Jonathan Cook writes poignantly about the media situation a that is imposed on the West. The prism from which we view things, at the very base, is a flawed interpretation of the world. Obedience to the dominant hierarchy is expertly camouflaged within a supposedly free and democratic society. The question though is this, how free and democratic – even how just – is a system that promotes the withering of our empathetic selves and the systemic dehumanization of others?

“The reason the Great Western Narrative persists is because it is useful – to those in power. Humans may be essentially the same in our natures and in our drives, but we are very definitely divided by power and its modern corollary, wealth. A tiny number have it, and the vast majority do not. The Great Western Narrative is there to perpetuate power by legitimising it, by making its unbalanced and unjust distribution seem natural and immutable.

Once kings told us they had blue blood and a divine right. Today, we need a different kind of narrative, but one designed to achieve the same end. Just as kings and barons once owned everything, now a tiny corporate elite rule the world. They have to justify that to themselves and to us.

The king and the barons had their courtiers, the clergy and a wider circle of hanger-ons who most of the time benefited enough from the system not to disrupt it. The role of the clergy in particular was to sanction the gross imbalance of power, to argue that it was God’s will. Today, the media function like the clergy of old. God may be dead, as Nietzsche observed, but the corporate media has taken his place. In the unquestioned premises of every article, we are told who should rule and who should be ruled, who are the Good Guys and who the Bad.

To make this system more palatable, more democratic, to make us believe that there is equality of opportunity and that wealth trickles down, the western elite has had to allow a large domestic middle class to emerge, like the courtiers of old. The spoils from the rape and pillage of distant societies are shared sparingly with this class. Their consciences are rarely pricked because the corporate media’s function is to ensure they know little about the rest of the world and care even less, believing those foreigners to be less deserving, less human.

Nothing more than statistics

If western readers, for example, understood that a Palestinian is no different from an Israeli – apart from in opportunities and income – then they might feel sympathy for a grieving Palestinian family just as they do for an Israeli one. But the Great Western Narrative is there precisely to ensure readers won’t feel the same about the two cases. That is why Palestinian deaths are invariably reported as nothing more than statistics – because Palestinians die in large numbers, like cattle in an abbatoir. Israelis, by contrast, die much more rarely and their deaths are recorded individually. They are dignified with names, life stories and pictures.

Even when a moment arrives to single out a Palestinian from the mass of death, western corporate media show great reluctance to do so. Just take the case of Razan al-Najjar, the 21-year-old Palestinian medic executed by a sniper’s bullet as she tended to the unarmed demonstrators regularly being killed and wounded at the perimeter fence encaging them in the prison of Gaza.

Gaza is slowly sinking into the sea, but who cares? Those primitive Palestinians live like cavemen amid the rubble of homes Israel has repeatedly destroyed. Their women are hijabbed and they have too many children. They don’t look like us, they don’t speak like us. Doubtless, they don’t think like us. They cannot be us.

Even those young Palestinian demonstrators, with their faces covered with strange scarves, launching flaming kites and throwing the odd stone, look different. Can we imagine ourselves standing in front of a sniper to protest like that? Of course not. We cannot imagine what it is like to live in one of the most densely populated areas on the planet, in an open-air prison over which another nation serves as jailers, in which the water is becoming as saline as seawater and there is no electricity. So how can we put ourselves in the demonstrators’ shoes, how can we empathise? It is so much easier to imagine being the powerful sniper protecting the “border” and his home.

But al-Najjar undermined all that. A young, pretty woman with a beautiful smile – she could be our daughter. Selflessly tending to the wounded, thinking not of herself but of the welfare of others, we would be proud to have her as our daughter. We can identify with her much better than the sniper. She is a door beckoning us to step through and see the world from a different location, from a different perspective.

Which is why the corporate media has not invested al-Najjar’s death with the emotional, empathetic coverage it would if a pretty young Israeli female medic had been gunned down by a Palestinian. It was that double standard in his own newspaper, the Guardian, that outraged cartoonist Steve Bell last week. As he noted in correspondence with the editor, the paper had barely covered the story of al-Najjar. When he tried to redress the imbalance, his own cartoon highlighting her death – and its oversight – was censored.

The Guardian’s editors argued that his cartoon was anti-semitic. But the truth is that al-Najjar is dangerous. Because once you step through that door, you are unlikely to come back, you are unlikely ever again to believe the Great Western Narrative.

The true message of Israel

Israel-Palestine offered me that door, just as it has so many others. It is not, as Israel’s apologists – and the upholders of the Great Western Narrative – will tell you, because so many westerners are anti-semitic. It is because Israel lies in a grey zone of experience, one that is readily available to western tourists but at the same time gives them a chance to glimpse the dark underbelly of western privilege.

Israel is enthusiastically embraced by the Great Western Narrative: it is supposedly a liberal democracy, many of its inhabitants dress and sound like us, its cities look rather like our cities, its TV shows are given a makeover and become hits on our TV screens. If you don’t stand too close, Israel could be Britain or the US.

But there are clues galore, for those who bother to look a little beyond superficialities, that there is something profoundly amiss about Israel. A few miles from their homes, the sons of those western-looking families regularly train their gun sights on unarmed demonstrators, on children, on women, on journalists, on medics, and pull the trigger with barely any compunction.

They do so not because they are monsters, but because they are exactly like us, exactly like our sons. That is the true horror of Israel. We have a chance to see ourselves in Israel – because it is not exactly us, because most of us have some physical and emotional distance from it, because it still looks a little strange despite the best efforts of the western media, and because its own local narrative – justifying its actions – is even more extreme, even more entitled, even more racist towards the Other than the Great Western Narrative.

It is that shocking realisation – that we could be Israelis, that we could be those snipers – that both opens the door and prevents many from stepping through to see what is on the other side. Or, more troubling still, halting at the threshhold of the doorway, glimpsing a partial truth without understanding its full ramifications.”

 

Did you ever wonder why some of your acquaintances are so critical of the mainstream media; or why so quickly they roll their eyes when it comes to certain topics and ideas.  I bet you a shiny loonie (One dollar coin in Canadian currency) that they have stepped through the doorway and are wondering when you will finally join them.

Polyphony is saved. :)

The mass was composed in honor of Pope Marcellus II, who reigned for three weeks in 1555. Recent scholarship suggests the most likely date of composition is 1562, when it was copied into a manuscript at the Basilica di Santa Maria Maggiore in Rome.[4]

The third and closing sessions of the Council of Trent were held in 1562–63, at which the use of polyphonic music in the Catholic Church was discussed. Concerns were raised over two problems: first, the use of music that was objectionable, such as secular songs provided with religious lyrics (contrafacta) or masses based on songs with lyrics about drinking or lovemaking; and second, whether imitation in polyphonic music obscured the words of the mass, interfering with the listener’s devotion. Some debate occurred over whether polyphony should be banned outright in worship, and some of the auxiliary publications by attendants of the Council caution against both of these problems. However, none of the official proclamations from the Council mentions polyphonic music, excepting one injunction against the use of music that is, in the words of the Council, “lascivious or impure”.[6]

Starting in the late 16th century, a legend began that the second of these points, the threat that polyphony might have been banned by the Council because of the unintelligibility of the words, was the impetus behind Palestrina’s composition of this mass. It was believed that the simple, declamatory style of Missa Papae Marcelli convinced Cardinal Carlo Borromeo, on hearing, that polyphony could be intelligible, and that music such as Palestrina’s was all too beautiful to ban from the Church. In 1607, the composer Agostino Agazzari wrote:

Music of the older kind is no longer in use, both because of the confusion and babel of the words, arising from the long and intricate imitations, and because it has no grace, for with all the voices singing, one hears neither period nor sense, these being interfered with and covered up by imitations…And on this account music would have come very near to being banished from the Holy Church by a sovereign pontiff [Pius IV], had not Giovanni Palestrina founded the remedy, showing that the fault and error lay, not with the music, but with the composers, and composing in confirmation of this the Mass entitled Missa Papae Marcelli.
— Quoted in Taruskin, Richard, and Weiss, Piero. Music in the Western World:A History in Documents. Schirmer, 1984, p. 141.

Jesuit musicians of the 17th century maintained this rumor, and it made its way into music history books into the 19th century, when historian Giuseppe Baini, in his 1828 biography of Palestrina, couched him as the “savior of polyphony” from a council wishing to wipe it out entirely:

On Saturday, 28 April 1565, by order of Cardinal Vitellozzi, all the singers of the papal chapel were gathered together at his residence. Cardinal Borromeo was already there, together with all the other six cardinals of the papal commission. Palestrina was there as well…they sang three Masses, of which the Pope Marcellus Mass was the last…The greatest and most incessant praise was given to the third, which was extraordinarily acclaimed and, by virtue of its entirely novel character, astonished even the performers themselves. Their Eminences heaped their congratulations on the composer, recommending to him to go on writing in that style and to communicate it to his pupils.
— Quoted in Taruskin, Richard, and Weiss, Piero. Music in the Western World:A History in Documents. Schirmer, 1984, p. 142.

Let’s legalize and tax the hell out of drugs putting the proceeds to addiction problems and the betterment of society.

This is normalized behaviour in our society. My dudes, this is never okay. If you happen to see this, know that it is wrong and take action to stop it.

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