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50 Years After The Flight of the Dalai Lama, Where is Tibet Today?
Half a century ago this month the Dalai Lama fled Tibet as the People’s Liberation Army seized control of Lhasa. Today Beijing orders official rejoicing for the anniversary of “emancipation day for a million serfs”, even as Tibetans chafe under Beijing’s boot. In a brilliant report Chaohua Wang reports on the struggle for the future of Tibet. ALSO, Alexander Cockburn addresses the big question: How prepared is the left with ideas and programs in these days of crisis? It has the opportunity to change the face of America, down to the shopping malls. Is it ready? Get your new edition today by subscribing online or calling 1-800-840-3683 Contributions to CounterPunch are tax-deductible. Click here to make a donation. If you find our site useful please: Subscribe Now! CounterPunch books and gear make great presents.
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Today's Stories March 20-22, 2009 Alexander Cockburn Paul Craig Roberts P. Sainath Robert Weissman Saul Landau David Michael Green Greg Moses Ron Jacobs Michael D. Yates John V. Whitbeck Andy Worthington Linn Washington Jr. David Ker Thomson Laurent Jacque Rannie Amiri Reiko Redmonde / Kenneth Couesbouc Martha Rosenberg Alan Farago Richard Rhames March 19, 2009 Dave Marsh Paul Craig Roberts Mike Whitney Sam Smith Harvey Wasserman Binoy Kampmark Kathy Sanborn Christopher Brauchli George Wuerthner Diann Rust-Tierney Website of the Day
March 18, 2009 Michael Hudson Paul Craig Roberts Nelson P. Valdés Jonathan Cook John Ross Yifat Susskind Dave Lindorff Frances Moore Lappé Richard Grossman Rev. William E. Alberts Website of the Day March 17, 2009 Michael Hudson James G. Abourezk Harry Browne Joanne Mariner Alan Farago Dean Baker Peter Morici Bill and Kathleen Christison Richard Gott Walter Brasch Website of the Day
March 16, 2009 Pam Martens Uri Avnery Mike Whitney Ralph Nader Nikolas Kozloff John Walsh Ron Jacobs Binoy Kampmark Stephen Fleischman Christian Christensen Scott Handleman Website of the Day March 13 / 15, 2009 Alexander Cockburn Peter Lee Diana Johnstone David Harvey Petrino DiLeo David Ker Thomson Eric Ruder Fred Gardner David Yearsley Saul Landau Laura Carlsen Robert Weissman John Goekler / Tom Barry Kathy Sanborn Chris Mobley / Leela Yellesetty David Michael Green Alan Maass / Christopher Brauchli Richard Morse Lorenzo Wolff Poets' Basement Website of the Weekend March 12 , 2009 Sharon Smith Christopher Ketcham Mike Whitney Ray McGovern Eric Toussaint / John Ross M. Reza Pirbhai Chris Floyd Steve Early Quentin Gee Website of the Day March 11 , 2009 Mike Roselle Paul Craig Roberts Henry A. Giroux Nikolas Kozloff Norm Kent Mitu Sengupta Ludwig Watzal David Macaray William S. Lind Martha Rosenberg Website of the Day March 10 , 2009 Franklin Spinney Vijay Prashad Stan Cox Zoltan Grossman Reuven Kaminer Jonathan Cook Dave Lindorff Brian McKenna Harvey Wasserman Corey Pein Website of the Day
March 9 , 2009 Pam Martens Ralph Nader Peter Lee Mike Whitney Peter Morici Dean Baker Steve Ault Stephen Lendman Farooq Sulehria Belén Fernández Website of the Day March 6-8 , 2009 Alexander Cockburn Chris Floyd Uri Avnery Dave Lindorff Mark Weisbrot David Ker Thomson Phil Aliff Rebekah Ward Tracey Briggs Dean Baker Daniel P. Wirt, M.D. Carl Finamore Wajahat Ali David Michael Green David Macaray Michael Dickinson Susie Day Bob Sommer Ben Sonnenberg David Yearsley DC Larson Lorenzo Wolff Poets' Basement Website of the Weekend March 5 , 2009 James G. Abourezk Kathleen and Bill Christison Robert Weissman Patrick Cockburn William Blum Robert Fantina Saul Landau Benjamin Dangl Christopher Brauchli Website of the Day March 4, 2009 Marjorie Cohn Mike Whitney Ron Jacobs Ashley Smith Joanne Mariner Dan Bacher Mark Engler Franklin Lamb Cal Winslow David Mandelzys Website of the Day March 3, 2009 Conn Hallinan Fawzia Afzal-Khan Brian M. Downing Robert Larson Daniel P. Wirt, MD Russell Mokhiber William Loren Katz Kathy Sanborn Pauline Imbach Christopher Ketcham Website of the Day March 2, 2009 Andrea Peacock Paul Craig Roberts Peter Lee John Blair Peter Morici Uri Avnery Michael Donnelly Fred Gardner Sonia Nettnin Andrew Lehman Website of the Day
Feb. 27 - March 1, 2009 Alexander Cockburn Harry Browne Anthony DiMaggio Sasan Fayazmanesh Mischa Gaus Felice Pace Mike Whitney Lee Sustar Peter Lee Nicole Colson Roger Burbach Rannie Amiri Missy Beattie Dave Lindorff Robert David Steele Vivas John Ross Ralph Nader Yves Engler Alan Farago Zulfikar Majid David Yearsley Charles R. Larson Kim Nicolini Lorenzo Wolff Poets' Basement Website of the Weekend February 26, 2009 Dave Lindorff Jonathan Cook Patrick Cockburn Mike Whitney Eamonn McCann Tim Wise Tom Barry Harvey Wasserman Adam Turl David Macaray James McEnteer Website of the Day
February 25, 2009 Chris Sands M. Shahid Alam Chris Floyd Dave Lindorff Norman Solomon Rachel Godfrey Wood Niranjan Ramakrishnan Ron Jacobs Nadia Hijab Dennis Loo Website of the Day February 24, 2009 Paul Craig Roberts Uri Avnery Peter Morici Jonathan Cook Paul Fitzgerald / Andy Worthington Brian Horejsi Julia Stein Norm Kent Rachel Smolker / Dennis Loo James McEnteer Website of the Day February 23, 2009 Michael Hudson Mike Roselle Patrick Cockburn Franklin Spinney Einar Már Guðmundsson Ralph Nader Jordan Flaherty Helen Redmond Dennis Loo Harvey Wasserman Terry Lodge Website of the Day February 20 / 22, 2009 Alexander Cockburn Michael Neumann / Ismael Hossein-zadeh Paul Craig Roberts Linn Washington Jr. Saul Landau Marjorie Cohn Binoy Kampmark Dave Lindorff David Yearsley David Macaray James McEnteer Rick Salutin Wayne Clark Richard Rhames Stephen Martin Mitu Sengupta Charles R. Larson Richard Morse Lorenzo Wolff Poets' Basement Website of the Weekend February 19, 2009 Norman Finkelstein Harry Browne Robert Bryce Brian M. Downing Fred Gardner Andy Worthington Wajahat Ali Laura Carlsen Deb Reich Christopher Ketcham Website of the Day February 18, 2009 Paul Craig Roberts Mike Whitney M. Shahid Alam Patrick Cockburn Conn Hallinan Dave Lindorff Rannie Amiri Gareth Porter Eric Hobsbawm Christopher Brauchli Martha Rosenberg Website of the Day February 17, 2009 Michael Hudson Mike Whitney Ralph Nader Joanne Mariner John Ross Belén Fernández Mats Svensson David Macaray Gregory Vickrey M. Junaid Levesque-Alam Michael Dickinson Website of the Day February 16, 2009 Patrick Cockburn Oscar Guardiola-Rivera Paul Craig Roberts Uri Avnery P. Sainath Dedrick Muhammad / Michael Brown Carla Blank Patrick Irelan Dan Bacher Fidel Castro Harvey Wasserman Website of the Day February 13 - 15, 2009 Alexander Cockburn Joshua Frank Mike Whitney George Ciccariello-Maher Nikolas Kozloff Brian M. Downing Paul Craig Roberts Christopher Ketcham Ron Jacobs Dave Lindorff Alan Maass Chuck Spinney Phil Gasper Stephen Lendman Charles Thomson Kathy Sanborn Saul Landau Len Wengraf Harvey Wasserman David Macaray Tom Stephens Seth Sandronsky David Yearsley Lorenzo Wolff Kim Nicolini Poets' Basement Website of the Weekend
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Weekend Edition The Musical PatriotOn Bach's BirthdayBy DAVID YEARSLEY Bach’s birthday is celebrated on March 21st. around the globe, perhaps even in every time zone. Born fifteen years before the German states adopted the Gregorian calendar in 1700, Bach and his music get their biggest airing on this day, all calendars now properly aligned to play and pay them homage. This year the current incarnation of Bach’s old choir, Leipzig’s Thomanerchor, is in Australia to do his St. John Passion with the Melbourne Symphony under the baton of Oleg Caetani. Bach would doubtless have been bewildered by this Lenten performance. During Bach’s tenure in Leipzig there was, with the exception of the Feast of the Annunciation on March 25, no public musical performance in Lent. But the current Thomanerchor has to be back in Leipzig to perform the Passion on Good Friday as Bach did. This year the liturgically appointed date falls April 10th. While the boys are busy Down Under on Bach’s birthday bewailing the crucifixion of Jesus and musically swimming in the guilt all Christians should feel on account of Christ’s death, a more celebratory mood will prevail half a world away in Leipzig. It was in this east German city that Bach spent the last three decades of his life as a hugely productive and often disgruntled municipal employee directing the city’s religious and civic music. This year’s Bach birthday celebrations in Leipzig begin with activities for kids, including a peek at family life in Bach’s time, demonstrations of instruments, and story readings. There will also advanced tours of the future Bach museum and the usual Saturday afternoon Motette in the Thomaskirche, where so many of Bach’s cantatas and passions were first performed. Afterward coffee and cake will be consumed nearby. And then in the evening a concert in the church will include the bright trumpet sounds of his Brandenburg Concerto No. 2. Among the many other events on this busy day of Bach commemoration and commerce is the late morning gathering called “Leipzig sings for Bach.” I’m not sure exactly what this will be, but it sounds as if there will be sing-along in the shadow of the menacing late-19th century statue of the composer that looms over the square (I’ll have more to say about that statue next week). Perhaps the stern look on the face of that that hulking bronze figure is one of disapproval at the very idea of celebrating his birthday. In Bach’s time it simply wasn’t done. Birthday parties were thought of chiefly as a practice cultivated in ancient Rome. If one looks in Johann Zedler’s great encyclopedia, published in 68 volumes in Leipzig during the later part of Bach’ life, one learns that Nero was the first to get a birthday cake, even one with frosting and sticks of incense as candles. Although the encyclopedia isn’t explicit about such rituals, the article seems to suggest that birthdays are suspect not only because they’re pagan but because they’re a symptom of megalomania to boot. Rather, as in many Christian cultures still today, it was the name day that was commemorated with well-wishes and greetings. Except in the case of the ruling prince, no mention is made in the article of lavish feasts or presents for everyday folk. Bach’s name day is that of John the Baptist, ironically fixed on the supposed birthday of June 24. Because it was a significant feast day, June 24 was always a working day for Bach in Leipzig. I live in the era of the birthday party and happened to have been born on tax day, so I have a sense of how Bach might have might felt, though even a tax return is nothing compared to composing a full-blown cantata, copying the parts by hand (or overseeing their copying by students and family), rehearsing the piece, and then actually performing it. In 1724, Bach’s second full year on the job, he was near the beginning of his effort to produce a second full run of cantatas for all the required Sundays and feast days of the church calendar: this would yield more than fifty fulls-cale, multi-movement vocal works. Bach had just completed cycle of cantatas over the previous twelve months. His cantata project over his first years in Leipzig must count as the most concerted creative outpouring in music history. The St. John’s Day cantata of 1724, one of three that survives from Bach’s oeuvre, is cataloged as BWV 7 and known, according to the text of the opening chorus, as “Christ unser Herr zum Jordan kam” (Christ our Lord came to the Jordan). The poetry of the first and last movements is by Martin Luther and was written in first years of the Reformation. Bach sets the chorale melody to which these words belong in the cantata’s framing numbers. The minor orchestral ritornello that introduces the cantata is resolute but foreboding. When the voices enter the counterpoint swirling around the foundation of the chorale melody sounding forth in the bass is similarly unrelenting: this is not a sunny journey towards a riverside picnic. Halfway through the chorus the text speaks of the necessity of Christ’s christening so that “he can fulfill his work and office.” One can’t help but think of Bach’s own unmatched resolve to do his duty to his art and his god—one and the same thing from his point of view. Yet by June of 1724 Bach had already begun to bristle at what he saw as bureaucratic interference from above and infringements of his prerogatives from below. He began to worry about money. Within a year of St. John’s Day, 1724, Bach was complaining vociferously to the Saxon monarch in a series of pestering letters. The music of our cantata moves forward with the chorale text but ceaselessly circles back on itself to the restive ritornello as if the piece’s creative energy can only thrive against obstacles—the rules of counterpoint and musical rhetoric, the weight of dogma and theocratic oversight. The result is both thrilling and oppressive. The subsequent aria for bass and continuo strikes a brighter mood, extolling the promise of baptism, not just water but the cleansing of human sin through god’s word and spirit. A single voice instead of an entire chorus delivers the text, and rather than a full orchestra of strings and winds, there is only a bass line and improvised organ part accompanying the singer. If Bach played the organ part one would have heard his vaunted talented for improvisation, even the context demanded that his imagination be reined in by the dictates of taste and decorum. Though far less complex music than that of the opening chorus, the aria opens a window for spontaneous personal expression on the composer’s own name day. A recitative then allows God’s voice to proclaim the baptism of his own son. The lively, even nervous, tenor aria that ensues hammers home the crucial notion that this baptism must be performed because the son of god has taken lowly human form so as to pay for our sins with his own death. The second and final recitative quickly surveys Jesus’s crucifixion, resurrection, and the mission of the Apostles to spread his word. A dark alto aria, with its tragic leaps and sighs, bemoans the truth that humans are born to sin and earthly rot, and can only be redeemed by baptism and belief. The final chorale returns us to the same melody heard in the opening chorus, but delivered now in simpler more direct fashion. Denuded of the rich contrapuntal fabric of the first movement, this setting conveys the words with grim clarity: Luther’s startling imagery moves from the ritual pouring of baptismal water to the red flood of Christ’s own blood cleansing humanity. At this moment Bach’s inward-turning music suddenly pushes expansively outward, the bass line itself becoming restless, as if the bloody river will burst its banks. The final line reminds us that we, the children of Adam, continue to add to the catalog of sin he began. However great the music the message it imparts is that its performers and listeners are vile. The final major chord hardly suffices to put one in a festive mood. June 24, 1724 was a Saturday. The following morning at a three-hour service that began at 7am and at another service later in the day yet another richly conceived and grimly argued cantata from Bach’s pen would be heard in Leipzig. Perhaps after a busy St. John’s Day Bach had time to turn his attentions away from duty and sin and let his students and family celebrate him. Maybe there was even time for a pipe and a glass of brandy—pleasures we know he enjoyed—before Bach headed to his desk to think about the musical obligations, rewards, and perils of tomorrow. David Yearsley teaches at Cornell University. A long-time contributor to the Anderson Valley Advertiser, he is author of Bach and the Meanings of Counterpoint His latest CD, “All Your Cares Beguile: Songs and Sonatas from Baroque London”, has just been released by Musica Omnia. He can be reached at dgy2@cornell.edu
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Now Available from CounterPunch Books! Spell Albuquerque: Waiting for
Lightning
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