WLRN Public Media’s Post

In a RIGGED game on a RIGGED planet we still won 96% to 4% in favor of LOVE! #Question now that the people of Israel, Palestine and THE WORLD have voted 96% in favor of PEACE ~ #why is anyone still fighting? Jazz for Peace: representing 96% of Israeli's & Palestinians & 100% of the World! Let's now implement the most popular and IMPORTANT Peace Proposal EVER! How did we do it? "Its the MUSIC stupid!" https://lnkd.in/dsVtQ4UB “Not everything that is faced can be changed; but nothing can be changed until it is faced,” ~ JAMES BALDWIN See our NEWEST appearance on The Queen Mimi Podcast with performances at minute 36.30 and 51.30  https://lnkd.in/eNr2NiFe #QuestionOfTheDay: at 96% favorability AND THE RETURN OF THE HOSTAGES: WHY don't we simply IMPLEMENT the Jazz for Peace Proposal that the world ALREADY voted for? Representing 96% of Israeli's & Palestinians & 100% of the World, Let's now implement the most popular and IMPORTANT Peace Proposal EVER! BREAKING NEWS!!! NEW BOOK!!! Just Released! "Paving the Path for Peace through Music: The Amazing Story of Rick DellaRatta & Jazz for Peace™” by Debra R. Cerritelli NEW TELL ALL BOOK that blows LID off the MIDDLE EAST and reveals secrets about many other extraordinary challenges while telling the Epic Story of Jazz for Peace™ and it's iconic founder Rick DellaRatta! https://lnkd.in/enDAUQFy “ The next step in a humane and just world is to properly implement the vote of the Israeli people who have united not only with the Palestinian people but with the other 96% of our world AGAINST both ANY part of HAMAS that wants to destroy western civilization as well as the "Final Solution" minority of Zionists. In other words - the people who want to destroy western civilization and the people who want to implement a "final solution eradication" of all Palestinian people (including members of the Israeli/Palestinian/USA Jazz Band that we assembled to perform at the United Nations back in 2002 www.jazzforpeace.org/un ) are on ONE SIDE - making up 4% - (at the absolute MOST!!!), while the VAST majority of Israeli's, Palestinian, Americans, and the rest of the world, making up AT LEAST 96% (but probably MUCH, MUCH higher!!!!) - are on the other side.

Everything about this photo is perfect – it could easily have an Instagram-worthy caption. But since this is LinkedIn, I'll approach it differently. To be honest, this photo embodies what the Scandinavians refer to as ‘enough’. In Norwegian, it’s ‘nok,’ which is also the name of their currency. In Ukrainian, it’s ‘достатньо,’ sharing a root with the word for ‘prosperity’. So, what am I trying to say? In Norwegian society, there’s a strong philosophy of sufficiency. It’s about having enough – but it’s also not just about that. Take this beautiful Ferris wheel by the opera house as an example. It has a safe and convenient entry and exit, and opera music plays in the cabins. And that’s it – it’s enough to fully enjoy the experience. Safety, comfort, a great view of the sea and the city. Nothing excessive. Nearby, there’s some construction going on, no stalls, no flashy billboards, no over-the-top services that would add extravagance to the scene. That’s not appreciated here. In conversations with Norwegians, I often realize why. They want people around the world to understand moderation. When you have enough, when you’re satisfied – practice moderation. We take from nature without limits, we consume public resources without restraint, and we can't seem to stop when we have enough. What do you think of this philosophy?

In the news: "Israeli music festival: 260 bodies recovered from site where people fled in hail of bullets"  "Gaza death toll tops 10,000; UN calls it a children's graveyard"  "France has banned pro-Palestinian protests and vowed to protect Jews from resurgent antisemitism"  "It's all very well for France to be a welcoming country, but we don't want it to become a country of the scum of the earth."     Today is November 9th, 2023 the number of war deaths is recently at a record high. Helplessness, solidarity, frustration, and hatred boil up in view of tragedies. The overload of information challenges us to maintain a realistic view of the world. Not only wrong information but also missing context can misguide us: The final quote above is not about Palestinians and not recent, but from L'Ere Nouvelle in November 1938 refering to the killing of Ernst von Rath by Herschel Grynszpan out of revenge for forced deportation of 15000 yews. Actually, it was accompanied in these days by headlines in Insbrucker Nachrichten "A Jew has shot" and a telegram by Reinhard Heidrich "Due to the assassination attempt against Leg. Secretary v. Rath in Paris, demonstrations against the Jews are expected throughout the Reich tonight - November 9/10, 1938". What followed was the Novemberprogrome and long after it was followed by the remorse by contemporary witnesses "And so, unfortunately, I kept quiet, like almost the whole nation. We all know what happened next."     With our thinking and actions, we shape the world we live in – consciously or unconsciously. I write this as a self-commitment in the hope for more to join in on two principles against hate and violence:  1. “Critical thinking requires us to use our imagination, seeing things from perspectives other than our own and envisioning the likely consequences of our position.”     2. "When angry count to ten before you speak. If very angry, count to one hundred."     #massresponsibility  

Ein, wie ich finde, treffender Kommentar von Georg Leyrer (Kurier, Österreich) zu den vielfach tobenden Meinungskämpfen. Georg Leyrer (Kurier, Austria) wrote an, as I find, apt commentary on the so many raging battles of opinions. #society #conflicts #opinionation #manipulation #populism English (shortened) Populism: 12 points – The Song Contest was politically poisoned this year. For the first time in its history, it taught us something about the world. – This time not Austria but the Song Contest was the "small world in which the big one holds its rehearsal", as Friedrich Hebbel said 1862 in the Vienna opera theatre. Grand opera the Song Contest usually is, a musical theatre spectacle that takes itself far less seriously than those who criticise it with zeal. This year, the mostly trivial "shit" (Andi Knoll) was bitterly serious. The small world rehearsed in Malmö was oppressively simple: Israel is evil, and it's okay to threaten, persecute and mob a 20yo singer on stage. When artists put each other down. When you shout "Shame on you" at the audience, even though shame is one of those ancient instruments of power that the Song Contest played a leading role in abolishing. Dutchman Joost Klein, on the other hand, is good in this small world. The fact that he is said to have aggressively attacked a camerawoman is suddenly not a problem in the "peace and tolerance" circus. They insist on jurisdiction: as long as Klein is not arrested, he should perform, was suggested after his disqualification. As if criminal law were the only boundary that determines how we live together. This is outdated nonsense. The song contest thus showed how principles that have already been conquered are immediately dropped when it suits the situation. How easy it is to enter a spiral of destructiveness, how much encouragement destruction receives if it only happens ideologically on the "right" side. And that is always the own. The song contest, of all things, showed what is going wrong in Western democracies: More and more people are getting caught up in the destructive view that they have figured out the world. The politicians? All bad (except the ones I vote for). The media? All bought (unless they write what I think). The young? All spoilt! The old people? All problem bears and problem women. Everyone has long had their opinion on Israel and Palestine and Russia and Ukraine and gender and identity, neighbours and new arrivers, which they don't question but have confirmed on the internet all the time. The democratic population lapses into a poisonous complacency that believes it has all the answers. To see the shades of grey and ambivalence is a sign of weakness. But the world is not that simple. Anyone who indulges in simple answers will only find them in political populism. And one can see where this leads everywhere. This was particularly evident in Malmö recently.

How we show up for the world can look a lot different than how we show up for ourselves. ~PJ W. I am a true Marvin Gaye fan - but not for the reasons you might think. I actually became even more of a fan after reading his biography and realizing how imperfect he was. I think it is common for us to look at celebrities and elevate them in my minds to be flawless. Not the case my friend...He was absolutely flawed. Marvin struggled with liking himself, addiction, toxic relationships with family and lovers and oddly enough confidence and terrible stage fright...but he was also an Icon and a Legend. Proof that two seemingly opposing things can be true at the same time. Don't compare yourself to anyone, no matter how famous or how fabulous. We all have our stuff. If you are interested in learning more about this mindset - check out Manif8st Mindset Coaching!

I have been as I slowly making my way through the album, savoring each note. I have so much to say, more than a LI post’s word count. Here are a fee emerging thoughts: 1) The album is an example of creating your own table when a seat at the other table isn’t offered to you with welcomed enthusiasm. 2) The album sings to little Chrysta, who’s from the country in the Southern US, yet was put in many white-only spaces where country music was a way to reinforce that the only way to belong was to assimilate and confirm. 3) Beyoncé notes that she was told she was too country in some spaces and not country enough in others. It reminds me of what my Mexican American kin have taught me -“ni de aqui, ni de allá” (neither from here, nor from there): this feeling that so many of us who cross borders into unwelcoming spaces know. 4) If the last album was “Renaissance”, Cowboy Carter feels like “Reclamation”. Blues, Jazz, Gospel, and country music were all developed from the African music brought to this continent by way of the Enslaved. In addition to reclaiming our connection to Country, even the album title is noteworthy. “Cow-boy” was a derogatory term used for Black male cattle handlers. Again, reclamation. 5)This album is a declaration that we, too, are American. American is sometimes used as a euphemism for our white population. Beyoncé is claiming the title for those of us who want it. What are your thoughts on the album? What track(s) are you loving? ——- I’m Chrysta Wilson, PCC and I coach, train, and teach leaders to help them create more equitable and inclusive spaces. I speak on issues of culture change inside organizations and in society at large. You can explore how we can work together by clicking the link in my LI profile, or sending me a message. #diversityequityandinclusion #culturechange

Did Vice President Kamala Harris just make a political statement through her vinyl picks? 🎷 Caught some intriguing footage of Harris embracing the rich history and profound messages in jazz music! She was seen exiting a record store with some classic vinyl: Roy Ayers, George Gershwin's Porgy and Bess performed by Black artists Ella Fitzgerald and Louis Armstrong, and the innovative Charlie Mingus. These picks are more than just music—they’re powerful statements on pluralism and equality. 🌍✊ George Gershwin, the Jewish son of Russian immigrants, crafted Porgy and Bess to bridge cultural divides, blending classical and jazz elements to highlight the African-American experience. Roy Ayers, the epitome of cool in mid-70s soft funk, brought a laid-back, groovy vibe that continues to inspire with its smooth, soulful sound. Early 70's funk was a distinctly Afro-American style, blending soul, jazz, and R&B. Charlie Mingus, one of jazz’s greatest innovators, fearlessly challenged racial and social boundaries with his bold compositions and outspoken views on social justice. Mingus himself had a rich heritage with British, Chinese, Swedish, and African roots, which influenced his diverse and dynamic musical style. This footage isn’t just a politician buying records. It’s a clever statement on pluralism and equality, core values of American democracy. If you’re not familiar with these records, I encourage you to explore them and consider the political aspects they hold. Now that we’re aware of these aspects, ask yourself: what is the hidden meaning and message of your own playlist? 🎶 Can you guess other Harris' musical choices and do you think you share the same taste? #JazzHistory #CulturalDiversity #KamalaHarris #RoyAyers #LouisArmstrong #EllaFitzgerald #CharlieMingus #MusicForChange #LeadershipThroughArt

"The Star-Spangled Banner" Became the U.S. National Anthem on March 3, 1931 "The Star-Spangled Banner" was officially designated as the national anthem of the United States on March 3, 1931, when President Herbert Hoover signed the congressional resolution into law. The song's lyrics were penned by Francis Scott Key in 1814 during the British siege of Fort McHenry, and its melody was adapted from an English drinking song. Francis Scott Key wrote the lyrics as a poem after witnessing the British bombardment of Fort McHenry during the War of 1812. The poem, initially titled "Defence of Fort M'Henry," was set to the tune of "To Anacreon in Heaven," a popular melody of the time. Although the song was widely recognized and used by the U.S. Navy and President Woodrow Wilson had designated it for official use in 1916, it was not until 1931 that it gained formal recognition as the national anthem through a legislative process initiated by Representative John Linthicum and backed by over 5 million signatures. The song was first recognized for official use by the U.S. Navy in 1889 and gained prominence when played during significant public events, such as the 1918 World Series. Despite its widespread acceptance, some critics argued that the song's range made it difficult to sing, and its British melody origins were inappropriate for an American national anthem. Nonetheless, the resolution passed, solidifying "The Star-Spangled Banner" as a symbol of American patriotism and identity. Fun Fact: The melody of "The Star-Spangled Banner" comes from "To Anacreon in Heaven," which was originally a song of the Anacreontic Society, an 18th-century gentlemen's club in London, known for its connection to musical and social activities. National anthems often serve as symbols of national identity and unity, reflecting a country's history, culture, and values. "The Star-Spangled Banner" is an example of how music can capture pivotal moments in a nation's history, in this case, a key event during the War of 1812. The anthem's adoption process reflects not only a desire for a unifying patriotic hymn but also the complexities and debates surrounding national symbols in a democratic society. https://lnkd.in/g6Tbz_aM

Opera Europa is deeply shocked and gravely concerned by the abrupt decision on August 6th by Slovakia’s culture minister, Martina Šimkovičová, to dismiss Matej Drlička as General Manager of the Slovenské národné divadlo Slovak National Theatre. Matej Drlička has been a prominent #advocate for the arts in Slovakia, passionately promoting Slovak works to broad audiences while fostering and nurturing the next generation of artists and audiences and gaining international recognition for his work. This decision, alongside the dismissal of other cultural leaders, signals a troubling threat to #artisticfreedom in Slovakia. Article 13 of the European Union Agency for Fundamental Rights (FRA) states that “The arts and scientific research shall be free of constraint.” Furthermore, the Council of Europe’s Manifesto on the Freedom of Expression of Arts and Culture in the Digital Era highlights that “Arts and culture emphasise, express, communicate, and anticipate the human reaction to social changes… Creativity and diverse cultural expressions, enabled and stimulated by artistic freedom of expression, are catalysts for sustainable development planning and policies.” Minister Šimkovičová’s political decisions clearly violate the European Union’s charter. The widespread public backlash against this right-wing attack on artistic freedom, alongside the broader criticism of the Slovak government’s efforts to stifle dissenting voices, demonstrates that the official reason for Matej Drlička’s dismissal—claiming he “confused the position of general director of a national cultural institution with political activism and repeatedly brought politics into the activities of the SND”—is rejected by many Slovakians, European cultural institutions, politicians, and the media. At Opera Europa, we also firmly reject the stated rationale for Matej Drlička’s dismissal. We stand by him in his fight against this instance of extreme right-wing cultural vandalism and urge the European Union to closely monitor developments in Slovakia and safeguard the independence and #freedomofexpression of cultural institutions across Europe. Karen Stone Director Opera Europa

21.05.2024 | 9:00 pm | Eschschloraque   Bande á Part Tanzbare Veranstaltung für Außenseiter   presents   “WHAT IF LIVING WAS JUST KILLING TIME” by G I A D A G R I E C O (dance) and A S E R E T (music)   „The  p i e c e  comes from reflections and a deep sense of emptiness and fullness. We exist in this reality without having to do anything. Either the members of our family or the people who used to surround us since the moment we were born, are the first examples on how to be part of a life routine.  We learn everything from scratch observing what is around us, we receive an education based on the culture where we were raised in and we think everything reflects the way we were taught to do. Institutions give us knowledge and our crossed paths with others give us a sense of community. What we experience as mistakes give us wisdom and adventures make us marvel. But what if we arrive at one point when we have built everything that we thought we wanted and we fulfilled the desires of the ones we care for and we also took decisions that made us proud of ourselves but then in the end we happen to have a glimpse of deep consciousness and we realize something else. WHAT IF LIVING WAS JUST KILLING TIME is a touching and somehow hydronic way of wasting time, on deciding how to use the time we received as a gift.  As I am doing right now, writing this. And you are doing so, reading it. So, as an artist, I choose to dance this unchangeable imaginary timeline. My will is to waste seconds, minutes and maybe hours honoring movement and the life I was given with it, celebrating the unknown and laughing about it but also mourning it. I consciously take the decision of being present in this eternal dilemma we constantly fill with duties and appointments, avoiding thinking about the purpose of existence. There is no sense in what we do unless it has some meaning for us.“ Photo: Lucia Imparato Art installation on the wall: Luca Cuccurullo