeling incomplete.

It seems to me the quality that makes any book, music, painting worthwhile is life, just that. Books, music, painting are not life, can never be as full, rich, complex, surprising or beautiful, but the best of them can catch an echo of that, can turn you back to look out the window, go out the door aware that you’ve been enriched, that you have been in the company of something alive that has caused you to realise once again how astonishing life is, and you leave the book, gallery or concert hall with that illumination, which feels I’m going to say holy, by which I mean human raptness.

The pineal gland is activated by light and controls the body's bio- rhythms in concert with the hypothalamus gland which regulates hunger, thirst, sexual desire and the biological clock that dictates how fast we age. Look at the potential for mass control if you can externally suppress and manipulate the pineal and hypothalamus glands alone. You can make it much harder to perceive beyond the five senses, decide how quickly people age, how much they want sex, when they are hungry and thirsty and for how long. This is the key reason for putting sodium fluoride into water supplies and toothpaste. The pineal gland absorbs more fluoride than any other part of the body and becomes calcified by this highly-damaging toxin. Sodium fluoride is an appalling waste product of the aluminum industry and has been used in rat poison. It causes cancer, genetic damage, Alzheimer's disease, disrupts the endocrine system and dumbs down the brain. It was added to drinking water in the Nazi concentration camps to make the inmates more acquiescent and docile.

[Solitary confinement] is terrible. That is terrible. You're in a grave. You can't do anything. Everything's brought to you and you're in a room all day, except to come out of the showers. So when I would come out, I would entertain myself by singing, doing little mock concerts. And then when I was in the room, I would develop a routine. Like I have a lot of hair under here, so I would take my hair down and take all day to braid it on purpose. Stretch the hours out. Then I might write. And I would clean the floor. And I would look out the window. And then I'd devote a whole day to just reading. I was Christian then, trying to be. So I would read the whole Bible. I would break it down into sections. You're in a grave and you're trying to live. That's how to best describe it: trying to live in a grave. You're trying to live 'cause you're not dead yet, but nobody hears you when you call out, 'Hey, I'm alive!

The Work of Art. When I watch the audience at a concert or the crowd in the picture gallery I ask myself sometimes what exactly is their reaction towards the work of art. It is plain that often they feel deeply, but I do not see that their feeling has any effect, and if it has no effect its value is slender. Art to them is only a recreation or a refuge. It rests them from the work which they consider the justification of their existence or consoles them in their disappointment with reality. It is the glass of beer which the labourer drinks when he pauses in his toil or the peg of gin which the harlot takes to snatch a moment's oblivion from the pain of life. Art for art's sake means no more than gin for gin's sake. The dilettante who cherishes the sterile emotions which he receives from the contemplation of works of art has little reason to rate himself higher than the toper. His is the attitude of the pessimist. Life is a struggle or a weariness and in art he seeks repose or forgetfulness. The pessimist refuses reality, but the artist accepts it. The emotion caused by a work of art has value only if it has an effect on character and so results in action. Whoever is so affected is himself an artist. The artist's response to the work of art is direct and reasonable, for in him the emotion is translated into ideas which are pertinent to his own purposes, and to him ideas are but another form of action. But I do not mean that it is only painters, poets and musicians who can respond profitably to the work of art; the value of art would be much diminished; among artists I include the practitioners of the most subtle, the most neglected and the most significant of all the arts, the art of life.

Once, during a concert of cathedral organ music, as I sat getting gooseflesh amid that tsunami of sound, I was struck with a thought: for a medieval peasant, this must have been the loudest human-made sound they ever experienced, awe-inspiring in now-unimaginable ways. No wonder they signed up for the religion being proffered. And now we are constantly pummeled with sounds that dwarf quaint organs. Once, hunter-gatherers might chance upon honey from a beehive and thus briefly satisfy a hardwired food craving. And now we have hundreds of carefully designed commercial foods that supply a burst of sensation unmatched by some lowly natural food. Once, we had lives that, amid considerable privation, also offered numerous subtle, hard-won pleasures. And now we have drugs that cause spasms of pleasure and dopamine release a thousandfold higher than anything stimulated in our old drug-free world.

Among the people to whom he belonged, nothing was written or talked about at that time except the Serbian war. Everything that the idle crowd usually does to kill time, it now did for the benefit of the Slavs: balls, concerts, dinners, speeches, ladies' dresses, beer, restaurants—all bore witness to our sympathy with the Slavs. With much that was spoken and written on the subject Konyshev did not agree in detail. He saw that the Slav question had become one of those fashionable diversions which, ever succeeding one another, serve to occupy Society; he saw that too many people took up the question from interested motives. He admitted that the papers published much that was unnecessary and exaggerated with the sole aim of drawing attention to themselves, each outcrying the other. He saw that amid this general elation in Society those who were unsuccessful or discontented leapt to the front and shouted louder than anyone else: Commanders-in-Chief without armies, Ministers without portfolios, journalists without papers, and party leaders without followers. He saw that there was much that was frivolous and ridiculous; but he also saw and admitted the unquestionable and ever-growing enthusiasm which was uniting all classes of society, and with which one could not help sympathizing. The massacre of our coreligionists and brother Slavs evoked sympathy for the sufferers and indignation against their oppressors. And the heroism of the Serbs and Montenegrins, fighting for a great cause, aroused in the whole nation a desire to help their brothers not only with words but by deeds. Also there was an accompanying fact that pleased Koznyshev. It was the manifestation of public opinion. The nation had definitely expressed its wishes. As Koznyshev put it, ' the soul of the nation had become articulate.' The more he went into this question, the clearer it seemed to him that it was a matter which would attain enormous proportions and become epoch-making.

For reasons we don't yet understand, the tendency to synchronize is one of the most pervasive drives in the universe, extending from atoms to animals, from people to planets. Female friends or coworkers who spend a great deal of time together often find that their menstrual periods tend to start around the same day. Sperm swimming side by side en route to the egg beat their tails in unison, in a primordial display of synchronized swimming. Sometimes sync can be pernicious: Epilepsy is caused by millions of brain cells discharging in pathological lockstep, causing the rhythmic convulsions associated with seizures. Even lifeless things can synchronize. The astounding coherence of a laser beam comes from trillions of atoms pulsing in concert, all emitting photons of the same phase and frequency. Over the course of millennia, the incessant effects of the tides have locked the moon's spin to its orbit. It now turns on its axis at precisely the same rate as it circles the earth, which is why we always see the man in the moon and never its dark side.

My dear Sir. Yours of the 13th. is just received. My engagements are such that I can not, at any very early day, visit Rock-Island, to deliver a lecture, or for any other object. As to the other matter you kindly mention, I must, in candor, say I do not think myself fit for the Presidency. I certainly am flattered, and gratified, that some partial friends think of me in that connection; but I really think it best for our cause that no concerted effort, such as you suggest, should be made. Let this be considered confidential. Yours very truly, {Abraham Lincoln}

seems to me the quality that makes any book, music, painting worthwhile is life, just that. Books, music, painting are not life, can never be as full, rich, complex, surprising or beautiful, but the best of them can catch an echo of that, can turn you back to look out the window, go out the door aware that you’ve been enriched, that you have been in the company of something alive that has caused you to realise once again how astonishing life is, and you leave the book, gallery or concert hall with that illumination, which feels I’m going to say holy, by which I mean human raptness.

From the perspective of nearly half a century, the Battle of Hue and the entire Vietnam War seem a tragic and meaningless waste. So much heroism and slaughter for a cause that now seems dated and nearly irrelevant. The whole painful experience ought to have (but has not) taught Americans to cultivate deep regional knowledge in the practice of foreign policy, and to avoid being led by ideology instead of understanding. The United States should interact with other nations realistically, first, not on the basis of domestic political priorities. Very often the problems in distant lands have little or nothing to do with America’s ideological preoccupations. Beware of men with theories that explain everything. Trust those who approach the world with humility and cautious insight. The United States went to war in Vietnam in the name of freedom, to stop the supposed monolithic threat of Communism from spreading across the globe like a dark stain—I remember seeing these cartoons as a child. There were experts, people who knew better, who knew the languages and history of Southeast Asia, who had lived and worked there, who tried to tell Presidents Eisenhower, Kennedy, Johnson, and Nixon that the conflict in Vietnam was peculiar to that place. They were systematically ignored and pushed aside. David Halberstam’s classic The Best and the Brightest documents this process convincingly. America had every right to choose sides in the struggle between Hanoi and Saigon, even to try to influence the outcome, but lacking a legitimate or even marginally capable ally its military effort was misguided and doomed. At the very least, Vietnam should stand as a permanent caution against going to war for any but the most immediate, direct, and vital national interest, or to prevent genocide or wider conflict, and then only in concert with other countries. After

You’ve probably had a similar experience with someone you know. I’ve already recounted the stories of three of my closest friends—one in high school, one in college, and one in seminary—who seemed so dedicated to serving the Lord, and yet all of them eventually turned their backs on Him. One became a dope-smoking rock-concert promoter, and another became a Buddhist. These were not casual acquaintances, but friends at a very close level. I was sure they shared my passion for the true gospel as much as they shared my love for sports. These three young men proved to me that you can profess Christ and not know Him. You can think you’re a Christian and later see clearly that you’re not; you can certainly deceive other people. Seeing these seemingly intelligent, dedicated, strong Christians abandon their beliefs forced me to think about who is really a Christian and what being a Christian really means. Their actions portrayed them as fellow soldiers of Christ, but in the end their hearts exposed them as traitors. Spiritual defectors are an integral part of the story of Christianity, both past and present. They’re in your life and mine, just as they were in Jesus’ life. They shouldn’t surprise you, defeat you, disappoint you, or cause you to despair. Jesus’ insights on spiritual defectors in John 6, and the reaction to His teaching about the issue, give us one of the most compelling and enlightening stories of His ministry. It’s worth considering closely.

In order to gain knowledge about a person through nonverbal pacifiers, there are a few guidelines you need to follow: (1) Recognize pacifying behaviors when they occur. I have provided you with all of the major pacifiers. As you make a concerted effort to spot these body signals, they will become increasingly easy to recognize in interactions with other people. (2) Establish a pacifying baseline for an individual. That way you can note any increase and/or intensity in that person’s pacifying behaviors and react accordingly. (3) When you see a person make a pacifying gesture, stop and ask yourself, “What caused him to do that?” You know the individual feels uneasy about something. Your job, as a collector of nonverbal intelligence, is to find out what that something is. (4) Understand that pacifying behaviors almost always are used to calm a person after a stressful event occurs. Thus, as a general principle, you can assume that if an individual is engaged in pacifying behavior, some stressful event or stimulus has preceded it and caused it to happen. (5) The ability to link a pacifying behavior with the specific stressor that caused it can help you better understand the person with whom you are interacting. (6) In certain circumstances you can actually say or do something to see if it stresses an individual (as reflected in an increase in pacifying behaviors) to better understand his thoughts and intentions. (7) Note what part of the body a person pacifies. This is significant, because the higher the stress, the greater the amount of facial or neck stroking is involved. (8) Remember, the greater the stress or discomfort, the greater the likelihood of pacifying behaviors to follow. Pacifiers are a great way to assess for comfort and discomfort. In a sense, pacifying behaviors are “supporting players” in our limbic reactions. Yet they reveal much about our emotional state and how we are truly feeling.

More specifically, this book will try to establish the following points. First, there are not two great liberal social and political systems but three. One is democracy—political liberalism—by which we decide who is entitled to use force; another is capitalism—economic liberalism—by which we decide how to allocate resources. The third is liberal science, by which we decide who is right. Second, the third system has been astoundingly successful, not merely as a producer of technology but also, far more important, as a peacemaker and builder of social bridges. Its great advantages as a social system for raising and settling differences of opinion are inherent, not incidental. However, its disadvantages—it causes pain and suffering, it creates legions of losers and outsiders, it is disorienting and unsettling, it allows and even thrives on prejudice and bias—are also inherent. And today it is once again under attack. Third, the attackers seek to undermine the two social rules which make liberal science possible. (I’ll outline them in the next chapter and elaborate them in the rest of the book.) For the system to function, people must try to follow those rules even if they would prefer not to. Unfortunately, many people are forgetting them, ignoring them, or carving out exemptions. That trend must be fought, because, fourth, the alternatives to liberal science lead straight to authoritarianism. And intellectual authoritarianism, although once the province of the religious and the political right in America, is now flourishing among the secular and the political left. Fifth, behind the new authoritarian push are three idealistic impulses: Fundamentalists want to protect the truth. Egalitarians want to help the oppressed and let in the excluded. Humanitarians want to stop verbal violence and the pain it causes. The three impulses are now working in concert. Sixth, fundamentalism, properly understood, is not about religion. It is about the inability to seriously entertain the possibility that one might be wrong. In individuals such fundamentalism is natural and, within reason, desirable. But when it becomes the foundation for an intellectual system, it is inherently a threat to freedom of thought. Seventh, there is no way to advance knowledge peacefully and productively by adhering to the principles advocated by egalitarians and humanitarians. Their principles are poisonous to liberal science and ultimately to peace and freedom. Eighth, no social principle in the world is more foolish and dangerous than the rapidly rising notion that hurtful words and ideas are a form of violence or torture (e.g., “harassment”) and that their perpetrators should be treated accordingly. That notion leads to the criminalization of criticism and the empowerment of authorities to regulate it. The new sensitivity is the old authoritarianism in disguise, and it is just as noxious.

Parenting pressures have resculpted our priorities so dramatically that we simply forget. In 1975 couples spent, on average, 12.4 hours alone together per week. By 2000 they spent only nine. What happens, as this number shrinks, is that our expectations shrink with it. Couple-time becomes stolen time, snatched in the interstices or piggybacked onto other pursuits. Homework is the new family dinner. I was struck by Laura Anne’s language as she described this new reality. She said the evening ritual of guiding her sons through their assignments was her “gift of service.” No doubt it is. But this particular form of service is directed inside the home, rather than toward the community and for the commonweal, and those kinds of volunteer efforts and public involvements have also steadily declined over the last few decades, at least in terms of the number of hours of sweat equity we put into them. Our gifts of service are now more likely to be for the sake of our kids. And so our world becomes smaller, and the internal pressure we feel to parent well, whatever that may mean, only increases: how one raises a child, as Jerome Kagan notes, is now one of the few remaining ways in public life that we can prove our moral worth. In other cultures and in other eras, this could be done by caring for one’s elders, participating in social movements, providing civic leadership, and volunteering. Now, in the United States, child-rearing has largely taken their place. Parenting books have become, literally, our bibles. It’s understandable why parents go to such elaborate lengths on behalf of their children. But here’s something to think about: while Annette Lareau’s Unequal Childhoods makes it clear that middle-class children enjoy far greater success in the world, what the book can’t say is whether concerted cultivation causes that success or whether middle-class children would do just as well if they were simply left to their own devices. For all we know, the answer may be the latter.

Large houses are still occupied, while spinners’ and weavers’ cottages stand empty, because the families that once filled them are obliged to live in rooms or cellars. Carriages still roll along the streets, concerts are still crowded by subscribers, the shops for expensive luxuries still find daily customers, while the workman loiters away his unemployed time in watching these things, and thinking of the pale, uncomplaining wife at home, and the wailing children asking in vain for enough of food — of the sinking health, of the dying life of those near and dear to him. The contrast is too great. Why should he alone suffer from bad times? I know that this is not really the case; and I know what is the truth in such matters; but what I wish to impress is what the workman feels and thinks. True, that with child-like improvidence, good times will often dissipate his grumbling, and make him forget all prudence and foresight. But there are earnest men among these people, men who have endured wrongs without complaining, but without ever forgetting or forgiving those whom (they believe) have caused all this woe. Among

But it was still to the liberty of submission, the most difficult of all, that I applied myself most strenuously. I determined to make the best of whatever situation I was in; during my years of dependence my subjection lost its portion of bitterness, and even ignominy, if I learned to accept it as a useful exercise. Whatever I had I chose to have, obliging myself only to possess it totally, and to taste the experience to the full. Thus the most dreary tasks were accomplished with ease as long as I was willing to give myself to them. Whenever an object repelled me, I made it a subject of study, ingeniously compelling myself to extract from it a motive for enjoyment. If faced with something unforeseen or near cause for despair, like an ambush or a storm at sea, after all measures for the safety of others had been taken, I strove to welcome this hazard, to rejoice in whatever it brought me of the new and unexpected, and thus without shock the ambush or the tempest was incorporated into my plans, or my thoughts. Even in the throes of my worst disaster, I have seen a moment when sheer exhaustion reduced some part of the horror of the experience, and when I made the defeat a thing of my own in being willing to accept it. If ever I am to undergo torture (and illness will doubtless see to that) I cannot be sure of maintaining the impassiveness of a Thrasea, but I shall at least have the resource of resigning myself to my cries. And it is in such a way, with a mixture of reserve and of daring, of submission and revolt carefully concerted, of extreme demand and prudent concession, that I have finally learned to accept myself.

I’m Sushi K and I’m here to say I like to rap in a different way Look out Number One in every city Sushi K rap has all most pretty My special talking of remarkable words Is not the stereotyped bucktooth nerd My hair is big as a galaxy Cause I attain greater technology [...] I like to rap about sweetened romance My fond ambition is of your pants So here is of special remarkable way Of this fellow raps named Sushi K The Nipponese talking phenomenon Like samurai sword his sharpened tongue Who raps the East Asia and the Pacific Prosperity Sphere, to be specific [...] Sarariman on subway listen For Sushi K like nuclear fission Fire-breathing lizard Gojiro He my always big-time hero His mutant rap burn down whole block Start investing now Sushi K stock It on Nikkei stock exchange Waxes; other rappers wane Best investment, make my day Corporation Sushi K [...] Coming to America now Rappers trying to start a row Say “Stay in Japan, please, listen! We can’t handle competition!” U.S. rappers booing and hissin’ Ask for rap protectionism They afraid of Sushi K Cause their audience go away He got chill financial backin’ Give those U.S. rappers a smackin’ Sushi K concert machine Fast efficient super clean Run like clockwork in a watch Kick old rappers in the crotch [...] He learn English total immersion English/Japanese be mergin’ Into super combination So can have fans in every nation Hong Kong they speak English, too Yearn of rappers just like you Anglophones who live down under Sooner later start to wonder When they get they own rap star Tired of rappers from afar [...] So I will get big radio traffic When you look at demographic Sushi K research statistic Make big future look ballistic Speed of Sushi K growth stock Put U.S. rappers into shock

Once, during a concert of cathedral organ music, as I sat getting gooseflesh amid that tsunami of sound, I was struck with a thought: for a medieval peasant, this must have been the loudest human-made sound they ever experienced, awe-inspiring in now-unimaginable ways. No wonder they signed up for the religion being proffered. And now we are constantly pummeled with sounds that dwarf quaint organs. Once, hunter-gatherers might chance upon honey from a beehive and thus briefly satisfy a hardwired food craving. And now we have hundreds of carefully designed commercial foods that supply a burst of sensation unmatched by some lowly natural food. Once, we had lives that, amid considerable privation, also offered numerous subtle, hard-won pleasures. And now we have drugs that cause spasms of pleasure and dopamine release a thousandfold higher than anything stimulated in our old drug-free world. An emptiness comes from this combination of over-the-top nonnatural sources of reward and the inevitability of habituation; this is because unnaturally strong explosions of synthetic experience and sensation and pleasure evoke unnaturally strong degrees of habituation.90 This has two consequences. First, soon we barely notice the fleeting whispers of pleasure caused by leaves in autumn, or by the lingering glance of the right person, or by the promise of reward following a difficult, worthy task. And the other consequence is that we eventually habituate to even those artificial deluges of intensity. If we were designed by engineers, as we consumed more, we’d desire less. But our frequent human tragedy is that the more we consume, the hungrier we get. More and faster and stronger. What was an unexpected pleasure yesterday is what we feel entitled to today, and what won’t be enough tomorrow.

The granite complex inside the Great Pyramid, therefore, is poised ready to convert vibrations from the Earth into electricity. What is lacking is a sufficient amount of energy to drive the beams and activate the piezoelectric properties within them. The ancients, though, had anticipated the need for more energy than what would be collected only within the King's Chamber. They had determined that they needed to tap into the vibrations of the Earth over a larger area inside the pyramid and deliver that energy to the power center—the King's Chamber —thereby substantially increasing the amplitude of the oscillations of the granite. Modern concert halls are designed and built to interact with the instruments performing within. They are huge musical instruments in themselves. The Great Pyramid can be seen as a huge musical instrument with each element designed to enhance the performance of the other. While modern research into architectural acoustics might focus predominantly upon minimizing the reverberation effects of sound in enclosed spaces, there is reason to believe that the ancient pyramid builders were attempting to achieve the opposite. The Grand Gallery, which is considered to be an architectural masterpiece, is an enclosed space in which resonators were installed in the slots along the ledge that runs the length of the gallery. As the Earth's vibration flowed through the Great Pyramid, the resonators converted the vibrational energy to airborne sound. By design, the angles and surfaces of the Grand Gallery walls and ceiling caused reflection of the sound, and its focus into the King's Chamber. Although the King's Chamber also was responding to the energy flowing through the pyramid, much of the energy would flow past it. The specific design and utility of the Grand Gallery was to transfer the energy flowing through a large area of the pyramid into the resonant King's Chamber. This sound was then focused into the granite resonating cavity at sufficient amplitude to drive the granite ceiling beams to oscillation. These beams, in turn, compelled the beams above them to resonate in harmonic sympathy. Thus, with the input of sound and the maximization of resonance, the entire granite complex, in effect, became a vibrating mass of energy.

And it may be that history, as Michel Foucault tried to convince us, is a list of discrete, disconnected processes whose joint impact is not linked to any one of them but to their fusion into one big explosion. In that case, history is not just a linear movement of endless American support for Israel against, and at the expense of, the Palestinian cause but a more distorted, curved line of ups and downs that indicate possible changes in the future. Moreover, a concerted effort to bring about such a change is a worthy goal—inside and outside the United States. But what we have this year is the ominous call at the 2006 AIPAC convention for the United States to attack and invade Iran.38

After fifteen minutes in the air, Sharko started leafing through the book on mass hysteria. As Dr. Taha Abou Zeid had briefly explained, this phenomenon had cut across time periods, nationalities, and religions. The author based his thesis on photos, eyewitness accounts, and interviews with specialists. In France, for instance, witch hunts in the Middle Ages had provoked an inordinate fear of the devil and mass acts of insanity: screaming crowds hungry for blood, mothers and children who cheered to see “witches” burning alive. The cases in the book were astounding. India, 2001: hundreds of individuals from different parts of New Delhi swear they were attacked by a fictional being, half man, half monkey, “with metal claws and red eyes.” Certain “victims” even leap from the window to flee this creature, who’d surged right out of the collective imagination. Belgium, 1990: the Belgian Society for the Study of Space Phenomena suddenly receives several thousand sightings of UFOs. The most likely cause was held to be sociopsychological. A sudden mania for looking for flying objects, exacerbated by the media: when you want to see something, you end up seeing it. Dakar: ninety high school students go into a trance and are brought to the hospital. Some speak of a curse; there are purification rituals and sacrifices to remedy the situation. Sharko turned the pages—it went on forever. Sects committing group suicide, panicked crowds, haunted house syndrome like the Amityville Horror, collective fainting spells at concerts…There was even a chapter on genocides, a “criminal mass hysteria,” according to the terms of certain psychiatrists: organizers who plan coldly, calculatingly, while those who execute sink into a frenzy of wholesale destruction and butchery.

Undoubtedly, David did give some brilliant performances in London. Among these was his rendition of Rachmaninoff’s Third Piano Concerto in D Minor in July 1969, for which he was awarded the Dannreuther Prize for best performance of a piano concerto at the Royal College of Music for that year. However, the way it is depicted in Shine—as a dramatic scene in which David collapses on stage while playing, causing him to suffer a mental breakdown and then to return directly to Perth—is entirely fictional. Firstly, David had already played the piece in public several times before, for example, in Perth and Melbourne in 1964. Secondly, David did not collapse. Thirdly, he stayed in London for another year after this performance, giving several other concerts, among them Rachmaninoff’s Third Piano Concerto again, on March 24, 1970, at the Duke’s Hall at the Royal Academy of Music in Marylebone Road. Fourthly, the onset of his illness was slow, both predating and postdating this concert, and his condition was almost certainly connected with a history of chronic mental illness in the Helfgott family. And fifthly, he did not blame his “daddy.

Savona escorted me back to the Residence. For most of our journey the talk was in our usual pattern--he made outrageous compliments, which I turned into jokes. Once he said, “May I count on you to grace the Khazhred ball tomorrow?” “If the sight of me in my silver gown, dancing as often as I can, is your definition of grace, well, nothing easier,” I replied, wondering what he would do if I suddenly flirted back in earnest. He smiled, kissed my hand, and left. As I trod up the steps alone, I realized that he had never really talked with me about any serious subject, in spite of his obvious admiration. I thought back over the picnic. No serious subject had been discussed there, either, but I remembered some of the light, quick flirtatious comments he exchanged with some of the other ladies, and how much he appeared to appreciate their flirting right back. Would he appreciate it if I did? Except I can’t, I thought, walking down the hall to my room. Clever comments with double meanings; a fan pressed against someone’s wrist in different ways to hint at different things; all these things I’d observed and understood the meanings of, but I couldn’t see myself actually performing them even if I could think of them quickly enough. What troubled me most was trying to figure out Savona’s real intent. He certainly wasn’t courting me, I realized as I pushed aside my tapestry. What other purpose would there be in such a long, one-sided flirtation? My heart gave a bound of anticipation when I saw a letter waiting and I recognized the style of the Unknown. You ask what I think, and I will tell you that I admire without reservation your ability to solve your problems in a manner unforeseen by any, including those who would consider themselves far more clever than you. That was all. I read it through several times, trying to divine whether it was a compliment or something else entirely. He’s waiting to see what I do about Tamara, I thought at last. “And in return?” That was what Tamara had said. This is the essence of politics, I realized. One creates an interest, or, better, an obligation, that causes others to act according to one’s wishes. I grabbed up a paper, dipped my pen, and wrote swiftly: Today I have come to two realizations. Now, I well realize that every courtier in Athanarel probably saw all this by their tenth year. Nonetheless, I think I finally see the home-thrust of politics. Everyone who has an interest in such things seems to be waiting for me to make some sort of capital with respect to the situation with Tamara, and won’t they be surprised when I do nothing at all! Truth to say, I hold no grudge against Tamara. I’d have to be a mighty hypocrite to fault her for wishing to become a queen, when I tried to do the same a year back--though I really think her heart lies elsewhere--and if I am right, I got in her way yet again. Which brings me to my second insight: that Savona’s flirtation with me is just that, and not a courtship. The way I define courtship is that one befriends the other, tries to become a companion and not just a lover. I can’t see why he so exerted himself to seek me out, but I can’t complain, for I am morally certain that his interest is a good part of what has made me popular. (Though all this could end tomorrow). “Meliara?” Nee’s voice came through my tapestry. “The concert begins at the next time change.” I signed the letter hastily, sealed it, and left it lying there as I hurried to change my gown. No need to summon Mora, I thought; she was used to this particular exchange by now.

But why does it matter what we call it, as long as there is concerted action to respond to and prevent such crimes? It matters because if we really want to fix something that is broken, if we want to heal these fractures in our society, then we need to understand their causes. If we do not, then we will forever continue to place giant sticking plasters over the wounds left by this violence, trying to bandage over losses that can never be replaced. As long as this violence continues, it is obviously the case that we do have to address the symptoms, but my argument is that we must also address the causes if we want a long-term reduction or even, perhaps, the eventual eradication of male violence against women.

Is the phrase 'pay' or 'play the piper' I inquire, why 'Cause I admire a desire to flip the switch Yeah make a way to face the music like Life savings for a mosh pit riot Listen to a mix Rock the tickets, higher volume Velocity which shakes a cockpit's pilot

In the concert hall, when I reopen my eyes, visible space seems narrow in relation to that other space where the music was unfolding just a moment ago, and even if I keep my eyes open during the performance of the piece, it seems to me that the music is not truly contained in this precise and shabby space. The music insinuates a new dimension across visible space where it unfurls just as, for persons suffering hallucinations, the clear space of perceived things is mysteriously doubled with a 'dark space' where other presences are possible...Music is not in visible space, music erodes visible space, surrounds it, and causes it to shift, such that these overdressed listeners--who take on a judgmental air and exchange comments or smirks without noticing that the ground begins to tremble beneath them--are soon like a ship's crew tossed about on the surface of a stormy sea.

THROUGHOUT HISTORY, THERE have been occasions when a vastly superior military force has managed, against all odds, to snatch defeat from all but certain victory. The phenomenon usually has root in one of three causes: arrogance, such a blinding belief in one’s own military or cultural superiority as to fail to take the enemy seriously; political interference; or tunnel vision, that curious tendency among war planners and generals to believe a flawed approach might be rectified simply by pouring more men and firepower into the fray. In early 1915, the British military would navigate its way to a fiasco of such colossal proportions as to require all three of these factors to work in concert.

Most of the people around me yesterday were middle-aged or old. I am used to it, but it never ceases to surprise me how easy it is to leave the hybridity of the city, and enter into all-white spaces, the homogeneity of which, as far as I can tell, causes no discomfort to the whites in them.

Almost everyone, as almost always at such concerts, was white. It is something I can't help noticing; I notice it each time, and try to see past it. Part of that is a quick, complex series of negotiations: chiding myself for even seeing it, lamenting the reminders of how divided our life still remains, being annoyed that these thoughts can be counted on to pass through my mind at some point in the evening. Most of the people around me yesterday were middle-aged or old. I am used to it, but it never ceases to surprise me how easy it is to leave the hybridity of the city, and enter into all-white spaces, the homogeneity of which, as far as I can tell, causes no discomfort to the whites in them. The only thing odd, to some of them, is seeing me, young and black, in my seat or at the concession stand. At times, standing in line for the bathroom during intermission, I get looks that make me feel like Ota Benga, the Mbuti man who was put on display in the Monkey House at the Bronx Zoo in 1906. I weary of such thoughts, but I am habituated to them. But Mahler's music is not white, or black, not old or young, and whether it is even specifically human, rather than in accord with more universal vibrations, is open to question.

In seeking other than in myself—as men will—the causes of my tribulations, I have often inclined to lay the blame of much of the ill that befell me, and the ill that in my sinful life I did to others, upon those who held my mother at the baptismal font and concerted that she should bear the name of Monica.

Secretly, Ray was a rotten celebrity. He never got used to it, never learned to take it for granted. The photos and adulation and program signing always made him uncomfortable, and after the theft he never ordered room service again. Every day, no matter where he was, he’d find a busker or someone on the street and leave money or help otherwise when he could. He was making a great deal of money and giving a lot of it away as quickly as he got it. He played charity concerts for several different organizations. He loved Kelly Hall-Tompkins’s Music Kitchen, a charity that organized musicians to serve food and play in soup kitchens, and he often volunteered—both to play and to serve the guests. Another charity bought instruments for students who couldn’t afford to buy their own: at the inaugural fundraising gala, he played for free, enlisted several musicians—Wynton Marsalis and Trombone Shorty—and donated a hundred thousand dollars to the cause.

Now if one notices carefully one will see that between these two worlds, despite much physical contact and daily intermingling, there is almost no community of intellectual life or point of transference where the thoughts and feelings of one race can come into direct contact and sympathy with the thoughts and feelings of the other. Before and directly after the war, when all the best of the Negroes were domestic servants in the best of the white families, there were bonds of intimacy, affection, and sometimes blood relationship, between the races. They lived in the same home, shared in the family life, often attended the same church, and talked and conversed with each other. But the increasing civilization of the Negro since then has naturally meant the development of higher classes: there are increasing numbers of ministers, teachers, physicians, merchants, mechanics, and independent farmers, who by nature and training are the aristocracy and leaders of the blacks. Between them, however, and the best element of the whites, there is little or no intellectual commerce. They go to separate churches, they live in separate sections, they are strictly separated in all public gatherings, they travel separately, and they are beginning to read different papers and books. To most libraries, lectures, concerts, and museums, Negroes are either not admitted at all, or on terms peculiarly galling to the pride of the very classes who might otherwise be attracted. The daily paper chronicles the doings of the black world from afar with no great regard for accuracy; and so on, throughout the category of means for intellectual communication,—schools, conferences, efforts for social betterment, and the like,—it is usually true that the very representatives of the two races, who for mutual benefit and the welfare of the land ought to be in complete understanding and sympathy, are so far strangers that one side thinks all whites are narrow and prejudiced, and the other thinks educated Negroes dangerous and insolent. Moreover, in a land where the tyranny of public opinion and the intolerance of criticism is for obvious historical reasons so strong as in the South, such a situation is extremely difficult to correct. The white man, as well as the Negro, is bound and barred by the color-line, and many a scheme of friendliness and philanthropy, of broad-minded sympathy and generous fellowship between the two has dropped still-born because some busybody has forced the color-question to the front and brought the tremendous force of unwritten law against the innovators. It is hardly necessary for me to add very much in regard to the social contact between the races. Nothing has come to replace that finer sympathy and love between some masters and house servants which the radical and more uncompromising drawing of the color-line in recent years has caused almost completely to disappear. In a world where it means so much to take a man by the hand and sit beside him, to look frankly into his eyes and feel his heart beating with red blood; in a world where a social cigar or a cup of tea together means more than legislative halls and magazine articles and speeches,—one can imagine the consequences of the almost utter absence of such social amenities between estranged races, whose separation extends even to parks and streetcars.

The master stroke for this campaign was a concerted effort to rebrand the debate as one about the “death tax.” Frank Luntz, a political operative on the repeal payroll, later revealed that this rebranding “kindled voter resentment in a way that ‘inheritance tax’ and ‘estate tax’ [did] not.” To control the ownership narrative, the repeal campaign relied on personal stories that activated people’s fears. That’s why Thigpen was not alone testifying on the panel. With him were Bill McNutt, owner of Collin Street Bakery in Corsicana, Texas; Jim Turner, a rancher in Florida; and Robert Lange, a farmer from Malvern, Pennsylvania. Each expressed concern that their family businesses would need to be sold to pay estate taxes. The key for pro-repeal lobbyists was that nearly 40 percent of Americans mistakenly believed they were in the top 1 percent, or soon would be, and thus were potentially subject to the tax. Thanks to the lobbying campaign, Thigpen’s story went viral. Luntz and his hired associates transformed a tax that affected fewer than two out of every hundred Americans into a seemingly populist cause. As one commentator notes, “Thigpen’s story was repeated over and over again, and its racial undertones implied that the tax disproportionately impacts Black families. The only problem? It was a complete lie.

It was that fear, finally, that left her awake and tearless at her window late at night. She wasn’t falling behind, slipping into some sort of widow’s stupor; she was moving ahead, beyond reach. Her own daughter had suddenly made her realize it by quietly usurping her right to have a child. It was Emma’s turn to have children, but what was it her turn to do? It had taken her daughter’s pregnancy to make her realize how nearly impregnable she herself had become—impregnable in a variety of ways. Let her get a little stronger, a little older, a little more set in her ways, with a few more barricades of habit and routine, and no one would ever break in. Her ways would be her house and her garden and Rosie and one or two old friends, and Emma and the children she would have. Her delights would be conversation and concerts, the trees and the sky, her meals and her house, and perhaps a trip or two now and then to the places she liked best in the world. Such things were all very well, yet the thought that such things were going to be her life for as far ahead as she could see made her sad and restless—almost as restless as Vernon, except that her fidgets were mostly internal and seldom caused her to do anything more compulsive than twisting her rings. As she sat at the window, looking out, her sense of the wrongness of it was deep as bone. It was not just wrong to go on so, it was killing. Her energies, it seemed to her, had always flowed from a capacity for expectation, a kind of hopefulness that had persisted year after year, in defiance of all difficulties. It was hopefulness, the expectation that something nice was bound to happen to her, that got her going in the morning and brought her contentedly to bed at night. For almost fifty years some secret spring inside her had kept feeding hopefulness into her bloodstream, and she had gone through her days expectantly, always eager for surprises and always finding them. Now the stream seemed dry—probably there would be no more real surprises. Men had taken to fleeing before her, and soon her own daughter would have a child. She had always lived close to people; now, thanks to her own strength or her own particularity and the various quirks of fate, she was living at an intermediate distance from everybody, in her heart. It was wrong; she didn’t want it to go on. She was forgetting too much—soon she would be unable to remember what she was missing. Even sex, she knew, would eventually relocate itself and become an appetite of the spirit. Perhaps it had already happened, but if it hadn’t it soon would.

Scientists agree that while high sensitivity allows individuals to be especially aware of nuances in their surroundings - like subtle sounds, unique smells, and different textures - it also causes people to feel overwhelmed. Stadiums and concerts and busy markets can be exasperating rather than enjoyable. So too can loud classrooms and testy tones of voice. To survive, sensitive people might try to control their surroundings, they can become less emotionally flexible, and they might even flee. Essentially, life is richer yet harder for individuals with high sensitivity. Unfortunately, rather than appreciate the valuable attributes of sensitive people, modern society often regards them disdainfully. The exceptional skills related to sensitivity are disregarded as 'soft', and the people themselves are devalued for being delicate, inhibited, reactive, rigid and anxious. Aware of the excessive scrutiny they face, sensitive kids might feign composure at school and then break down at home. They also mighty become perfectionists and react intensely to even the slightest error. Many seek constant affirmation to calm their nerves and perform poorly when watched or tested. Given these distinct responses, experts encourage adults to allow for calmer environments, gentler forms of guidance, and more compassion.

In the past, music was always a live, and often a communal, activity. Somebody had to be playing music for it to be heard; and somebody had to be present in order to appreciate it. Now we can listen to whatever music we choose, whenever we want, and, perhaps most significant of all, we can do so in privacy. Music has been transformed from something with a primarily live and communal focus (live concerts notwithstanding) and has become most commonly an item of consumption for the individual. If expressive individualism has come to focus on personal satisfaction as the meaning of life, technology has served that cause well.

By leaving the organization of his concerts to others, Liszt sometimes fell victim to amusing errors. He once played in Marseille and included in the programme his arrangement of Schubert’s “La Truite” (“The Trout”). Owing to a printing error the piece appeared as “La Trinité,” and the unsuspecting audience sat through this bubbling music with quasi-religious reverence. When Liszt realized the mistake he got up from the piano and made an impromptu speech, asking the audience not to confuse the mysterious idea of the Trinity with Schubert’s trout, a helpful interjection which caused great hilarity.

Early on, though, I realized that the same music placed in a different context can not only change the way a listener perceives that music, but it can also cause the music itself to take on an entirely new meaning. Depending on where you hear it—in a concert hall or on the street—or what the intention is, the same piece of music could either be an annoying intrusion, abrasive and assaulting, or you could find yourself dancing to

After a few minutes, she speaks up again. “You’re next. Sing.” Anxiety grips Hallelujah’s chest, squeezing. “I don’t sing,” she says. “C’mon, it doesn’t matter if you’re bad. It’s not like this is a concert hall—” “She’s not bad.” Jonah’s back. “She has a great voice.” Rachel swings around to look from Jonah to Hallelujah. “Really? Now you have to—” “No." “But—” “I don’t sing,” Hallelujah repeats, turning away. Jonah joins them by the fire. The silence stretches out. Except it’s not really silent, not with the birds and wind and fire and how loud Hallelujah’s heart is beating. And then Jonah clears his throat. “You used to sing,” he says. “You were great.” Hallelujah ignores the compliment. She looks into the fire. She feels the last of the day’s happiness fading away, already a memory. “Why’d you quit?” Jonah asks. “Was it ’cause of Luke?” Hallelujah inhales deeply. She feels the familiar spark of anger in her gut. “Yes,” she says. “It was because of Luke. And you. And everyone else. So thanks for that.” Jonah’s face drops. She can see that she’s hit a nerve. Well, he hurt her first. The way he took Luke’s side, shutting her out. The loss of his friendship, when she needed a friend most. The loss of their voices harmonizing, when she needed music most. How she just hurt him can’t begin to compare to all of that.

A school bus is many things. A school bus is a substitute for a limousine. More class. A school bus is a classroom with a substitute teacher. A school bus is the students' version of a teachers' lounge. A school bus is the principal's desk. A school bus is the nurse's cot. A school bus is an office with all the phones ringing. A school bus is a command center. A school bus is a pillow fort that rolls. A school bus is a tank reshaped- hot dogs and baloney are the same meat. A school bus is a science lab- hot dogs and baloney are the same meat. A school bus is a safe zone. A school bus is a war zone. A school bus is a concert hall. A school bus is a food court. A school bus is a court of law, all judges, all jury. A school bus is a magic show full of disappearing acts. Saw someone in half. Pick a card, any card. Pass it on to the person next to you. He like you. She like you. K-i-s-s-i . . . s-s-i-p-p-i is only funny on a school bus. A school bus is a stage. A school bus is a stage play. A school bus is a spelling bee. A speaking bee. A get your hand out of my face bee. A your breath smell like sour turnips bee. A you don't even know what a turnip bee is. A maybe not, but I know what a turn up is and your breath smell all the way turnt up bee. A school bus is a bumblebee, buzzing around with a bunch of stingers on the inside of it. Windows for wings that flutter up and down like the windows inside Chinese restaurants and post offices in neighborhoods where school bus is a book of stamps. Passing mail through windows. Notes in the form of candy wrappers telling the street something sweet came by. Notes in the form of sneaky middle fingers. Notes in the form of fingers pointing at the world zooming by. A school bus is a paintbrush painting the world a blurry brushstroke. A school bus is also wet paint. Good for adding an extra coat, but it will dirty you if you lean against it, if you get too comfortable. A school bus is a reclining chair. In the kitchen. Nothing cool about it but makes perfect sense. A school bus is a dirty fridge. A school bus is cheese. A school bus is a ketchup packet with a tiny hole in it. Left on the seat. A plastic fork-knife-spoon. A paper tube around a straw. That straw will puncture the lid on things, make the world drink something with some fizz and fight. Something delightful and uncomfortable. Something that will stain. And cause gas. A school bus is a fast food joint with extra value and no food. Order taken. Take a number. Send a text to the person sitting next to you. There is so much trouble to get into. Have you ever thought about opening the back door? My mother not home till five thirty. I can't. I got dance practice at four. A school bus is a talent show. I got dance practice right now. On this bus. A school bus is a microphone. A beat machine. A recording booth. A school bus is a horn section. A rhythm section. An orchestra pit. A balcony to shot paper ball three-pointers from. A school bus is a basketball court. A football stadium. A soccer field. Sometimes a boxing ring. A school bus is a movie set. Actors, directors, producers, script. Scenes. Settings. Motivations. Action! Cut. Your fake tears look real. These are real tears. But I thought we were making a comedy. A school bus is a misunderstanding. A school bus is a masterpiece that everyone pretends to understand. A school bus is the mountain range behind Mona Lisa. The Sphinx's nose. An unknown wonder of the world. An unknown wonder to Canton Post, who heard bus riders talk about their journeys to and from school. But to Canton, a school bus is also a cannonball. A thing that almost destroyed him. Almost made him motherless.

Visitors to Mason’s Yard in St. James’s will search in vain for Isherwood Fine Arts. They will, however, find the extraordinary Old Master gallery owned by my dear friend Patrick Matthiesen. A brilliant art historian blessed with an infallible eye, Patrick never would have allowed a misattributed work by Artemisia Gentileschi to languish in his storerooms for nearly a half century. The painting depicted in The Cellist does not exist. If it did, it would look a great deal like the one produced by Artemisia’s father, Orazio, that hangs in the National Gallery of Art in Washington. Like Julian Isherwood and his new managing partner, Sarah Bancroft, the inhabitants of my version of London’s art world are wholly fictitious, as are their sometimes-questionable antics. Their midsummer drinking session at Wiltons Restaurant would have been entirely permissible, as the landmark London eatery briefly reopened its doors before a rise in coronavirus infection rates compelled Prime Minister Boris Johnson to shut down all non-essential businesses. Wherever possible, I tried to adhere to prevailing conditions and government-mandated restrictions. But when necessary, I granted myself the license to tell my story without the crushing weight of the pandemic. I chose Switzerland as the primary setting for The Cellist because life there proceeded largely as normal until November 2020. That said, a private concert and reception at the Kunsthaus Zürich, even for a cause as worthy as democracy, likely could not have taken place in mid-October. I offer my profound apologies to the renowned Janine Jansen for the unflattering comparison to Anna Rolfe. Ms. Jansen is rightly regarded as one of her generation’s finest violinists, and Anna, of course, exists only in my imagination. She was introduced in the second Gabriel Allon novel, The English Assassin, along with Christopher Keller. Martin Landesmann, my committed if deeply flawed Swiss financier, made his debut in The Rembrandt Affair. The story of Gabriel’s blood-soaked duel with the Russian arms dealer Ivan Kharkov is told in Moscow Rules and its sequel, The Defector. Devotees of F. Scott Fitzgerald undoubtedly spotted the luminous line from The Great Gatsby that appears in chapter 32 of The Cellist. For the record, I am well aware that the headquarters of Israel’s secret intelligence service is no longer located on King Saul Boulevard in Tel Aviv. There is no safe house in the historic moshav of Nahalal—at least not one that I am aware of—and Gabriel and his family do not live on Narkiss Street in West Jerusalem. Occasionally, however, they can be spotted at Focaccia on Rabbi Akiva Street, one of my favorite restaurants in Jerusalem.

The man sneered a little, most probable from gathering her name and linking it to the reason for his friend’s prior street concert. He turned and extended his hand. First, she got stuck by the coldness of his gray eyes. Then, her eyes arrested at the two inch or so scar on his right cheek that hadn’t been visible while he’d allowed her to admire his better half. The wound had cross-hatches like it’d been stitched poorly, and though the facial hair on his cheek concealed it a bit, it was still visible, and too ugly to fit the rest of him. She cringed, yet stared a few seconds more and she caught herself when his eyes flickered in awareness. “Power.” That was all he said, eyes frosty, mouth tight. His voice was deep with a tinge of some sort of accent, maybe South American, or even Caribbean or something. Gloria wasn’t sure; she didn’t meet many people with accents. He wasn’t rude yet he wasn’t pleasant. Gloria took his hand and shook it because she felt compelled to. He was threateningly handsome and had the scar been absent, he’d be visually impeccable. Yet his frigid aura caused her to shiver.

For drawing attention to these men, the Anti-Defamation League was somehow tarred as a liberal, partisan organization by an elected Jewish Republican—the essence of an assault on a century-old Jewish institution. I did not see any organized effort to rally around the institution. Why is that significant? The question brings to mind a haunting passage from a Jewish newspaper in Berlin, written in 1933 and quoted by Timothy Snyder in On Tyranny. We do not subscribe to the view that Mr. Hitler and his friends, now finally in possession of the power they have so long desired, will implement the proposals circulating in [Nazi newspapers]; they will not suddenly deprive German Jews of their constitutional rights, nor enclose them in ghettos, nor subject them to the jealous and murderous impulses of the mob. They cannot do this because a number of crucial factors hold powers in check … and they clearly do not want to go down that road. When one acts as a European power, the whole atmosphere tends towards ethical reflection upon one’s better self and away from revisiting one’s earlier oppositional posture. * * * Institutions matter, but they do not survive on their own. They must be defended, and at the moment, the Anti-Defamation League is an institution under concerted, partisan attack and is not being defended. Truth also needs to be defended, and groups like the Anti-Defamation League and the Southern Poverty Law Center try to defend truth as they expose hate. To most of us, at least for now, the notion that Hillary Clinton and her campaign manager, John Podesta, ran a pedophile ring in the back of Comet Ping Pong, on a busy commercial strip in Washington’s affluent Northwest quadrant, is absurd. So is the tall tale that Seth Rich, a young Democratic National Committee staffer who was tragically murdered in a gentrifying part of Washington before dawn in 2016, was rubbed out by Democrats because he was leaking emails to the Russians. But in the alternative universe of the alt-right, these stories are taken as truth—not because the haters in the alt-right have found logic in these stories but because they feed the larger narrative of a debauched world of liberalism that needs cleansing by fire. Even after a disturbed man from North Carolina showed up with a gun at Comet Ping Pong to free the enslaved children and nearly caused a real tragedy, the promulgators of Pizzagate like Mike Cernovich offered no mea culpas or apologies. The lies are too valuable to the larger movement.

As musicians, we have the potential of doing great things. Everyone can remember at least one great concert they’ve been to. The performance was so inspired that it stayed with the audience well after they went home. Perhaps the fragrance of it was still there the next day. The feeling it created caused those present to behave differently for a while, possibly with more grace, with more mindfulness of the soul. Spiraling to deeper levels of consciousness, the performer takes us beneath the layers of illusion and peels

I’m Sushi K and I’m here to say I like to rap in a different way Look out Number One in every city Sushi K rap has all most pretty My special talking of remarkable words Is not the stereotyped bucktooth nerd My hair is big as a galaxy Cause I attain greater technology [...] I like to rap about sweetened romance My fond ambition is of your pants So here is of special remarkable way Of this fellow raps named Sushi K The Nipponese talking phenomenon Like samurai sword his sharpened tongue Who raps the East Asia and the Pacific Prosperity Sphere, to be specific [...] Sarariman on subway listen For Sushi K like nuclear fission Fire-breathing lizard Gojiro He my always big-time hero His mutant rap burn down whole block Start investing now Sushi K stock It on Nikkei stock exchange Waxes; other rappers wane Best investment, make my day Corporation Sushi K [...] Coming to America now Rappers trying to start a row Say “Stay in Japan, please, listen! We can’t handle competition!” U.S. rappers booing and hissin’ Ask for rap protectionism They afraid of Sushi K Cause their audience go away He got chill financial backin’ Give those U.S. rappers a smackin’ Sushi K concert machine Fast efficient super clean Run like clockwork in a watch Kick old rappers in the crotch

begged forgiveness of those whose relatives she had caused to be arrested or accused. She profoundly regretted the calamity she had caused. In particular she apologized to the Nurse, Esty, and Cloyce families, their ranks thin in the village pews by 1706. They were innocent. She twice reminded the congregation that she had acted in concert “with others.” Whoever drafted her statement had the jurors’ apology before him; as had they, Ann declared she had acted “ignorantly and unwittingly.” She too had been neither able “to understand, nor able to withstand, the mysterious delusions of the powers of darkness and Prince of the air.” Three times in her short statement she notes she had been an “instrument” in his designs.