A song about building the American Dream, railroads, towers, war, then being tossed aside to beg for change

Most Americans know the lyrics of this depression-era song. Now they know what it was about.
 
They used to tell me I was building a dream,
and so I followed the mob,
When there was earth to plow, or guns to bear,
I was always there right on the job.
They used to tell me I was building a dream,
with peace and glory ahead,
Why should I be standing in line,
just waiting for bread?

Once I built a railroad, I made it run, made it race against time.
Once I built a railroad; now it’s done. Brother, can you spare a dime?

Once I built a tower, up to the sun, brick, and rivet, and lime;
Once I built a tower, now it’s done. Brother, can you spare a dime?

Once in khaki suits, gee we looked swell,
full of that Yankee Doodly Dum,
Half a million boots went slogging through Hell,
I was the kid with the drum!

Say, don’t you remember, they called me Al. It was Al all the time.
Say don’t you remember? I’m your pal. Buddy, can you spare a dime?

Coppelia and the Viennese Hesitation

If you are hardwired with a cultural affliction like mine, if you find yourself with a compulsive affinity for the waltz, I’ll wager you will also be a sucker for what’s called the Viennese Hesitation. It was just such a hook that led me to a Slav melody that immersed me into a ballet called Coppélia, two days ago, and I still haven’t surfaced.
 
Any fan of ballet, or parent whose child has studied dance, will know about this beguiling comic classic. To the rest of us unwashed, Coppélia or The Girl with Enamel Eyes, draws a blank, likewise even of its composer, Leo Delibes. Most of us outside the world of dance think ballet is all nutcrackers and swans, or the usual literary themes transposed to choreography. What are ballets but silent films to opera’s talkies? In today’s terms, ballet scores were the first soundtracks, and if you find new film scores overwrought, you might be delighted to alight on Delibes and his clever heroine, yes, Swanilda.

The title character Coppélia is actually a doll, the creation of aging Dr. Coppelius in his efforts to fashion his idealized bride. Seated in a window above the square, the mechanical beauty entrances the village boys, in particular Swanilda’s suitor Franz, so it falls to the assertive girl to break the spell. Hilarity ensues. Or, beyond the traditional lighthearted reading…

You may not recognize the name Delibes, but you know his Mazurka. And I’ll bet you can hum his Pizzicato (a divertissement from Silvia) in its entirety. Tchaikovsky said if he’d fully appreciated Delibes’ mastery of composing for the ballet, he would not have dared write Swan Lake.

If you’d like to share my Coppélia experience, I’d love to curate it for you. Start with the Royal Ballet production available on Youtube, mostly because the entire performance is there, and its intertitles explain the plot. There are more lauded productions, but Youtube has enough of their highlights to satiate without testing your patience with Netflix. That said, you’ll want to put the 1994 Lyon Ballet adaptation to the top of your queue now, because we want to save that for last.

The 2000 Royal Ballet production provides an ideal example of a classic interpretation of COPPÉLIA on a Disney budget. The comedy is writ large enough for opera glasses in the nosebleed seats. The choreography is traditional with a Sorcerers Apprentice perfection to it. The costumes are precisely Galician, where this adaptation of a Hoffman tale is set, an agrarian village in a region now part of the Ukraine, but in 1870 belonged to the Austro-Hungarian Empire. The red boots go to the Hungarian wine makers who dance the Csardas, and the black boots to the Mazurka dancers returning from the wheat harvest.

Unfortunately the Royal Ballet appeared satisfied to play to the popular misconception that the story of Coppélia is a trifle. I’ll suggest as a rebuttal the 2001 production staged by the National Ballet School of Paris, where the students were clearly able to imbue the lovers with emotion and spirit. This Swanilda is danced by a 16-year-old ballerina, by coincidence the same age as the Italian-Parisian who originated the part before she succumbed to disease after the 18th performance, during the Prussian siege of Paris.

The student production dispenses with Act III, which was all divertissements as you’ll have noted, beautiful musical scenes, but extraneous to the plot, although the love story looses the enchanting La Paix (Peace) variation and the Dance de Fete pas de deux. But they manage to sneak in Act III’s La Fileuse into a dance.

By the way, in my opinion this production makes the very best of the aforementioned hesitation, basically a hanging pause. There’s a suspended hesitation inherent in every waltz, Viennese or otherwise, but Delibes renders this one monumental. In the Theme Slav in question, the fickle Franz punctuates each break with an entreaty, and each time Swanilda resumes her dance. Other choreographies of the Them Slav don’t even slow for those moments, some notably expunge the hesitations from the score altogether.

(Note: If you are curious about the solo for Franz interposed into this variation, it’s a short Scena taken from Act II of Delibes’ 1866 ballet The Source.)

You can compare and contrast or not, but I will suggest checking on other Swanildas to flesh out the flirtations, coy games and lovers quarrels of Act I. For example, ?do not miss Lucia Lacarra of the Munich production, in particular this less coy prelude to the Ballade de L’epi.

For a heartier rendition of the first folk dance, check out the 1993 Kirov Ballet Mazurka.

You will want to see Lisa Parvane of the 1990 Melborne Ballet, in the denouement of Act II, made to dance for Coppelius’ amusement, the Boléro Spanish dancer, and Gigue referred to as the Scottish reel, (actually “Gigue” pronounced in French is Jig), but mostly for the cathartic finale, where the mad Coppelius does not merely mourn the broken mechanical doll, as Delibes’ score makes clear, his heart breaks.

Where the students of Paris may have glossed over the old man’s loss, they did grasp the sociological theme of this tale, natural versus unnatural love, nature versus industrial modernity. The violin Ballade de L’Epi, where a spear of wheat is shaken to reveal if you’ve found true love. We know it as plucking the daisy. But where we’ve come to leave the outcome to chance, in a farming community the answer is sought from nature. Green grains will remain silent until they’re ripe and ready for harvest. This concept is faithfully conveyed by the students, as was the sequence which preceded it, where the tinkerer’s labors to animate his lone world are derided while the villagers anticipate the next day’s social festivities.

If you’re still looking for what makes COPPÉLIA more than a silly tale, you’re ready for the absolutely mesmerizing modernized interpretation filmed by the Opera Ballet de Lyon.

Lyon is not coincidentally France’s industrial center, and here the Coppelius malaise is contemporary. Ballet purists appeared to be aghast, and isn’t that the surest sign of a heretical message? Extracts one and two are online and make obvious this production pulls COPPÉLIA right back from the purgatory of children’s repertory. And here it helps I think to know the tale they’re supposed to be telling, to see what they really have to say. The peasants of Lyon are today much the wiser to the false reality foisted upon them by industrial culture. Their Mazurka is a silent glare. Swanilda’s waltz is a childish mocking of the inanimate Deneuve clone.

While some have describe the Lyon staging as a new twist on the tale, I’d say it’s a brilliant reexamination that gets to the core of why Coppélia became an immediate classic in the first place.

An aside about the Theme Slav. Like Offenbach and other contemporaries composing for the ballet, Delibes borrowed from folk melodies to inform his dances. His partner Saint-Leon returned from travels in Eastern Europe praising this popular melody he had overheard. The Slavic theme turned out not to have folk origins at all, but was a piece by composer Stanislaw Moniuszko, actually Poland’s national composer, author of numerous ballets and operas. Delibes gave credit where it was due, and the Slav melody stands out from among the indigenous varieties. At seven minutes it is Coppélia’s longest sequence. But it was Delibes who lent it the memorable hesitation motif which permeates the score.

In the Lyon production the musical hesitation comes in an early variation, a dramatic leap that already feels like it will haunt me forever.

COPPÉLIA celebrates the strength and wisdom of women, and nature, to overcome a young man’s hesitation, where that of the old man may be doomed, and his technology damned.

Your father’s Lili Marlene, specifically

On the subject of historical misconceptions, you might say I’m hugely sentimental. So the tale of Lili Marlene catches me up like a honey trap. What does the name conjure for you? A Nazi Mata Hari? A fictional musical persona beloved by soldiers on both sides of the Good War? While even antiwar sentiments wax nostalgic about its universal love-conquers-all popularity, the WWII melody evokes romantic memories fueled by dueling propagandas. And when a victorious meme writes the history, it can erase its footprints, leading from what was effectively a literary rape.

A recent folk reference for example, an otherwise impeccably adroit Lili Marlene Walks Away, about Marlene the streetwalker, leaves me just sick in the heart.

The historical narrative has it that Lili Marlene was actually Lili and Marleen, two girlfriends for whom German soldier Hans Liep pined from the trenches of WWI. With unchivalrous poetic license Liep conflated the two and penned a love poem as it might have been written to him, “signed, Lili Marleen.” Two decades later a German composer set the words to music and then came the outbreak of the next war. The original recording by Lale Anderson was a flop until broadcasts to the front lines over Radio Belgrade captivated homesick Wehrmacht soldiers and eventually the lovelorn battling on both sides. Lili Marlene emerged the most popular song of all time, translated in as many languages as fought in the war. Was this owed to a universal empathy toward the pangs of love, or was it the appeal of a truly catchy melody and lyrics carefully crafted to suit the moment? And how did Lili’s character become redefined?

For the German audience, the character of Lili Marlene did not change. For some the song lost its sheen for having been co-opted by the Third Reich war machine. But even as the singer’s living embodiment of “Lili Marleen” became tarnished by her Faustian-won fame, the title role of “Lili” remained the non-fictional love interest with whom her soldier lover spent every furtive off-duty moment, revisited in memory and in anticipation. Concurrent translations across the European continent stuck to the same essential theme, owing no doubt to listeners being in the main multilingual. They understood enough of the original German not to be sold another Lili Marlene. English was another story, but the Allies didn’t start it.

Nazi propaganda minister Joseph Goebbels at first banned the song because he saw it as demoralizing to soldiers enduring the deprivations of war. He referred to Lili Marlene as “The tearjerker with the death-dance smell” until its popularity reached a critical mass even he couldn’t stop. When opposing forces seemed also to succumb to the song’s wiles, Goebbels sought to intensify the poison’s venom.

The original German lyric was written in an ambiguous voice, either that of the soldier or his faithful girl, revisiting their every last moment together and the promise of more. Even as the imagery may have been accepted as a soldier’s fantasies, the singer’s female gender was consistent with the voice of his lover’s reassurances. As a result, the original singer came to personify the character Lili Marleen. For soldiers of every side the voice they heard was that of “Lili Marlene.”

The popular account goes that when Allied soldiers were observed singing along to Radio Belgrade, an English lyric was ordered post haste lest American GIs and British Tommies be singing in German. Rarely mentioned is that the seduction interrupted had been in English.

A recent compilation of nearly 200 different renditions of Lili Marlene gives an unprecedented look into the WWII propaganda battle waged over control of the Lili Marlene narrative. Many of the key recordings have reached Youtube.

When the Germans surmised that Allied soldiers wanted to do more than whistle along, a lyric was devised for them which changed the ambiguity of the narrator to the first person. YOUR Lili Marleen became MY Lili Marlene. And oddly, but for reasons un-mysterious obviously, the vocalist remained a woman. The English version was supposed to be a translation after all, and no one was under any illusion that the song’s original appeal with soldiers was not owed to the enchantment of the chanteuse.

The plodding, dripping sentimentality of the melody also lent well to marches. Lili Marleen, in English, Marlene, was an ideal tonic for a war long on effort and deprivation.

An American GI today could still be forgiven for hearing Lili Marlene and saying: those aren’t the lyrics I remember. Late and post war USO tours effaced the earlier Nazi radio broadcasts. There was a German English version before the British and American after that, when Lili of the home front became the seductress became the whore.

If the song conjures an American image at all, it’s Marlene Dietrich, who subsequently claimed the song for her own, perhaps why it’s named Marlene and not Marleen, I don’t know. But her vampy rendition colors interpretations to this day. An American film star from the 30s, Dietrich is still mistakenly remembered as a reformed German double agent, possibly the Axis Sally propagandist who originated her namesake song. To my mind, familiarity would be the only reason to favor Dietrich’s rendition of Lili Marlene. The original 1938 German and its first English incarnation in 1942 were both by Lale Andersen, easily the most moving. But Marlene Dietrich wasn’t selling love, or was, to be more precise.

The lyric to the original German recording translates thus:

In front of the barracks, in front of the main gate,
Stood a lamppost, if it stands there still,
So will we see each other there again,
By the lamppost we’ll stand,
As before, Lili Marleen. As before, Lili Marleen.

Our two shadows looked like one.
That we were so much in love, at a glance anyone could see.
And everyone will see it,
When we stand by the lamppost,
As before, Lili Marleen. As before, Lili Marleen.

(The motif of female narrator was conceded by a 1943 BBC propaganda rerecording made for broadcast back to Germany. Instead of a love song, the lyric became a war-weary rant where a hoarse-throated middle-aged “Lili” calls for an uprising against Hitler. Loosely translated it went:

Maybe you’ll die in Russia, maybe you’ll die in Africa,
You will die somewhere, that’s what your Führer wants.
But if you see us again, where will this lamppost be?
In another Germany.
Your Lili Marleen.

The Führer is a oppressor, that’s what we all see,
Making every child an orphan, every woman a widow,
It’s all his fault, I want to see? him at the lamppost,
Hang him up at the lamppost.
Your Lili Marleen.

)

The German propagandists were more insidious with their subversion of Andersen’s 1942 recording, sticking closely to the original setting, shifting the narrator squarely to the male, relegating Lili not just to the third person but to the past, and interjecting heaping doses of sentimentality:

Underneath the lantern, by the barrack gate,
There I met Marleen every night at eight.
That was a time in early Spring,
When birds all sing, then love was king
Of my heart and Marleen’s, of my heart and Marleen’s.

The next verse begins with a cringe-worthy overstep of a military put-down, perhaps however to divert critical faculties from the real manipulation. Even though the song is now in English, the soldiers expect it serves German propaganda. Disarmed by the amateurish mocking of “retreat,” the listener is vulnerable as the rest of the lyric preys on a soldier’s insecurity about his sweetheart’s fidelity, the longer the war years become interminable. The subject is the usual propaganda leaflet fare, but animated with the potency of music. Faithful “as before” became “time would part” Marlene.

Waiting for the drumbeat, signaling retreat,
Walking in the shadows, where all lovers meet.
Yes those were days of long ago,
I loved her so, I couldn’t know
That time would part Marleen, that time would part Marleen.

The pace leadens to deliver the fatal pronouncement, again the anticipation of reunion becomes perseveration and lament:

When I heard the bugle, calling me away,
By the gate I kissed her, kissed her tears away.
And by the flick’ring lantern’s light,
I held her tight, t’was our last night,
My last night with Marleen, my last night with Marleen.

The last verse repeats the first, which I omitted earlier. It’s a call to action, obviously absent the original, “Now is the time-” meaning desertion into the aforementioned shadows, “to meet your-” and I must admit to be unsure of a transcription. From Andersen’s accent to the unclear recording quality of her backup chorus, it’s difficult to determine whom Lili wants the soldier to meet. “Your girl” and two other words which rhyme with girl, the first begins with P, the last with S.

Still I hear the bugle, hear its silv’ry call,
Carried by the night air, telling one and all:
Now is the time to meet your pearl,
To meet your girl, to meet your soul,
As once I met Marleen, my sweet Lili Marleen.

Your girl, not Lili Marleen. She’s gone, a love lost to regret. In their German-accented affected English, the male chorus appeared to provide a mocking echo “Now is the time to meet your death.”

Needless to say it was imperative that while Radio Belgrade reached the English and American soldiers in North Africa and Italy, the Allies had to record an antidote. A first version by a Brit kept with the romantic original:

In the dark of evening, where you stand and wait,
Hangs a lantern gleaming by the barrack gate.
We’ll meet again by lantern shine
As we did once upon a time.
We two Lili Marlene, we two Lili Marlene.

Our shadows once stood facing, a tall one and a small.
They mingled in embracing, upon the lighted wall.
And passers by could see and tell
Who kissed my shadow there so well:
My girl Lili Marlene, my girl Lili Marlene.

But that didn’t address the problem of demoralization, Goebbels’ original concern shared by military commanders no matter which side: soldiers overtaken by depression.

Plus the Allies needed less a song about the girl back home than one about the German lass awaiting the Yankee conqueror. Who are we kidding? Lili Marlene’s German voice did not invoke thoughts of home so much as a foreign woman taunting, however innocent, from behind enemy lines. Eventually those lands would be overrun, her lover to die in their defense, Lili to await the last man standing. How many soldiers listened to Radio Belgrade and did not fantasize about cuckolding their adversary with his beloved Lili Marlene? The Allied troops needed a Lili of not-unfaithful character, but one available to them. It was no big leap for an American lyricist to transform Fritz’s Lili, faithfully waiting for him under the lamppost, to “Lili of the Lamplight,” the only type of German woman with whom American GIs would be able to get near, a prostitute.

Underneath the lantern by the barrack gate,
Darling I remember the way you used to wait.
Twas there that you whispered tenderly
That you loved me, you’d always be
My Lili of the lamplight, my own Lili Marlene.

You’ll always be mine? My love? No, my lover by the lamplight. In the new scheme, the mentions of love and tears become sublimated by kisses, caresses, whispers of tender nothings and feet waiting in the street. Sung to the Allied troops as they marched unto Berlin by a husky voiced vamp. That’s your Lili Marlene.

Composer Jason Robert Brown wants to protect his unintellectual rights

Composer Jason Robert Brown wants to protect his unintellectual rights

As a musician and fan of stage musicals, I must proffer this disclaimer about American theater composer Jason Robert Brown: he’s terrible. Brown is a poster child for the music industry’s common mediocrity, of commerce’s habitual triumph over art. Now Brown has appointed himself defender of intellectual property rights, holding that teens should not use the internet to pirate his sheet music. Of course, I can only wish him foolproof success.

American musical theater saw a golden age in the 1940s, with notable glimmers of resurgence since then, in ever infrequent cycles. I don’t think anyone would argue that in-between was constant dreck –to which “show tunes” owe their stigma. Defenders of Andrew Lloyd Webber will find themselves similarly unrestrained enthusiasts for popular music, popular fiction and television. To each his own slop.

I have particular antipathy for contemporary composers of awfulness because they drive the inartistic music publishing industry where it does irreparable harm. School bands and theater departments are influenced to pay royalties for the performance pieces whose rights are most profitably leveraged, at the expense of older works of renown. Instead of seeding young repertoires with melodies and lyrics to enrich their memories, teachers pollute their students with forgettable claptrap, courtesy of bards like Brown.

I have the same prejudice with regard to literature. Why aren’t today’s students reading Stevenson or Poe instead of Blume or Rowling? Of course, composer JR Brown is more on par with author RL Stine, he’s that horrible. But don’t take my word for it, have a listen.

That said, here’s Jason Robert Brown championing not just the exclusive right to sell online what his publishers hawk through their network of scholastic pushers, but he wants the same markup. If ever a commodity could change hands for its true worth, Brown’s entire catalog should be ventilated for free through file sharing. Instead he’s personally joining various trading websites and then emailing each and every member who appears to be trading in his goods.

To paraphrase: Hello, I’m Jason Robert Brown, yes, The Jason Robert Brown, and I’d appreciate it if you stopped illegally sharing my music, since it deprives me of my rightful royalties.

Brown has posted some of the ensuing email exchanges on his blog, without any mention of offering remuneration for their contributions. Most laughable, but consistent with the weakness of his music work, Brown has engaged chiefly teens in his discussion of intellectual rights. He lists one discussion in which he compares his stolen sheet music to a loaned screwdriver, a Xerox’d book, and a copied CD.

Mr. Brown, might I direct you to the innumerable organizations which argue that intellectual property rights are not inalienable. They are restraints to trade, impediments to idea sharing, and diametric to elevating community wealth.

You have every right to contrive a product and sell it by whatever connivance, but your monopoly ends there. Whoever were your customers should have the right to do with their purchases what they will. What right have you to tax the use of your thought fart as it passes from ear to ear? Home Depot can’t charge multiple times for a screwdriver it’s already sold; to use your example.

Consider also that your melody was plucked from the ether of shared cultural experience. Should a rights police attach royalty liens on every whiff of inspiration you borrowed? Better to admit we are all channels of a community expression.

Mr. Brown, please be satisfied to exploit the business advantages you’ve built. Your Tony Award is indication enough of that accomplishment. Insisting that you deserve more only invites scrutiny of your ouevre. Your arguments may find refuge with fans of the “Twilight” caliber, but I am not about to underestimate the sophistication of your own musical taste. If you love Broadway, you know the incredible deficiency of the songs you are peddling. Describing your “music sensibility [which] fuses pop-rock stylings with theatrical lyrics” is faint self-praise enough.

Young stage enthusiasts. To you, JRB may appear a “genius” but what else would we expect of a generation raised on High School Musical. For superior fare, check out the pre maudlin days of Broadway, the shows which see regular revivals. If you want something further afield, look to lesser known works by those same composers. Even their obscure productions eclipse the best efforts of hacks today. Much of this material is freely available, but you’ll find that real showstoppers will have you showing no reluctance to part with your lunch money.

Jason Robert Brown, please stop your indecorous whine about the new leak in your traditional income monopoly. Leave your fans to trade them for their real worth.

Rufus, Caccini, Kosma, French Chanson

Rufus Wainright’s GOING TO A TOWN (-THAT’S ALREADY BEEN BURNED DOWN in which he famously sings “I’m so tired of America”) replicates, it’s true, the jazz progression of AUTUMN LEAVES, and websmart-asses have pointed out the piano part is actually identical to the accompaniment of AVE MARIA by Baroque composer Giulio Caccini. At best reflecting Wainright’s unconscious classical pedigree. Fail.

I write at this late date because I looked it up once, and spent the equivalent effort retracing my steps when my curiosity outpaced my memory. This time I’m posting what I found for my own future reference. Just as the internet now substitutes for knowing, it serves as my backup for memory. Technicians no longer have to learn how, they have to know where to look it up online. You no longer have to remember it either, so long as the answers remain there.

Anyone who agrees with Earl Okin that French popular music has followed an endless downward spiral with the minor key fugues of Michel Legrand, has perhaps film composer Joseph Kosma to blame. The Hungarian born Kosma wrote the scores to the greatest French classics, among them RULES OF THE GAME, THE GRAND ILLUSION and CHILDREN OF PARADISE. It was from a 1946 Marcel Carne film that LES FEUILLES MORTE emerged, whose jazz chords perhaps doomed the melodic melancholy of the French to mordant sentimentality.

When Giulio Caccini’s “Ave Maria” was unearthed in 1970, anyone with an musical ear might have wondered how the exhausting blue chord progression found itself in the hands of a Baroque composer. The musical malaise was so distinctly contemporary to the 70s, coincidentally when the piece was supposedly rediscovered. Of course it turns out it hadn’t.

The Ave Maria appropriated by Rufus Wainright was written by Russian composer Vladimir Vavilov in 1970 attributed to “Anonymous” I’ll wager because he didn’t want to take credit for it either. Somebody else decided it would have more luster if thought to have come from a more pious age. Now it’s called “Ave Maria by Giulio Caccini” by Vavilov, although the association is absurd. This composition was a thoroughly natural denouement to Kosma’s French Blues. Ave Maria loses none of its divine beauty, though its provenance was a hoax. The joke is on the many prominent recording artists who thought they were channeling holy canon.

Addict, pederast dies, much fanfare

But let’s look past the innuendo and unproven transgressions, to celebrate the man’s contribution to the cannon of Western popular music product. Please!

I hear celebrities dismiss the allegations of Michael Jackson’s pedophilia like too much water under the bridge, which would be true I suppose, if Jackson’s victims were more like John Wayne Gacy’s, buried under Neverland, instead of tucked into San Fernando Valley homes, divvying multimillion-dollar payoffs with their enterprising panderer parents. Will the confidentiality clauses stand between the public ever knowing which pederast was the more prolific? That innuended, I do concur those bottoms were small fry compared to Jackson’s true sick imprint on America.

The Michael Jackson TM projected a perversion of role models. Not even a cynical anti-hero, the self-crowned King of Pop was the nul-idol. Jackson rejected his skin color, his sexuality, even his place of belonging among mortals. Other than pathos for the sick dance-cyborg who never had a childhood, what humanity did Jackson share to communicate? To be fair, it wasn’t Jackson who kept the spotlight trained on his black/white Icarus act, foisting the unnatural deception that man can soar with a single glove.

Now dead, Jocko is heralded as among the greatest. But MJ was an internationally recognized poster child for enfeebled humanity, a glorified counter-renaissance man, resembling a human being like a drag queen pretends femininity. He may have channeled vinyl High Fructose Corn Syrup like no other, walking backward while dancing and such, but worth what legacy exactly? Jackson shares the ignobless of the Big Mac, the Lucky Strike cigarette, and DDT. Iconic and good riddance.

Michael Jackson did nothing for black emancipation, or acceptance of homosexuals, or the plight of the children of poverty. The vast majority of the world’s children are “robbed of their childhoods,” you narcissistic rich dumb-ass, and that didn’t stop you from amassing your vast fortune at their expense.

Jackson probably did more to amplify the phobia against pedophiles, the single minority he did incarnate, by denying the preponderance of indicators, by vilifying his accusers, instead of taking his riches to Dubai right from the start, to show the world into what true debauchers wet their willies.

He might even have championed sympathy for plastic surgery binge-purgers, but he lied about that worm-hole until his nose literally fell off. I remember when Jackson made public appearances in surgery masks, feeding the fiction that he was a germophobe. Meanwhile everyone in Hollywood knew from their own rhinoplasties about the actual face-saving purpose of those masks.

Perversely, it was Jackson’s least aberrant eccentricity that killed him. Drugs. Even as TV viewers watch Jackson’s body pass from helicopter to ambulance, over a red carpet no less, Big Pharma makes sure that the talking heads refer to Jackson’s narcotics as “pain-killers.” Jocko was in constant pain, apparently, like Rush Limbaugh and all overachievers etc, hence their susceptibility to addiction. You’d think the alibi would eventually defy credulity.

Prescription drugs circulate among the well-to-do, with the same ease with which the rich have access to good lawyers. The difference between street and medical drugs is that no one cares about the heroin or crack addict’s “pain.”

All the celebrities speaking in tribute to Michael Jackson want to minimize the ugliness Jacko paraded, even, and especially his drug habit. Some who profess to have been close friends express their utter shock at Jackson’s passing, at his frail condition and the magnitude of his drug use. How close could they have been?! Or how culpable are they still on Big Pharma’s not-yet-upped jig?

Jackson was the King of Sick Culture. His collaborator eulogizers are its second tier whores. What contemptible shills, who’ve got theirs, behind their Beverly Hills gates and their own golden narcotics tickets. Even at the premature passing of a unique creative soul, due without question to drug abuse, his peers don’t want to aggravate the corporate forces which continue to pervert the human social animal to beyond self-recognition.

The real Sandinistas are fed up with Daniel Ortega’s pathetic regime

There is so little hope in the pathetic Daniel Ortega… that Nicaragua’s foremost Sandinista musician has withdrawn permission for this sad sack cabal around Ortega, the current Nicaraguan President, to continue to represent itself as Sandinista by using his extremely popular music at their events. See news item, Sandinistas split over revolution hymn

Another fitting image about the sad state of affairs in Nicaragua that left an impression one me, was to see capitalist advertising for an American company hanging from the Nicaraguan National Assembly building! It would kind of be like seeing WalMart being allowed to hang its company’s advertisement from the White House! Or even worse, having a Chinese bank hanging its banners there. What a vivid sign of how degraded and debased Nicaragua has become from the continued American domination over its national life.