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Because one opera company isn't enough

What we have here is the worst kind of authoritarianism--that permeates the arts above the local level. If an artist wants to "make it," she or he must kow-tow to a system of mindless bull$hit. "Name" and "image" count among the "upper-crust" (You got dat right! "Crust" indeed.) more than substance and talent. A local composer was doing beautiful stuff in the seventies, about when I first started hearing of atonal "music," and he couldn't get it played anywhere. He moved to the east coast and kept writing because it was an imperative. A few years ago some friends took us to their favorite Italian restaurant in the Gaslamp "Quarter." As we got out of the car there was a man in his thirties or forties sitting on the sidewalk playing classical guitar fully as well as John Williams. The others didn't notice, but I couldn't dump enough money into his case fast enough before rushing to catch up. He was gone when we came out. One time I managed to convince a man working across the street who came highly recommended to do some work on our house. He did excellent work; a highly-skilled craftsman. The neighbor had mentioned that the man also was a musician. I asked him to help me move our Yamaha piano from the living room to a bedroom, and when we plugged it in, I asked if he would like to play something. He demurred, saying that he had to keep working. I told him that he didn't have to go off the clock, and reassured, he began to play. The most beautiful piano concerto I had never heard. "What was that!" I said. "I haven't decided what to call it," he said, and went back to work on the house. He lived on the street, and used his earnings to buy food and medicine for those less fortunate than he. He had five bullet wound scars on his torso, put there during a protest in Los Angeles. He was "an illegal." I have magnificent paintings by unknown artists that aren't worth a sou, because "the authorities" have never heard of the artists. This is why I love art "forgers."
— July 11, 2015 3:31 a.m.

Hysteria won't build a stadium

Don et al: I wrote a major paper on this for a comparative government and economics class when I studied business after mustering out of the military in 1965. It's long gone, but the government professor said it was one of those rare papers that a professor dreams of reading. I think it gave the econ prof nightmares, but both gave it an “A.” Something bad happened, however, and it ended up in the trash. The memory still haunts me, and is no doubt distorted by the passage of time. It probably wasn’t that good, and it probably wasn’t that bad. Either way, I just hope it wasn’t mediocre. As best I recall, it began with “primitive” humans, who had to cooperate to survive. Then it sketched out how the success of the species put enough strain on local resources to require a continuous budding off of groups that had to move into new territory, into increasingly marginal environments, that required larger and larger territories, developing nomadism and cyclical/seasonal migrations, caching, and then, when that wasn’t working so well, the enslavement of plants and animals and sedentary lifestyles—culture on steroids. Out of the sedentary lifestyle came villages and property. With property came a focus away from hunting and gathering, and needs transmogrified into desires. Cooperative exchange was replaced with competition, not for basic needs, but for excess, and hoarding reared its ugly head. Greed compounded, and continues to compound, and coercion replaced generosity and hospitality. All this was a very ragged process, of course, with no recognizable dividing lines (until tighter and tighter boundaries were established). The easy way to think about this is to contemplate one’s own needs, and distinguish them from desires. Needs always have been a matter of life and death; desires always have been the stuff of fantasy. Confusing fantasy with needs produces a false sense of desperation, and fantasy Trumps reality anytime. I think I’m outa space . . .
— July 10, 2015 9:50 p.m.

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