The Day after the Memorial Day

Written by Arthur Zulu

Continued from page 1

The high point of presidents' speeches on Memorial days is usually a determination to make America andrepparttar world safer as a tribute torepparttar 132424 fallen soldiers. But that statement has been made over and over again. It was made four months before 9/11. Yet peace continues to elude America andrepparttar 132425 world.

As regards this, French playwright Moliere said: "Of all follies there is none greater than wanting to makerepparttar 132426 world a better place." Was he right? Let UN scribe Kofi Annan answer. "I thinkrepparttar 132427 most frustrating part is that we all know what's wrong and what needs to be done, but we often can't act upon it," he says. That is an admission of failure supreme. The secretary-general and Bill Clinton for example, sawrepparttar 132428 impending genocide in Rwanda. (80,000 slaughtered in 100 days—worse than what Adolph Hitler did torepparttar 132429 Jews.) Yet they refused to act. (I have said elsewhere that that world body should be scrapped.)

But isrepparttar 132430 past any guide? According to William Shakespeare, "What is past is prologue." The cause of past world pogrom should have provided an insight to our leaders not to repeat history. However, it is not so. Kofi Annan again agrees: "At times, when incredible things are happening and we want to awakenrepparttar 132431 conscience ofrepparttar 132432 world, no one wants to move because of bad experiences inrepparttar 132433 past." See what's happening in Iraq now. See what Israel is doing to Hamas' leaders in Palestine—murder in broad daylight. Yetrepparttar 132434 hands ofrepparttar 132435 members ofrepparttar 132436 world body are tied. One authority said that history is a tale of unfulfilled expectations and failed dreams. This is because we are searching for peace withrepparttar 132437 wrong tools.

Whenrepparttar 132438 two kings quoted earlier in CHASING SHADOWS! did not see Inferno,repparttar 132439 terrorist, they decided to shoot and bomb his spirit parents: Hatred, Oppression, Frustration, Injustice, Mistrust, Fear, and Enmity. But these spirits are immune torepparttar 132440 guns and bombs of these men. The assault fails and Inferno is free to setrepparttar 132441 world on fire. The book is therefore a pure allegory alluding torepparttar 132442 ineffectual results of violence to thwart violence.

If we do not eradicate these monsters that breed war and terror,repparttar 132443 killings would continue, andrepparttar 132444 veterans would have fought and died in vain. And Memorial days would continue to come and go. Presidents would give Demosthenian and Ciceronian speeches and exit. But death and gravedom—the ultimate winners—would forever dog our heels,repparttar 132445 heels of our wives, and that of our children.

ARTHUR ‘ZULU is an editor, book reviewer, and published author. BOOKS PUBLISHED BY THE AUTHOR CHASING SHADOWS!: A Dream HOW TO WRITE A BEST-SELLER

Arthur Zulu is an editor, book reviewer, and published author.

Free Jazz: The Jazz Revolution of the '60s

Written by Robert Levin

Continued from page 1

Silva saw broad extra-musical ramifications in his procedures. He believed that by rejecting all externally imposed constraintsrepparttar inherent goodness in men would surface and enable them to function in absolute harmony with both nature and each other. "Man," he said to me once, coming off an especially vigorous set. "In another ten years we won't even need traffic lights we're gonna be so spiritually tuned to one another."

And I have to say that I agreed with him.

This was, after all, a period in history when "restrictions" of every conceivable kind, from binding social and sexual mores to (withrepparttar 132422 moon shot)repparttar 132423 very law of gravity, were successfully being challenged. If you were regularly visiting Timothy Leary's "atomic" level of consciousness, and if you could call a girl you'd been set up with on a blind date and she might say, "Let's 'ball' first and then I'll see if I want to have dinner with you," you could be forgiven your certainty that nothing short of a revolution in human nature itself was taking place.

And some of us who regarded Western values as bothrepparttar 132424 cause of all ill (had they not brought us torepparttar 132425 brink of annihilation withrepparttar 132426 hydrogen bomb?), andrepparttar 132427 principle impediment to such a transformation, sawrepparttar 132428 new black music as leadingrepparttar 132429 way, asrepparttar 132430 veritable embodiment of what Herbert Marcuse called "the revolution of unrepression."

In so heady a time, earnest unself-conscious debates aboutrepparttar 132431 relative revolutionary merits of free jazz and rock—the other musical phenomenon ofrepparttar 132432 period—were not uncommon.

I remember a conversation I had with John Sinclair,repparttar 132433 Michigan activist, poet and author of Guitar Army.

John tookrepparttar 132434 position that rock wasrepparttar 132435 true "music ofrepparttar 132436 revolution."

No, I argued, rock did stand againstrepparttar 132437 technocratic, Faustian western sensibility. It did, and unabashedly, celebraterepparttar 132438 sensual andrepparttar 132439 mystical. But in these respects it only caught up to where jazz had always been. In contrast to what some ofrepparttar 132440 younger black musicians were up to—the purging of white elements African music had picked up in America—rock was simplyrepparttar 132441 first hip white popular music.

Rock, it was my point, never got beyond expressingrepparttar 132442 sentiment of revolution while free jazz, by breaking with formal Western disciplines—by going "outside," asrepparttar 132443 musicians termed it, of Western procedures and methods and lettingrepparttar 132444 music find its own natural order and form—got to an actualization of what true revolution would be. Rock's lyrics, I said, promoted, in many instances,repparttar 132445 idea of a spiritual revolution, but musically rock remained bound torepparttar 132446 very traditions and conventions that its lyrics railed against andrepparttar 132447 audience never got a demonstration orrepparttar 132448 experience of authentic spiritual communion. Rock's lyrics were undermined and attenuated inrepparttar 132449 very act of their expression byrepparttar 132450 system used to express them. The new jazz, onrepparttar 132451 other hand, achieved freedom not just fromrepparttar 132452 purely formal structures of western musical systems, but, implicitly, fromrepparttar 132453 emotional and social ethos in which those structures originated.

As I say, it was a heady time.

Now, of course, free jazz, in anything resembling a pristine form just barely exists, and obviously it has ceased to exist altogether as a revolutionary movement. Like other emblematic movements ofrepparttar 132454 epoch with which it sharedrepparttar 132455 faith that a new kind of human being would surface once all structure and authority that wasn’t internal in origin was rejected, free jazz was ultimately ambushed by its naiveté.

But on purely musical terms free jazz has not been without an ongoing impact. If it never achieved what Alan Silva expected it to, it did (however contrary to its original ambition), expandrepparttar 132456 vocabulary andrepparttar 132457 field of options available to mainstream jazz musicians. And while they function today in what are essentially universes of their own, Taylor, Coleman, Murray, Cyrille, Shepp and Dixon are still very much around and continuing to discover surprise andrepparttar 132458 marvelous.

Indeed, stripped though they may be of their mystique as harbingers of an imminent utopia, these extraordinary musicians continue to produce musical miracles as a matter of course. For an especially vivid demonstration, try to catch Cecil in one of his live performances—what he would call "exchanges of energy"—with drummers like Max Roach or Elvin Jones.

In a bad time in every department ofrepparttar 132459 culture, a time of rampant—often willful—mediocrity, I could name no better tonic.

Former contributor to The Village Voice and Rolling Stone. Coauthor and coeditor, respectively, of two collections of essays about rock and jazz in the '60s: "Music & Politics" and "Giants of Black Music." Essays and fiction on numerous web sites

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