Friday, December 11, 2009

The Nobel Peace Prize, President Obama, and American Foreign Policy

President Obama and his wife, Michelle, before the Nobel dinner on Thursday in Oslo.






http://www.nytimes.com/2009/12/11/world/europe/11prexy.html?_r=1&nl=us&emc=politicsemailema1

http://www.nytimes.com/2009/12/11/world/europe/11prexy.text.html?ref=europe&pagewanted=all


All,

The patently false suggestion that the U.S. war in Afghanistan is a "just war" is not only rank philosophical sophistry on the President's part but is a frankly bizarre "defense" of America's actual foreign policy aims and objectives in a global conflict that goes back many decades prior to 9/11 and involves far more than merely defeating Al Queda or any other international terrorist network. It also strains credulity at the very least for Obama to assert that the United States involvement in war since WWII (the ONLY actual "just war" that this country has been involved in during the past century because it was part of a necessary global fight against fascism) constitutes a "humanitarian" or "morally justifiable" defense of human rights. The very notion that the heinous U.S. military interventions in Vietnam, Central America, and Iraq during the past 50 years and our lethal support of brutal, morally repugnant, and violently reprehensible dictators (Pinochet in Chile, Batista in Cuba, the Shah in Iran, and Saddam Hussein in Iraq among others) are demonstrations of the "moral and humanitarian use of force" in the world would be downright laughable if they weren't so incredibly tragic and destructive. In Hussein's case the ugly fact that he tried to violently step outside of his assigned subordinate role as one of America's 'client-state' proxies in the Middle East by engaging in his own regional brand of militaristic expansionism-- only to incur the wrath and fierce opposition of his former powerful global sponsor--simply reinforces this fundamental truth.

The fact that millions of innocent foreign civilians have been murdered by the U.S. military and such national security paramilitary institutions as the Central Intelligence Agency throughout the world easily exposes the lies, distortions, and evasions embedded in the dubious logic of the President's speech.

The fact that Obama also tried to vainly cover and defend his highly suspect argument by repeatedly invoking the honorable name of the late African American icon of nonviolent action against global war and imperialism, Dr. Martin Luther King, Jr., is not only brazen opportunism on the President's part but was particularly disturbing and alienating given the fact that in the recent past--most notably during the President's acceptance speech of the Democratic Party nomination on August 28, 2008--the 45th anniversary of the legendary 'I Have a Dream Speech' by Dr. King at the height of the Civil Rights Movement--Obama went out of his way to distance himself from King's memory by oddly refusing even to mention Dr. King's name (instead Obama referred to him obliquely as "the preacher from Georgia"). Further Obama has made a point of carefully avoiding making any direct statement of his own personal historical connection to King in public in the United States since he won the Democratic nomination. So it was very surprising and deeply unsettling to say the least to hear the President willfully distort King's actual philosophy and legacy via rhetorical condescension by stating that a "nonviolent movement could not have halted Hitler's armies." Of course we-- and surely Dr. King!--already knew that but Obama's implicitly patronizing tone in his speech about the tenets of "idealism vs, realism" gave the self-serving impression that his real world "pragmatism" was more useful and necessary than King's or anyone else's visionary "idealism" when it came to defending the "necessity" of war.

Despite the typically eloquent use of language that informs Obama's Nobel Peace Prize speech it is a highly misplaced and intellectually dishonest eloquence in defense of the indefensible and puts yet another Orwellian spin on the very idea of "peace" as just another useful instrument of war. If that's not disturbing enough one should consider the truly chilling news that the Machiavellian henchman and chief
Bushwhacker apparachik Karl Rove absolutely loved Obama's speech. So did Sarah Palin and Newt Gingrich.

Kofi


Accepting Peace Prize, Obama Evokes ‘Just War’

Doug Mills/The New York Times

President Obama accepted the Nobel Peace Prize during a ceremony in Oslo, Norway, on Thursday, with “deep gratitude and great humility,” conceding it could be seen as premature.

By JEFF ZELENY
Published: December 10, 2009
New York Times


OSLO — President Obama used his acceptance of the Nobel Peace Prize on Thursday to defend the idea that some wars were necessary and just, remind the world of the burden the United States had borne in the fight against oppression and appeal for greater international efforts for peace.

President Obama Gets Nobel Peace Prize

President Obama accepted the Nobel Peace Prize during a ceremony in Oslo, Norway, on Thursday, evoking 'just war' and conceding that it could be premature.

“We must begin by acknowledging the hard truth: we will not eradicate violent conflicts in our lifetimes,” Mr. Obama said, addressing the paradox of receiving an award for peace as commander in chief of a nation that is escalating the war in Afghanistan as it continues to fight in Iraq. “There will be times when nations — acting individually or in concert — will find the use of force not only necessary but morally justified.”

He delivered a mix of realism and idealism, implicitly criticizing both the Rev. Dr. Martin Luther King Jr. as naïve about a dangerous world and President George W. Bush as too quick to set aside fundamental American values in pursuit of security. And he embraced the concept of American exceptionalism, the idea that the United States has a special role as a defender of liberty, even as he promoted multilateralism.

In that way, he continued a pattern evident throughout his public career of favoring pragmatism over absolutes.

The address — delivered at once to a European audience that has grown skeptical about American power and to a domestic audience watching closely to see how he would handle the acceptance of an award that even he acknowledged he did not yet deserve — represented one of the broadest declarations of his foreign policy doctrine. He said that others deserved the award more, noting that his “accomplishments are slight,” but he accepted the prize with a strong endorsement of America’s place in the world.

“Whatever mistakes we have made, the plain fact is this,” Mr. Obama said. “The United States of America has helped underwrite global security for more than six decades with the blood of our citizens and the strength of our arms.”

The Nobel lecture, a 36-minute address that the president and his aides completed on an overnight flight from Washington, carried echoes of several American presidents, from Jimmy Carter to Mr. Bush, but Mr. Obama singled out one above all: John F. Kennedy.

Mr. Obama cited Mr. Kennedy’s focus on “not a sudden revolution in human nature but on a gradual evolution in human institutions.”

Mr. Obama called for more robust international sanctions against nations like Iran and North Korea that defy demands for them to curtail their nuclear programs.

Weeks after being criticized for not speaking out more publicly in defense of human rights while in China, he suggested that quiet diplomacy was sometimes the most productive path, even if it “lacks the satisfying purity of indignation.”

The ceremony was the focal point of a series of events celebrating Mr. Obama’s entry into the ranks of Nobel laureates. On Thursday night, the president and his wife, Michelle, appeared in a window of the Grand Hotel, waving to thousands of people below who had gathered for a torch-light parade.

Trumpets sounded when Mr. Obama walked down the long aisle of a soaring auditorium to deliver his address. He escorted his wife, who took her seat in the front row, before he assumed his position on the stage and faced the king and queen of Norway.

The Nobel chairman, Thorbjorn Jagland, opened the ceremony by explaining how the committee came to its decision two months ago. He said Mr. Obama’s leadership had been a “call to action for all of us.” As he invoked the story of Dr. King, the winner of the prize in 1964, he turned to Mr. Obama, saying, “Dr. King’s dream has come true.”

Mr. Obama pursed his lips and nodded gently as the audience applauded loudly. When he was presented his gold medal and Nobel diploma, he received a standing ovation that stretched for more than a minute. The crowd did not rise again until the conclusion of his remarks.

Mr. Obama’s speech was sober, with his remarks only sparingly interrupted by applause. He was applauded when he renewed his pledge to ban torture and close the prison at the American base at Guantánamo Bay, Cuba.

“We lose ourselves when we compromise the very ideals that we fight to defend,” Mr. Obama said. “And we honor those ideals by upholding them not when it is easy, but when it is hard.”

To a European audience of academics, diplomats and Nobel laureates, he said there was “a deep ambivalence about military action today,” which he said he suspected was rooted in “a reflexive suspicion of America.” But he offered a forceful defense of the United States, saying the lessons of history should ease those suspicions. And he urged his audience to envision a hopeful future.

“Let us reach for the world that ought to be,” he said, “that spark of the divine that still stirs within each of our souls.”

He did not dwell on the specifics of his announcement last week that he would send 30,000 more American troops to Afghanistan. But that decision, which attracted scores of peaceful demonstrators here, set the framework that Mr. Obama returned to again and again as he sought to explain his policy as an extension of the post-World War II system that contained the cold war.

“A decade into a new century, this old architecture is buckling under the weight of new threats,” Mr. Obama said. “The world may no longer shudder at the prospect of war between two nuclear superpowers, but proliferation may increase the risk of catastrophe. Terrorism has long been a tactic, but modern technology allows a few small men with outsize rage to murder innocents on a horrific scale.”

Mr. Obama, who is scheduled to stay in Oslo for about 26 hours, miffed some Norwegians by not participating in some of the traditional events surrounding the peace prize ceremony, including a luncheon and a concert.

Mr. Obama, sensitive to the criticism, explained the brevity of his visit. “I only wish that my family could stay longer in this wonderful country,” he told reporters, “but I still have a lot of work to do back in Washington, D.C., before the year is done.”

The president is scheduled to return to Washington on Friday.

Walter Gibbs contributed reporting.



December 11, 2009

TEXT

Obama’s Nobel Remarks

Following is the transcript of President Obama's speech at the Nobel Peace Prize ceremony in Oslo on Wednesday, as released by the White House:

Your Majesties, Your Royal Highnesses, distinguished members of the Norwegian Nobel Committee, citizens of America, and citizens of the world:

I receive this honor with deep gratitude and great humility. It is an award that speaks to our highest aspirations -- that for all the cruelty and hardship of our world, we are not mere prisoners of fate. Our actions matter, and can bend history in the direction of justice.

And yet I would be remiss if I did not acknowledge the considerable controversy that your generous decision has generated. (Laughter.) In part, this is because I am at the beginning, and not the end, of my labors on the world stage. Compared to some of the giants of history who've received this prize -- Schweitzer and King; Marshall and Mandela -- my accomplishments are slight. And then there are the men and women around the world who have been jailed and beaten in the pursuit of justice; those who toil in humanitarian organizations to relieve suffering; the unrecognized millions whose quiet acts of courage and compassion inspire even the most hardened cynics. I cannot argue with those who find these men and women -- some known, some obscure to all but those they help -- to be far more deserving of this honor than I.

But perhaps the most profound issue surrounding my receipt of this prize is the fact that I am the Commander-in-Chief of the military of a nation in the midst of two wars. One of these wars is winding down. The other is a conflict that America did not seek; one in which we are joined by 42 other countries -- including Norway -- in an effort to defend ourselves and all nations from further attacks.

Still, we are at war, and I'm responsible for the deployment of thousands of young Americans to battle in a distant land. Some will kill, and some will be killed. And so I come here with an acute sense of the costs of armed conflict -- filled with difficult questions about the relationship between war and peace, and our effort to replace one with the other.

Now these questions are not new. War, in one form or another, appeared with the first man. At the dawn of history, its morality was not questioned; it was simply a fact, like drought or disease -- the manner in which tribes and then civilizations sought power and settled their differences.

And over time, as codes of law sought to control violence within groups, so did philosophers and clerics and statesmen seek to regulate the destructive power of war. The concept of a "just war" emerged, suggesting that war is justified only when certain conditions were met: if it is waged as a last resort or in self-defense; if the force used is proportional; and if, whenever possible, civilians are spared from violence.

Of course, we know that for most of history, this concept of "just war" was rarely observed. The capacity of human beings to think up new ways to kill one another proved inexhaustible, as did our capacity to exempt from mercy those who look different or pray to a different God. Wars between armies gave way to wars between nations -- total wars in which the distinction between combatant and civilian became blurred. In the span of 30 years, such carnage would twice engulf this continent. And while it's hard to conceive of a cause more just than the defeat of the Third Reich and the Axis powers, World War II was a conflict in which the total number of civilians who died exceeded the number of soldiers who perished.

In the wake of such destruction, and with the advent of the nuclear age, it became clear to victor and vanquished alike that the world needed institutions to prevent another world war. And so, a quarter century after the United States Senate rejected the League of Nations -- an idea for which Woodrow Wilson received this prize -- America led the world in constructing an architecture to keep the peace: a Marshall Plan and a United Nations, mechanisms to govern the waging of war, treaties to protect human rights, prevent genocide, restrict the most dangerous weapons.

In many ways, these efforts succeeded. Yes, terrible wars have been fought, and atrocities committed. But there has been no Third World War. The Cold War ended with jubilant crowds dismantling a wall. Commerce has stitched much of the world together. Billions have been lifted from poverty. The ideals of liberty and self-determination, equality and the rule of law have haltingly advanced. We are the heirs of the fortitude and foresight of generations past, and it is a legacy for which my own country is rightfully proud.

And yet, a decade into a new century, this old architecture is buckling under the weight of new threats. The world may no longer shudder at the prospect of war between two nuclear superpowers, but proliferation may increase the risk of catastrophe. Terrorism has long been a tactic, but modern technology allows a few small men with outsized rage to murder innocents on a horrific scale.

Moreover, wars between nations have increasingly given way to wars within nations. The resurgence of ethnic or sectarian conflicts; the growth of secessionist movements, insurgencies, and failed states -- all these things have increasingly trapped civilians in unending chaos. In today's wars, many more civilians are killed than soldiers; the seeds of future conflict are sown, economies are wrecked, civil societies torn asunder, refugees amassed, children scarred.

I do not bring with me today a definitive solution to the problems of war. What I do know is that meeting these challenges will require the same vision, hard work, and persistence of those men and women who acted so boldly decades ago. And it will require us to think in new ways about the notions of just war and the imperatives of a just peace.

We must begin by acknowledging the hard truth: We will not eradicate violent conflict in our lifetimes. There will be times when nations -- acting individually or in concert -- will find the use of force not only necessary but morally justified.

I make this statement mindful of what Martin Luther King Jr. said in this same ceremony years ago: "Violence never brings permanent peace. It solves no social problem: it merely creates new and more complicated ones." As someone who stands here as a direct consequence of Dr. King's life work, I am living testimony to the moral force of non-violence. I know there's nothing weak -- nothing passive -- nothing naïve -- in the creed and lives of Gandhi and King.

But as a head of state sworn to protect and defend my nation, I cannot be guided by their examples alone. I face the world as it is, and cannot stand idle in the face of threats to the American people. For make no mistake: Evil does exist in the world. A non-violent movement could not have halted Hitler's armies. Negotiations cannot convince al Qaeda's leaders to lay down their arms. To say that force may sometimes be necessary is not a call to cynicism -- it is a recognition of history; the imperfections of man and the limits of reason.

I raise this point, I begin with this point because in many countries there is a deep ambivalence about military action today, no matter what the cause. And at times, this is joined by a reflexive suspicion of America, the world's sole military superpower.

But the world must remember that it was not simply international institutions -- not just treaties and declarations -- that brought stability to a post-World War II world. Whatever mistakes we have made, the plain fact is this: The United States of America has helped underwrite global security for more than six decades with the blood of our citizens and the strength of our arms. The service and sacrifice of our men and women in uniform has promoted peace and prosperity from Germany to Korea, and enabled democracy to take hold in places like the Balkans. We have borne this burden not because we seek to impose our will. We have done so out of enlightened self-interest -- because we seek a better future for our children and grandchildren, and we believe that their lives will be better if others' children and grandchildren can live in freedom and prosperity.

So yes, the instruments of war do have a role to play in preserving the peace. And yet this truth must coexist with another -- that no matter how justified, war promises human tragedy. The soldier's courage and sacrifice is full of glory, expressing devotion to country, to cause, to comrades in arms. But war itself is never glorious, and we must never trumpet it as such.

So part of our challenge is reconciling these two seemingly inreconcilable truths -- that war is sometimes necessary, and war at some level is an expression of human folly. Concretely, we must direct our effort to the task that President Kennedy called for long ago. "Let us focus," he said, "on a more practical, more attainable peace, based not on a sudden revolution in human nature but on a gradual evolution in human institutions." A gradual evolution of human institutions.

What might this evolution look like? What might these practical steps be?

To begin with, I believe that all nations -- strong and weak alike -- must adhere to standards that govern the use of force. I -- like any head of state -- reserve the right to act unilaterally if necessary to defend my nation. Nevertheless, I am convinced that adhering to standards, international standards, strengthens those who do, and isolates and weakens those who don't.

The world rallied around America after the 9/11 attacks, and continues to support our efforts in Afghanistan, because of the horror of those senseless attacks and the recognized principle of self-defense. Likewise, the world recognized the need to confront Saddam Hussein when he invaded Kuwait -- a consensus that sent a clear message to all about the cost of aggression.

Furthermore, America -- in fact, no nation -- can insist that others follow the rules of the road if we refuse to follow them ourselves. For when we don't, our actions appear arbitrary and undercut the legitimacy of future interventions, no matter how justified.

And this becomes particularly important when the purpose of military action extends beyond self-defense or the defense of one nation against an aggressor. More and more, we all confront difficult questions about how to prevent the slaughter of civilians by their own government, or to stop a civil war whose violence and suffering can engulf an entire region.

I believe that force can be justified on humanitarian grounds, as it was in the Balkans, or in other places that have been scarred by war. Inaction tears at our conscience and can lead to more costly intervention later. That's why all responsible nations must embrace the role that militaries with a clear mandate can play to keep the peace.

America's commitment to global security will never waver. But in a world in which threats are more diffuse, and missions more complex, America cannot act alone. America alone cannot secure the peace. This is true in Afghanistan. This is true in failed states like Somalia, where terrorism and piracy is joined by famine and human suffering. And sadly, it will continue to be true in unstable regions for years to come.

The leaders and soldiers of NATO countries, and other friends and allies, demonstrate this truth through the capacity and courage they've shown in Afghanistan. But in many countries, there is a disconnect between the efforts of those who serve and the ambivalence of the broader public. I understand why war is not popular, but I also know this: The belief that peace is desirable is rarely enough to achieve it. Peace requires responsibility. Peace entails sacrifice. That's why NATO continues to be indispensable. That's why we must strengthen U.N. and regional peacekeeping, and not leave the task to a few countries. That's why we honor those who return home from peacekeeping and training abroad to Oslo and Rome; to Ottawa and Sydney; to Dhaka and Kigali -- we honor them not as makers of war, but of wagers -- but as wagers of peace.

Let me make one final point about the use of force. Even as we make difficult decisions about going to war, we must also think clearly about how we fight it. The Nobel Committee recognized this truth in awarding its first prize for peace to Henry Dunant -- the founder of the Red Cross, and a driving force behind the Geneva Conventions.

Where force is necessary, we have a moral and strategic interest in binding ourselves to certain rules of conduct. And even as we confront a vicious adversary that abides by no rules, I believe the United States of America must remain a standard bearer in the conduct of war. That is what makes us different from those whom we fight. That is a source of our strength. That is why I prohibited torture. That is why I ordered the prison at Guantanamo Bay closed. And that is why I have reaffirmed America's commitment to abide by the Geneva Conventions. We lose ourselves when we compromise the very ideals that we fight to defend. (Applause.) And we honor -- we honor those ideals by upholding them not when it's easy, but when it is hard.

I have spoken at some length to the question that must weigh on our minds and our hearts as we choose to wage war. But let me now turn to our effort to avoid such tragic choices, and speak of three ways that we can build a just and lasting peace.

First, in dealing with those nations that break rules and laws, I believe that we must develop alternatives to violence that are tough enough to actually change behavior -- for if we want a lasting peace, then the words of the international community must mean something. Those regimes that break the rules must be held accountable. Sanctions must exact a real price. Intransigence must be met with increased pressure -- and such pressure exists only when the world stands together as one.

One urgent example is the effort to prevent the spread of nuclear weapons, and to seek a world without them. In the middle of the last century, nations agreed to be bound by a treaty whose bargain is clear: All will have access to peaceful nuclear power; those without nuclear weapons will forsake them; and those with nuclear weapons will work towards disarmament. I am committed to upholding this treaty. It is a centerpiece of my foreign policy. And I'm working with President Medvedev to reduce America and Russia's nuclear stockpiles.

But it is also incumbent upon all of us to insist that nations like Iran and North Korea do not game the system. Those who claim to respect international law cannot avert their eyes when those laws are flouted. Those who care for their own security cannot ignore the danger of an arms race in the Middle East or East Asia. Those who seek peace cannot stand idly by as nations arm themselves for nuclear war.

The same principle applies to those who violate international laws by brutalizing their own people. When there is genocide in Darfur, systematic rape in Congo, repression in Burma -- there must be consequences. Yes, there will be engagement; yes, there will be diplomacy -- but there must be consequences when those things fail. And the closer we stand together, the less likely we will be faced with the choice between armed intervention and complicity in oppression.

This brings me to a second point -- the nature of the peace that we seek. For peace is not merely the absence of visible conflict. Only a just peace based on the inherent rights and dignity of every individual can truly be lasting.

It was this insight that drove drafters of the Universal Declaration of Human Rights after the Second World War. In the wake of devastation, they recognized that if human rights are not protected, peace is a hollow promise.

And yet too often, these words are ignored. For some countries, the failure to uphold human rights is excused by the false suggestion that these are somehow Western principles, foreign to local cultures or stages of a nation's development. And within America, there has long been a tension between those who describe themselves as realists or idealists -- a tension that suggests a stark choice between the narrow pursuit of interests or an endless campaign to impose our values around the world.

I reject these choices. I believe that peace is unstable where citizens are denied the right to speak freely or worship as they please; choose their own leaders or assemble without fear. Pent-up grievances fester, and the suppression of tribal and religious identity can lead to violence. We also know that the opposite is true. Only when Europe became free did it finally find peace. America has never fought a war against a democracy, and our closest friends are governments that protect the rights of their citizens. No matter how callously defined, neither America's interests -- nor the world's -- are served by the denial of human aspirations.

So even as we respect the unique culture and traditions of different countries, America will always be a voice for those aspirations that are universal. We will bear witness to the quiet dignity of reformers like Aung Sang Suu Kyi; to the bravery of Zimbabweans who cast their ballots in the face of beatings; to the hundreds of thousands who have marched silently through the streets of Iran. It is telling that the leaders of these governments fear the aspirations of their own people more than the power of any other nation. And it is the responsibility of all free people and free nations to make clear that these movements -- these movements of hope and history -- they have us on their side.

Let me also say this: The promotion of human rights cannot be about exhortation alone. At times, it must be coupled with painstaking diplomacy. I know that engagement with repressive regimes lacks the satisfying purity of indignation. But I also know that sanctions without outreach -- condemnation without discussion -- can carry forward only a crippling status quo. No repressive regime can move down a new path unless it has the choice of an open door.

In light of the Cultural Revolution's horrors, Nixon's meeting with Mao appeared inexcusable -- and yet it surely helped set China on a path where millions of its citizens have been lifted from poverty and connected to open societies. Pope John Paul's engagement with Poland created space not just for the Catholic Church, but for labor leaders like Lech Walesa. Ronald Reagan's efforts on arms control and embrace of perestroika not only improved relations with the Soviet Union, but empowered dissidents throughout Eastern Europe. There's no simple formula here. But we must try as best we can to balance isolation and engagement, pressure and incentives, so that human rights and dignity are advanced over time.

Third, a just peace includes not only civil and political rights -- it must encompass economic security and opportunity. For true peace is not just freedom from fear, but freedom from want.

It is undoubtedly true that development rarely takes root without security; it is also true that security does not exist where human beings do not have access to enough food, or clean water, or the medicine and shelter they need to survive. It does not exist where children can't aspire to a decent education or a job that supports a family. The absence of hope can rot a society from within.

And that's why helping farmers feed their own people -- or nations educate their children and care for the sick -- is not mere charity. It's also why the world must come together to confront climate change. There is little scientific dispute that if we do nothing, we will face more drought, more famine, more mass displacement -- all of which will fuel more conflict for decades. For this reason, it is not merely scientists and environmental activists who call for swift and forceful action -- it's military leaders in my own country and others who understand our common security hangs in the balance.

Agreements among nations. Strong institutions. Support for human rights. Investments in development. All these are vital ingredients in bringing about the evolution that President Kennedy spoke about. And yet, I do not believe that we will have the will, the determination, the staying power, to complete this work without something more -- and that's the continued expansion of our moral imagination; an insistence that there's something irreducible that we all share.

As the world grows smaller, you might think it would be easier for human beings to recognize how similar we are; to understand that we're all basically seeking the same things; that we all hope for the chance to live out our lives with some measure of happiness and fulfillment for ourselves and our families.

And yet somehow, given the dizzying pace of globalization, the cultural leveling of modernity, it perhaps comes as no surprise that people fear the loss of what they cherish in their particular identities -- their race, their tribe, and perhaps most powerfully their religion. In some places, this fear has led to conflict. At times, it even feels like we're moving backwards. We see it in the Middle East, as the conflict between Arabs and Jews seems to harden. We see it in nations that are torn asunder by tribal lines.

And most dangerously, we see it in the way that religion is used to justify the murder of innocents by those who have distorted and defiled the great religion of Islam, and who attacked my country from Afghanistan. These extremists are not the first to kill in the name of God; the cruelties of the Crusades are amply recorded. But they remind us that no Holy War can ever be a just war. For if you truly believe that you are carrying out divine will, then there is no need for restraint -- no need to spare the pregnant mother, or the medic, or the Red Cross worker, or even a person of one's own faith. Such a warped view of religion is not just incompatible with the concept of peace, but I believe it's incompatible with the very purpose of faith -- for the one rule that lies at the heart of every major religion is that we do unto others as we would have them do unto us.

Adhering to this law of love has always been the core struggle of human nature. For we are fallible. We make mistakes, and fall victim to the temptations of pride, and power, and sometimes evil. Even those of us with the best of intentions will at times fail to right the wrongs before us.

But we do not have to think that human nature is perfect for us to still believe that the human condition can be perfected. We do not have to live in an idealized world to still reach for those ideals that will make it a better place. The non-violence practiced by men like Gandhi and King may not have been practical or possible in every circumstance, but the love that they preached -- their fundamental faith in human progress -- that must always be the North Star that guides us on our journey.

For if we lose that faith -- if we dismiss it as silly or naïve; if we divorce it from the decisions that we make on issues of war and peace -- then we lose what's best about humanity. We lose our sense of possibility. We lose our moral compass.

Like generations have before us, we must reject that future. As Dr. King said at this occasion so many years ago, "I refuse to accept despair as the final response to the ambiguities of history. I refuse to accept the idea that the 'isness' of man's present condition makes him morally incapable of reaching up for the eternal 'oughtness' that forever confronts him."

Let us reach for the world that ought to be -- that spark of the divine that still stirs within each of our souls. (Applause.)

Somewhere today, in the here and now, in the world as it is, a soldier sees he's outgunned, but stands firm to keep the peace. Somewhere today, in this world, a young protestor awaits the brutality of her government, but has the courage to march on. Somewhere today, a mother facing punishing poverty still takes the time to teach her child, scrapes together what few coins she has to send that child to school -- because she believes that a cruel world still has a place for that child's dreams.

Let us live by their example. We can acknowledge that oppression will always be with us, and still strive for justice. We can admit the intractability of deprivation, and still strive for dignity. Clear-eyed, we can understand that there will be war, and still strive for peace. We can do that -- for that is the story of human progress; that's the hope of all the world; and at this moment of challenge, that must be our work here on Earth.

Thank you very much. (Applause.)


Copyright 2009 The New York Times Company

Tuesday, December 8, 2009

Rep. John Conyers Holds President Obama Accountable--And We Should Too

http://thehill.com/homenews/administration/71075-conyers-obama-told-me-to-stop-demeaning-him

All,

I've always liked and respected Congressman John Conyers, Jr. (whose father John, Sr. was a legendary black labor leader during the 1930s, 1940s, and '50s). Conyers is that rare bourgeois politician who has a modicum of personal integrity and a genuine sense of independence. In other words: HE ACTUALLY STANDS FOR SOMETHING.
He's not a saint or infallible by any stretch of the imagination but at least he makes a genuine effort to be a progressive legislator. Since 1964 he has been the major congressional representative from my hometown and is now in his mindboggling 23rd term. Check out this very interesting article. It tells you a great deal about the current tensions within the Democratic Party over very serious domestic and foreign policy issues. Obama should remember that it's not people like Conyers who are "demeaning" him but the virulently racist rightwing Republican Party and various rogue conservative Democrats (i.e. "bluedogs") who are actually his real enemies. Conyers characterizes his sober criticism of the President and some of his errant policy choices as constructive and ultimately supportive in that he insists on a genuine progressive agenda. I agree with his fundamental assessment and sincerely hope that the President will put his ego and hurt feelings aside to seriously consider precisely why Conyers and others in his own party and beyond are making the analyses that they are. It can only help him and his Presidency in the long run--not to mention the rest of us...

Kofi


President Obama told me to stop ‘demeaning’ him, says Rep. Conyers
By Molly K. Hooper - 12/08/09
The Hill

President Barack Obama recently called Rep. John Conyers Jr. to express his frustrations with the Judiciary Committee chairman’s criticism.

In an interview with The Hill, Conyers said his opinions of Obama’s policies on healthcare reform and the war in Afghanistan have not sat well with the president.

According to the lawmaker, the president picked up the phone several weeks ago to find out why Conyers was “demeaning” him.

Obama’s decision to challenge Conyers highlights a sensitivity to criticism the president has taken on the left. Conyers’s critical remarks, many of which have been reported on the liberal-leaning Huffington Post, appear to have irritated the president, known for his calm demeanor.

Conyers, the second-longest-serving member of the House, said, “[Obama] called me and told me that he heard that I was demeaning him and I had to explain to him that it wasn’t anything personal, it was an honest difference on the issues. And he said, ‘Well, let’s talk about it.’”

Sitting in the Judiciary Committee’s conference room two days after Obama delivered his speech on Afghanistan, the 23-term lawmaker said he wasn’t in the mood to “chat.”

Obama’s move to send in 30,000 troops to Afghanistan by the summer of 2010 has clearly disappointed Conyers.

He said he intends to press his case in writing soon.

“I want something so serious that he has to respond in writing, like I am responding in writing to him,” he said.

“Calling in generals and admirals to discuss troop strength is like me taking my youngest to McDonald’s to ask if he likes french fries,” Conyers said.

Many on the left have argued that military leaders routinely respond to crises by calling for more troops.

“I’ve been saying I don’t agree with him on Afghanistan, I think he screwed up on healthcare reform, on Guantánamo and kicking Greg off,” Conyers said, referring to the departure of former White House counsel Greg Craig.

Craig was a leading proponent in the White House of closing the terrorist detention center at Guantánamo Bay and releasing photos of detainees undergoing torture. Closing the military prison has proven to be politically difficult, and Obama reversed field on the photos, opting not to make them publicly available.

The White House did not respond to requests for comment for this article.

The liberal Conyers has been an outspoken proponent of a single-payer healthcare system and a critic of U.S. involvement in the wars in Afghanistan and Iraq.

He has also been at odds with White House policy on extending expiring provisions of the Patriot Act, crafting legislation that is to the left of the Senate’s version.

Obama and Conyers have a complicated and nuanced relationship.

Conyers was the first member of the Congressional Black Caucus to endorse Obama over then-Sen. Hillary Clinton (D-N.Y.) for the 2008 Democratic nomination for president.

Conyers earlier this year noted that he spent most weekends in 2007 and 2008 on the campaign trail trying to get Obama elected.

“I did whatever was necessary to be done to win. I met with ministers, I met with unions, I met with lawyers, I met with community activists, I met with healthcare people,” Conyers explained in early April.

The 80-year-old lawmaker, who participated in the civil rights movement alongside Martin Luther King Jr., does not shy away from saying what is on his mind.

In mid-November, Conyers said on the Bill Press radio show that Obama and White House Chief of Staff Rahm Emanuel have been “bowing down” to “nutty right-wing” healthcare proposals in a desperate effort to get legislation passed.

The Michigan Democrat, a friend of liberal filmmaker Michael Moore, said he was “getting tired of saving Obama’s can in the White House,” after progressive Democrats were forced to vote for a healthcare bill that did not call for a “robust public option” and includes language opposed by abortion-rights supporters.

Since the House narrowly passed its healthcare bill, Conyers has grown increasingly frustrated with what he sees as the White House’s willingness to weaken the role of the government in administering the proposed new benefits.

Conyers also said last month that Obama was “getting bad advice from … clowns” on Afghanistan, according to a report in the Detroit Free Press.

At times, Conyers has shown his pragmatic side. For example, he has abandoned hope of moving his legislation calling for a commission to review whether the U.S. government should pay reparations to descendants of slaves. He has called his measure too controversial.

On the morning following Obama’s landmark speech on the war in Afghanistan, Conyers sent around a “Dear Colleague” letter to Democratic and GOP lawmakers interested in joining his newly formed “Peace and Progress in Afghanistan Caucus.”

In the letter, Conyers explained that the caucus “will serve as an informal bipartisan group of members dedicated to reorienting the United States’ commitment to the Afghan government and people by emphasizing indigenous reconciliation and reconstruction strategies, rigorous regional diplomacy, and swift redeployment of the U.S. military.”

Open Letter to President Obama from Michael Moore

http://www.michaelmoore.com/words/mikes-letter/open-letter-president-obama-michael-moore

All,

This is Michael Moore's letter from a week ago calling on President Obama to do the right and responsible thing and not get this country further involved in expanding the idiotic imperialist travesty of war in Afghanistan. Of course we now all know the dreary results of our collective pleas and how seriously the President has damaged and jeopardized his Presidency and more importantly our society's future by taking this tragic and irrational course of action. Once again the monumental fallacy of the "best and the brightest" that the late, great journalist and political analyst David Halberstam wrote about so brilliantly in the legendary book of the same name in 1972 in response to the madness of the Vietnam War has overtaken this Presidency as it did in the 1960s administrations of Kennedy and Johnson.

Therefore it's worth reprinting Michael's eloquent and heartfelt letter in spite of the reality that his and our efforts in this instance are too little and too late. However if the American left and the progressive movement generally can ever find, effectively organize, and express the political and moral will of millions of citizens here in this country and abroad to STOP THIS WAR and its abysmal twin in Iraq then this letter and many other public statements about what we all seriously need to do to actually bring about the fundamental "change" we all say we desperately need and desire will not have been in vain after all. Instead this letter and others like it would stand as a clarion call for galvanizing the mass social movement that must emerge if we are to challenge ourselves and our government--no matter how violently hijacked it presently is by gigantic corporate capitalist institutions, the banks, and other powerful and corrupt financial entities like the shameless Ponzi scheme called Wall Street--to finally address what radical democratic reforms and values need to be embraced to eliminate the utterly false "need" for global war on the terms established by our power hungry generals and politicians.

As usual thank you Michael for again having the courage and clarity to not only advocate change but demand it from both ourselves and the "powers that be.".

Kofi




MIKE'S LETTER

November 30th, 2009

An Open Letter to President Obama from Michael Moore

Dear President Obama,


Do you really want to be the new "war president"? If you go to West Point tomorrow night (Tuesday, 8pm) and announce that you are increasing, rather than withdrawing, the troops in Afghanistan, you are the new war president. Pure and simple. And with that you will do the worst possible thing you could do -- destroy the hopes and dreams so many millions have placed in you. With just one speech tomorrow night you will turn a multitude of young people who were the backbone of your campaign into disillusioned cynics. You will teach them what they've always heard is true -- that all politicians are alike. I simply can't believe you're about to do what they say you are going to do. Please say it isn't so.

It is not your job to do what the generals tell you to do. We are a civilian-run government. WE tell the Joint Chiefs what to do, not the other way around. That's the way General Washington insisted it must be. That's what President Truman told General MacArthur when MacArthur wanted to invade China. "You're fired!," said Truman, and that was that. And you should have fired Gen. McChrystal when he went to the press to preempt you, telling the press what YOU had to do. Let me be blunt: We love our kids in the armed services, but we f*#&in' hate these generals, from Westmoreland in Vietnam to, yes, even Colin Powell for lying to the UN with his made-up drawings of WMD (he has since sought redemption).

So now you feel backed into a corner. 30 years ago this past Thursday (Thanksgiving) the Soviet generals had a cool idea -- "Let's invade Afghanistan!" Well, that turned out to be the final nail in the USSR coffin.

There's a reason they don't call Afghanistan the "Garden State" (though they probably should, seeing how the corrupt President Karzai, whom we back, has his brother in the heroin trade raising poppies). Afghanistan's nickname is the "Graveyard of Empires." If you don't believe it, give the British a call. I'd have you call Genghis Khan but I lost his number. I do have Gorbachev's number though. It's + 41 22 789 1662. I'm sure he could give you an earful about the historic blunder you're about to commit.

With our economic collapse still in full swing and our precious young men and women being sacrificed on the altar of arrogance and greed, the breakdown of this great civilization we call America will head, full throttle, into oblivion if you become the "war president." Empires never think the end is near, until the end is here. Empires think that more evil will force the heathens to toe the line -- and yet it never works. The heathens usually tear them to shreds.

Choose carefully, President Obama. You of all people know that it doesn't have to be this way. You still have a few hours to listen to your heart, and your own clear thinking. You know that nothing good can come from sending more troops halfway around the world to a place neither you nor they understand, to achieve an objective that neither you nor they understand, in a country that does not want us there. You can feel it in your bones.

I know you know that there are LESS than a hundred al-Qaeda left in Afghanistan! A hundred thousand troops trying to crush a hundred guys living in caves? Are you serious? Have you drunk Bush's Kool-Aid? I refuse to believe it.

Your potential decision to expand the war (while saying that you're doing it so you can "end the war") will do more to set your legacy in stone than any of the great things you've said and done in your first year. One more throwing a bone from you to the Republicans and the coalition of the hopeful and the hopeless may be gone -- and this nation will be back in the hands of the haters quicker than you can shout "tea bag!"

Choose carefully, Mr. President. Your corporate backers are going to abandon you as soon as it is clear you are a one-term president and that the nation will be safely back in the hands of the usual idiots who do their bidding. That could be Wednesday morning.

We the people still love you. We the people still have a sliver of hope. But we the people can't take it anymore. We can't take your caving in, over and over, when we elected you by a big, wide margin of millions to get in there and get the job done. What part of "landslide victory" don't you understand?

Don't be deceived into thinking that sending a few more troops into Afghanistan will make a difference, or earn you the respect of the haters. They will not stop until this country is torn asunder and every last dollar is extracted from the poor and soon-to-be poor. You could send a million troops over there and the crazy Right still wouldn't be happy. You would still be the victim of their incessant venom on hate radio and television because no matter what you do, you can't change the one thing about yourself that sends them over the edge.

The haters were not the ones who elected you, and they can't be won over by abandoning the rest of us.

President Obama, it's time to come home. Ask your neighbors in Chicago and the parents of the young men and women doing the fighting and dying if they want more billions and more troops sent to Afghanistan. Do you think they will say, "No, we don't need health care, we don't need jobs, we don't need homes. You go on ahead, Mr. President, and send our wealth and our sons and daughters overseas, 'cause we don't need them, either."

What would Martin Luther King, Jr. do? What would your grandmother do? Not send more poor people to kill other poor people who pose no threat to them, that's what they'd do. Not spend billions and trillions to wage war while American children are sleeping on the streets and standing in bread lines.

All of us that voted and prayed for you and cried the night of your victory have endured an Orwellian hell of eight years of crimes committed in our name: torture, rendition, suspension of the bill of rights, invading nations who had not attacked us, blowing up neighborhoods that Saddam "might" be in (but never was), slaughtering wedding parties in Afghanistan. We watched as hundreds of thousands of Iraqi civilians were slaughtered and tens of thousands of our brave young men and women were killed, maimed, or endured mental anguish -- the full terror of which we scarcely know.

When we elected you we didn't expect miracles. We didn't even expect much change. But we expected some. We thought you would stop the madness. Stop the killing. Stop the insane idea that men with guns can reorganize a nation that doesn't even function as a nation and never, ever has.

Stop, stop, stop! For the sake of the lives of young Americans and Afghan civilians, stop. For the sake of your presidency, hope, and the future of our nation, stop. For God's sake, stop.
Tonight we still have hope.

Tomorrow, we shall see. The ball is in your court. You DON'T have to do this. You can be a profile in courage. You can be your mother's son.


We're counting on you.

Yours,

Michael Moore
MMFlint@aol.com
MichaelMoore.com

P.S. There's still time to have your voice heard. Call the White House at 202-456-1111 or email the President.


Michael Francis Moore is a critically acclaimed and Academy Award-winning American filmmaker, author, social activist, and political commentator. He is the director and producer of Capitalism: A Love Story, Bowling for Columbine, Fahrenheit 9/11, and Sicko, four of the top five highest-grossing documentaries of all time. In September 2008, he released his first free movie on the Internet, Slacker Uprising, documenting his personal crusade to encourage more Americans to vote in presidential elections. He has also written and starred in the TV shows TV Nation and The Awful Truth.

Moore has openly criticized globalization, large corporations, gun ownership, the Iraq War, former U.S. President George W. Bush and the American health care system in his written and cinematic works. In 2005 Time magazine named him one of the world's 100 most influential people. In 2005, Moore started the annual Traverse City Film Festival in Traverse City, Michigan. In 2008, he closed his Manhattan office and moved it to Traverse City, where he is working on his new film.

Wednesday, December 2, 2009

The Tragedy, Stupidity, and Futility of Obama's Escalation of War in Afghanistan

http://www.nytimes.com/2009/12/01/opinion/01herbert.html?em

All,

Herbert is 100% right of course. Too bad this President is not listening as he futilely, vainly, and foolishly tries to placate his many reactionary political enemies.
WHAT A COLOSSAL WASTE!

Meanwhile: THE WORSE IS YET TO COME...

Kofi


EDITOR'S NOTE: For still more details see third article below on "President Obama and the quagmire of Afghanistan"



OP-ED COLUMNIST

A Tragic Mistake

By BOB HERBERT
Published: November 30, 2009
New York Times

“I hate war,” said Dwight Eisenhower, “as only a soldier who has lived it can, as one who has seen its brutality, its futility, its stupidity.”

















Bob Herbert


He also said, “Every gun that is made, every warship launched, every rocket fired, signifies in the final sense a theft from those who hunger and are not fed, those who are cold and not clothed.”

I suppose we’ll never learn. President Obama will go on TV Tuesday night to announce that he plans to send tens of thousands of additional American troops to Afghanistan to fight in a war that has lasted most of the decade and has long since failed.

After going through an extended period of highly ritualized consultations and deliberations, the president has arrived at a decision that never was much in doubt, and that will prove to be a tragic mistake. It was also, for the president, the easier option.

It would have been much more difficult for Mr. Obama to look this troubled nation in the eye and explain why it is in our best interest to begin winding down the permanent state of warfare left to us by the Bush and Cheney regime. It would have taken real courage for the commander in chief to stop feeding our young troops into the relentless meat grinder of Afghanistan, to face up to the terrible toll the war is taking — on the troops themselves and in very insidious ways on the nation as a whole.

More soldiers committed suicide this year than in any year for which we have complete records. But the military is now able to meet its recruitment goals because the young men and women who are signing up can’t find jobs in civilian life. The United States is broken — school systems are deteriorating, the economy is in shambles, homelessness and poverty rates are expanding — yet we’re nation-building in Afghanistan, sending economically distressed young people over there by the tens of thousands at an annual cost of a million dollars each.

I keep hearing that Americans are concerned about gargantuan budget deficits. Well, the idea that you can control mounting deficits while engaged in two wars that you refuse to raise taxes to pay for is a patent absurdity. Small children might believe something along those lines. Rational adults should not.

Politicians are seldom honest when they talk publicly about warfare. Lyndon Johnson knew in the spring of 1965, as he made plans for the first big expansion of U.S. forces in Vietnam, that there was no upside to the war.

A recent Bill Moyers program on PBS played audio tapes of Johnson on which he could be heard telling Defense Secretary Robert McNamara, “Not a damn human thinks that 50,000 or 100,000 or 150,000 [American troops] are going to end that war.”

McNamara replies, “That’s right.”

Nothing like those sentiments were conveyed to the public as Johnson and McNamara jacked up the draft and started feeding young American boys and men into the Vietnam meat grinder.

Afghanistan is not Vietnam. There was every reason for American forces to invade Afghanistan in the immediate aftermath of Sept. 11, 2001. But that war was botched and lost by the Bush crowd, and Barack Obama does not have a magic wand now to make it all better.

The word is that Mr. Obama will tell the public Tuesday that he is sending another 30,000 or so troops to Afghanistan. And while it is reported that he has some strategy in mind for eventually turning the fight over to the ragtag and less-than-energetic Afghan military, it’s clear that U.S. forces will be engaged for years to come, perhaps many years.

The tougher choice for the president would have been to tell the public that the U.S. is a nation faced with terrible troubles here at home and that it is time to begin winding down a war that veered wildly off track years ago. But that would have taken great political courage. It would have left Mr. Obama vulnerable to the charge of being weak, of cutting and running, of betraying the troops who have already served. The Republicans would have a field day with that scenario.

Lyndon Johnson is heard on the tapes telling Senator Richard Russell, chairman of the Armed Services Committee, about a comment made by a Texas rancher in the days leading up to the buildup in Vietnam. The rancher had told Johnson that the public would forgive the president “for everything except being weak.”

Russell said: “Well, there’s a lot in that. There’s a whole lot in that.”

We still haven’t learned to recognize real strength, which is why it so often seems that the easier choice for a president is to keep the troops marching off to war.

Tuesday, December 1, 2009

The Thriving Persistence of Racism in Employment against African Americans in "Obama's America"

http://www.nytimes.com/2009/12/01/us/01race.html?th&emc=th

All,

Who says racism is not alive and still absolutely thriving here in the United Hates of Hysteria--with or without Obama?...So much for the ridiculous "postracial" myth...

Kofi



Damon Winter/The New York Times

Johnny Williams has scrubbed his résumé of any details that might tip off his skin color.



In Job Hunt, College Degree Can’t Close Racial Gap
By MICHAEL LUO
Published: November 30, 2009
New York Times

Johnny R. Williams, 30, would appear to be an unlikely person to have to fret about the impact of race on his job search, with companies like JPMorgan Chase and an M.B.A. from the University of Chicago on his résumé.


Multimedia










Graphic
Racial Differences in Joblessness










Karena Cawthon for The New York Times
Barry Jabbar Sykes goes by Barry J. Sykes in his job hunt.


But after graduating from business school last year and not having much success garnering interviews, he decided to retool his résumé, scrubbing it of any details that might tip off his skin color. His membership, for instance, in the African-American business students association? Deleted.

“If they’re going to X me,” Mr. Williams said, “I’d like to at least get in the door first.”

Similarly, Barry Jabbar Sykes, 37, who has a degree in mathematics from Morehouse College, a historically black college in Atlanta, now uses Barry J. Sykes in his continuing search for an information technology position, even though he has gone by Jabbar his whole life.

“Barry sounds like I could be from Ireland,” he said.

That race remains a serious obstacle in the job market for African-Americans, even those with degrees from respected colleges, may seem to some people a jarring contrast to decades of progress by blacks, culminating in President Obama’s election.

But there is ample evidence that racial inequities remain when it comes to employment. Black joblessness has long far outstripped that of whites. And strikingly, the disparity for the first 10 months of this year, as the recession has dragged on, has been even more pronounced for those with college degrees, compared with those without. Education, it seems, does not level the playing field — in fact, it appears to have made it more uneven.

College-educated black men, especially, have struggled relative to their white counterparts in this downturn, according to figures from the Bureau of Labor Statistics. The unemployment rate for black male college graduates 25 and older in 2009 has been nearly twice that of white male college graduates — 8.4 percent compared with 4.4 percent. Various academic studies have confirmed that black job seekers have a harder time than whites. A study published several years ago in The American Economic Review titled “Are Emily and Greg More Employable than Lakisha and Jamal?” found that applicants with black-sounding names received 50 percent fewer callbacks than those with white-sounding names. A more recent study, published this year in The Journal of Labor Economics found white, Asian and Hispanic managers tended to hire more whites and fewer blacks than black managers did.

The discrimination is rarely overt, according to interviews with more than two dozen college-educated black job seekers around the country, many of them out of work for months. Instead, those interviewed told subtler stories, referring to surprised looks and offhand comments, interviews that fell apart almost as soon as they began, and the sudden loss of interest from companies after meetings.

Whether or not each case actually involved bias, the possibility has furnished an additional agonizing layer of second-guessing for many as their job searches have dragged on.

“It does weigh on you in the search because you’re wondering, how much is race playing a factor in whether I’m even getting a first call, or whether I’m even getting an in-person interview once they hear my voice and they know I’m probably African-American?” said Terelle Hairston, 25, a graduate of Yale University who has been looking for work since the summer while also trying to get a marketing consulting start-up off the ground. “You even worry that the hiring manager may not be as interested in diversity as the H.R. manager or upper management.”

Mr. Williams recently applied to a Dallas money management firm that had posted a position with top business schools. The hiring manager had seemed ecstatic to hear from him, telling him they had trouble getting people from prestigious business schools to move to the area. Mr. Williams had left New York and moved back in with his parents in Dallas to save money.

But when Mr. Williams later met two men from the firm for lunch, he said they appeared stunned when he strolled up to introduce himself.

“Their eyes kind of hit the ceiling a bit,” he said. “It was kind of quiet for about 45 seconds.”

The company’s interest in him quickly cooled, setting off the inevitable questions in his mind.

Discrimination in many cases may not even be intentional, some job seekers pointed out, but simply a matter of people gravitating toward similar people, casting about for the right “cultural fit,” a buzzword often heard in corporate circles.

There is also the matter of how many jobs, especially higher-level ones, are never even posted and depend on word-of-mouth and informal networks, in many cases leaving blacks at a disadvantage. A recent study published in the academic journal Social Problems found that white males receive substantially more job leads for high-level supervisory positions than women and members of minorities.

Many interviewed, however, wrestled with “pulling the race card,” groping between their cynicism and desire to avoid the stigma that blacks are too quick to claim victimhood. After all, many had gone to good schools and had accomplished résumés. Some had grown up in well-to-do settings, with parents who had raised them never to doubt how high they could climb. Moreover, there is President Obama, perhaps the ultimate embodiment of that belief.

Certainly, they conceded, there are times when their race can be beneficial, particularly with companies that have diversity programs. But many said they sensed that such opportunities had been cut back over the years and even more during the downturn. Others speculated there was now more of a tendency to deem diversity unnecessary after Mr. Obama’s triumph.

In fact, whether Mr. Obama’s election has been good or bad for their job prospects is hotly debated. Several interviewed went so far as to say that they believed there was only so much progress that many in the country could take, and that there was now a backlash against blacks. “There is resentment toward his presidency among some because of his race,” said Edward Verner, a Morehouse alumnus from New Jersey who was laid off as a regional sales manager and has been able to find only part-time work. “This has affected well-educated, African-American job seekers.” It is difficult to overstate the degree that they say race permeates nearly every aspect of their job searches, from how early they show up to interviews to the kinds of anecdotes they try to come up with.

“You want to be a nonthreatening, professional black guy,” said Winston Bell, 40, of Cleveland, who has been looking for a job in business development. He drew an analogy to several prominent black sports broadcasters. “You don’t want to be Stephen A. Smith. You want to be Bryant Gumbel. You don’t even want to be Stuart Scott. You don’t want to be, ‘Booyah.’ ” Nearly all said they agonized over job applications that asked them whether they would like to identify their race. Most said they usually did not.

President Obama and the Military Quagmire in Afghanistan: The Looming Catastrophe

http://www.nytimes.com/2009/12/01/world/asia/01orders.html?_r=1&nl=us&emc=politicsemailema1


All,

It doesn't take a rocket scientist to see that this catastrophic decision on the President's part to cave in to the manipulative self serving demands of the Pentagon and his own military advisors and staff can only lead to absolute DISASTER. Afghanistan is nothing but a horrific quagmire that will be a cesspool of failure and defeat for Obama and his administration. More importantly it will be an even greater burden and mindless "sacrifice" for the rest of us. By allowing the venal likes of Dick Cheney and bumbling irresponsible U.S. generals like McChrystal (the main culprit behind the ugly and heinous attempt by the U.S. Army and the Bushwhacker administration to publically cover-up the tragic "friendly fire" death of Pvt. Pat Tillman) to essentially "direct" the country's ongoing wars despite their own overwhelming failures and thoroughly corrupt and immoral actions, Obama has foolishly allowed himself to be caught in a Vietnam-like trap that-- if he doesn't wake up from the emptyheaded macho posturing at some point --very soon is going to destroy his Presidency. Like in Vietnam NO GOOD CAN POSSIBLY RESULT FROM THIS ACTION. Yeah folks this decision is just that bad. WORSE THAN BAD...

Kofi



December 1, 2009

Obama Issues Order for More Troops in Afghanistan
By ERIC SCHMITT
New York Times

WASHINGTON — President Obama issued orders to send about 30,000 additional American troops to Afghanistan as he prepared to address the nation Tuesday night to explain what may be one of the most defining decisions of his presidency.

Mr. Obama conveyed his decision to military leaders late Sunday afternoon during a meeting in the Oval Office and then spent Monday phoning foreign counterparts, including the leaders of Britain, France and Russia.

Robert Gibbs, the White House press secretary, declined to say how many additional troops would be deployed, but senior administration officials previously have said that about 30,000 will go in coming months, bringing the total American force to about 100,000.

On top of previous reinforcements already sent this year, the troop buildup will nearly triple the American military presence in Afghanistan that Mr. Obama inherited when he took office and represents a high-stakes gamble by a new commander in chief that he can turn around an eight-year-old war that his own generals fear is getting away from the United States.

The speech he plans to deliver at the United States Military Academy at West Point at 8 p.m. will be the first test of his ability to rally an American public that according to polls has grown sour on the war, as well as his fellow Democrats in Congress who have expressed deep skepticism about a deeper involvement in Afghanistan.

Mr. Gibbs told reporters at the White House that Mr. Obama would discuss in the speech how he intended to pay for the plan — a major concern of his Democratic base — and would make clear that he had a time frame for winding down the American involvement in the war.

“This is not an open-ended commitment,” Mr. Gibbs said.

The administration was sending its special representative for Afghanistan and Pakistan, Richard C. Holbrooke, to Brussels on Tuesday to begin briefing NATO and European allies about the policy.

He will be joined at NATO headquarters there on Friday by Secretary of State Hillary Rodham Clinton and Gen. Stanley A. McChrystal, who will brief NATO foreign ministers in his capacity as the senior allied commander.

Before leaving for West Point on Tuesday, Mr. Obama will meet with more than two dozen Congressional leaders at the White House to discuss his plan. Mr. Obama spent much of Monday calling allied leaders.

He spoke for 40 minutes with President Nicolas Sarkozy of France, who signaled that France was not in a position to commit more troops. There are currently 3,750 French soldiers and 150 police officers in Afghanistan.

“He said France would stay at current troop levels for as long as it takes to stabilize Afghanistan,” said an official briefed on the exchange, who spoke on the condition of anonymity to describe a private diplomatic exchange.

Instead of troops, Mr. Sarkozy told Mr. Obama that France was putting its focus on a conference in London sponsored by Germany and Britain to rally support for Afghanistan, officials in Washington and France said.

The French defense minister, Hervé Morin, publicly confirmed the French position on Monday, saying, “There is no question for now of raising numbers.”

Prime Minister Gordon Brown of Britain said Monday that Britain would send 500 additional troops to Afghanistan in early December, raising the number of British troops there to 10,000.

The announcement was closely coordinated between the governments in London and Washington, the two largest troop providers in the 43-nation coalition fighting in Afghanistan. Mr. Brown spoke to Mr. Obama by video link after his announcement in the House of Commons.

Mr. Obama also called President Dmitri A. Medvedev of Russia and Prime Minister Manmohan Singh of India, and he met at the White House with Prime Minister Kevin Rudd of Australia.

Administration officials said that Mr. Obama in his speech would lower American ambitions for the rate of training Afghan soldiers and the national police, a position that could put him at odds with some senior lawmakers.

They have been pressing to expand and accelerate the training, to speed the day when Afghan forces could assume more security duties and American troops could begin to withdraw.

In his strategic assessment, General McChrystal called for increasing the Afghan Army and the national police force by a combined 400,000 people.

But after originally embracing this approach, administration officials had second thoughts, fearing that pursuing this goal would just churn out thousands of substandard recruits. An administration official said the focus now would be on producing somewhat fewer but better trained troops, as quickly as possible. The shift was reported Monday by The Wall Street Journal.

Under the new plan, newly trained Afghan security forces will work with American or other allied forces at every level. General McChrystal recommended this requirement in his assessment to increase the quality of the Afghan force and “accelerate their ownership of Afghanistan’s security.”

A senior Defense Department official, speaking on the condition of anonymity to describe a plan that had not been formally announced, said Monday that the first additional troops would be thousands of Marines sent to opium-rich Helmand Province, a Taliban stronghold in the south of Afghanistan. The Marines will begin to arrive in the region in January, the official said, and will be followed by a steady flow of tens of thousands..

Most of the additional forces in the south will go to Kandahar Province, the Taliban heartland, where the United States is stretched thin and has very few troops in the province’s largest city, also called Kandahar. The Taliban are currently in control of large parts of the province and are contesting control of the city.

The Defense Department official said that the additional United States troops would be used to try to secure the city and then the region.

“With more forces we should be able to lock down the security in Kandahar and the surrounding areas of Kandahar,” the official said.

The official said that after the president’s speech, which will begin at 5:30 a.m. Wednesday in Afghanistan, General McChrystal would brief his commanders and then embark on a daylong fly-around to visit NATO military installations in the country — Kandahar in the south, Mazar-i-Sharif in the north, Bagram Air Base in the east and Herat in the west.


Reporting was contributed by Peter Baker, David E. Sanger, Sheryl Gay Stolberg, Elisabeth Bumiller and Mark Landler from Washington, Steven Erlanger from Paris, and John F. Burns from London.

Sunday, November 29, 2009

We Want Miles!: An International Exhibit of His Life and Work at Musée de La Musique, Paris, France: October 16, 2009--January 17, 2010










http://www.milesdavis.com/uploads/news/we_want_miles.pdf



If you can get to Paris before the end of 17 January 2010, you really should try and see an amazing exhibition devoted to the life and music of Miles Davis. "We Want Miles - Miles Davis: The Face of a Legend," is quite simply, a stunning exhibition, a must-see event for anyone with an interest in Miles. It was put together by Vincent Bessières, a curator at the Musée de la Musique/Cite de la Musique. Vincent spent two years organising the exhibition and worked closely with Miles Davis Properties LLC, which looks after the Miles Davis estate. Vincent worked with Miles's youngest son Erin (who played percussion in Miles's 1990 band), daughter Cheryl, nephew Vince Wilburn Jr (who played drums in Miles's band during 1985-87), and Darryl Porter, general manager of the Miles Davis estate.

The result is a stunning collection of exhibits from around the world, that includes, musical instruments, stage clothes, music scores, session sheets, music tracks, art work, videos, posters, adverts, interviews and photographs from top photographers such as Annie Liebovitz, Anton Corbijn, Don Hunstein, Anthony Barboza and the late Irving Penn.

I was fortunate to attend the preview opening and was spellbound. The exhibition is on two large floors and starts with Miles's early life in St Louis and ends with his concert at La Villette in Paris on July 10 1991, barely a month before he died. My photographs have focused on Miles's 1970s and 80s periods, and show only a fraction of what there is to see. Later on, I was able to attend a private event where I met Vince, Erin and Cheryl. Also present was jazz musician Kyle Eastwood (who has worked with Erin Davis) and Olana DiGirolamo, the producer/director of Play That, Teo, a film about Miles's long-time producer Teo Macero.

There is talk of the exhibition moving to Montreal in Spring 2010, but in the meantime, if you can get to Paris - don't miss it!

Many thanks to Vince Wilburn Jr, Darryl Porter and Vincent Bessières.

-George Cole



exhibition

we want miles

miles Davis : Jazz Face to Face with its legend

october 16, 2009 - Janvier 17, 2010

musée de la musique


Press release

we want miles

miles Davis exhibition: Jazz Face to Face with its legend

October 16, 2009 – January 17, 2010

Musée de la Musique/Cité de la Musique

Curator: Vincent Bessières

Associated curator: Éric de Visscher



Sixty years after his first trip to France to perform at the Salle Pleyel, fifty years after recording his masterpiece Kind of Blue (Grammy Award winning and best selling jazz record of all time), forty-nine years after the recording of Sketches of Spain and forty years after the revolutionary Bitches Brew, the Musée de la Musique presents an ambitious retrospective devoted to one the greatest music makers of the twentieth century: Miles Davis (1926-1991). Organized with the support of the Miles Davis Properties, LLC., this exhibition charts the jazzman’s musical trajectory from his childhood in East St. Louis to the retrospective concert he gave, actually at La Villette in Paris, just a few weeks before he passed away. Following several years of silence out of the public eye, Miles Davis came back in 1981 with the album The Man with the Horn. Shortly after, his come-back was confirmed by a live album aptly named We Want Miles – a title that reminds us how eagerly he had been awaited by his fans. In tribute to the passion the musician inspired throughout his whole career, the Musée de la Musique’s first exhibition devoted to jazz bears the same title as the album that emphasized his return on the forefront of the scene. Almost thirty years later, this title, acting like a slogan, is at once an invitation and a wish. An invitation to rediscover the music and measure the immense talent of an artist who never ceased to question the boundaries of jazz. A wish to better understand the man’s complexity as well as his musical genius and mystery, a man who forged his own image throughout his lifetime. We Want Miles: jazz face to face with its legend.

Covering a surface of 800 m2, the exhibition is divided into thematic sequences arranged chronologically and presenting numerous artifacts, many of which are presented to the public for the first time: rare or previously unscreened footage, original manuscript scores, an exceptional ensemble of trumpets and instruments his fellow-musicians played, original documents relating to his albums, stage costumes, vintage pressings of his records, as well as numerous pictures taken by the greatest photographers. The exhibition also displays works of art, that bear witness to Miles Davis’s aura beyond the mere sphere of music. Conceived by the Projectiles team, the exhibition is entirely designed to facilitate the appreciation of sound and ease of listening. It pays homage to the music by displaying several“mutes” throughout the itinerary. These so-called mutes – coined in reference to the very particular sound Miles Davis obtained from such devices – are oval-shaped spaces; small listening rooms designed to allow the public to discover the artist’s emblematic works in optimal conditions. Moreover, equipped with headphones – either their own or ones lent by the museum – visitors can entertain themselves plugging into interactive audio and video stations that complete the show’s musical circuit.

looking for miles Davis :

How do you show music? Imagining an exhibition on an artist with the stature of Miles Davis poses a twofold objective: first, to make the most significant aspects of his work heard and, secondly, to display the objects that bear witness to his artistic development. Reflection on the quality of the sound was therefore an important issue for this exhibition, which led the Projectiles team to produce an original solution: the “mutes”(see on page 18-19). Reflection on how to exhibit musical objects was an equally complex matter, given the absence of a real museographic institution anywhere in the world devoted to jazz in general or to Miles Davis in particular.

Very enthusiastic for this exhibition, Miles Davis’s beneficiaries had however no detailed we want miles : Prologue to an exhibition By Vincent Bessières, the exhibition’s curator inventory of what was in their collections, and it was only by going to the relevant locations and launching out on an exciting treasure trail and opening boxes and drawers – often left untouched since the demise of the musician – that we were able to bring to light numerous artifacts that would be shown to the public for the first time. Among these, there are a considerable number of manuscripts illustrating certain key episodes of Miles Davis’s career (original charts from the Birth of the Cool nonet, orchestral scores of Porgy and Bess, hand-written themes by Herbie Hancock, Wayne Shorter, Joe Zawinul, Hermeto Pascoal...) but also outfits and personal belongings. At the same time, our research led us to locate certain rare or previously unscreened footage (Miles in the recording studio, Miles boxing) the presentation of which, in itself, constitutes something of an event. Consulting the archives of Teo Macero (a producer who was to Miles Davis what George Martin was to the Beatles) kept at the New York Public Library, allowed us to find working documents of his and better understand the production of certain major albums. Finally, whilst it brings together an exceptional number of trumpets that belonged to Miles Davis, the exhibition also includes several instruments used by his fellow musicians, who, in their support for the project, were kind enough to part from the instruments and lend them to the museum. This body of exhibits, complemented with works of art that bear witness to an aura that goes beyond music itself, constitutes a documentary and aesthetic whole that is the first of its kind ever to be assembled on the subject.

Among the numerous scores found while preparing the exhibition, the original manuscripts of the so-called orchestra of Birth of the Cool, dating from 1948-49, are the oldest. Published under the title Deception, this arrangement (on which the original title of the piece Conception can be read), is one of the rare ones to be attributed to Miles Davis (left). Original handwritten music sheet of Deception (adapted from George Shearing’s Conception) performed by the Birth of the Cool nonet, 1949. Miles Davis Properties LLC. collection.

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miles and Paris: a long story Paris has featured in the destiny of many artists and, among jazzmen, Miles Davis is one for whom the City of Light played a decisive role. The exhibition at the Cité coincides with the sixtieth anniversary of his first trip to Paris in 1949. Invited to perform at the International Jazz Festival organized at the Salle Pleyel by a group of jazz aficionados, who were as enlightened as they were dynamic (including Eddie Barclay and Charles Delaunay), the trumpeter was considered, at the age of twenty-three, to be one of the rising stars of modern jazz. The line-up also boasted the likes of Sidney Bechet and Charlie Parker. Not only was he greeted enthusiastically by the French public and warmly welcomed by a certain intelligentsia of the time, Miles Davis realized that in Paris he was more than just a musician, he was an artist. Boris Vian introduced him to the Existentialist set who congregated in the cellars of Saint-Germain- des-Prés, and it is there that his fleeting, yet highly symbolic, romance with Juliette Gréco contributed to forging his attachment to Paris. When he returned in 1956, he would play with the great saxophonist Lester Young, his idol as a teenager. The following year, backed by the French musicians who accompanied him at the Club Saint-Germain – the hotspot for jazz on Paris’s Left Bank – Miles Davis recorded the music for Ascenseur pour l’échafaud (Lift to the Scaffold), Louis Malle’s first full-length film, whose success owes a lot to the atmosphere created by the soundtrack improvised in one night. From then on, Miles would return to Paris repeatedly, performing at the Olympia, the Salle Pleyel, the TNP and, after he retired, at the Châtelet and the Zénith, up until his great retrospective concert “Miles and Friends”, that was held in the open-air – just weeks before he passed away in 1991 – on the grounds of La Villette, in front of the Grande Halle. For the first time in his career (and because it was in Paris, the first city to have recognized his talent) Miles Davis agreed to perform once more with his former partners, revisiting the past. Symbolically, the exhibition closes with the projection of the film that was made of this historic concert, which took place just meters away from where the Cité de la Musique, which houses the Musée de la Musique and has taken over the management of the Salle Pleyel, would be built in 1995.

“Directions in music”:

miles or Jazz on the move

Miles Davis (1926-1991) is one of the most fascinating characters in the history of jazz. Whilst the majority of jazz’s great names developed a musical language they spent their whole lives exploring (Thelonious Monk, Charlie Parker) – be it in the most absolute of ways (John Coltrane) or in a way that could be seen as forming one cohesive body (Duke Ellington) – Miles Davis never stopped calling his music into question and, in what was often a visionary move, provoking his own revolutions at a startling pace (almost every five years). From his first contact with bebop in the middle of the 1940s right up to his experimenting with rap at the twilight of his life, the trumpeter continued to work with different musicians, scouting up uncharted sounds, sometimes at the risk of alienating a portion of his fans. At the very heart of the history of jazz, where his path crossed those of so many major musicians, Miles Davis is one of the great architects of the genre by virtue of the essential “monuments” he built up; milestones in the course of twentieth century popular music. Miles Davis had a flair for new trends and his ability in integrating them, feeding the finest contemporary sounds into his own creativity, thanks to an acute awareness of his environment.

Boris Vian, Miles Davis and Michèle Léglise Vian, Paris, 1949. © DR.



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• the end of the sixties marked by electric instruments, conceptual albums, and the influence of Jimi Hendrix, along with all the future heroes of jazz rock (Joe Zawinul, John McLaughlin, Chick Corea...);

• the invention of afrofunk based on obsessive beats, and a saturated electric sound with strange undercurrents resulting from his collaboration with Indian musicians – a style with its finger on the pulse of popular music (Motown, James Brown and Sly Stone);

• the rise of pop jazz, marked by new production techniques and synthesizers, his fascination with Prince, his covers of hits, and his close collaboration with Marcus Miller, who composed an entire album for him, Tutu, as a showcase for what had truly become his signature sound. All these “directions in music” – to use a phrase Miles put on his album covers in the middle of the 1960s – bear witness to an incredible creativity and a fully fledged commitment that the exhibition aims to translate the richness, making the most emblematic recordings heard. Over almost half a century Miles Davis’s career thus underwent an impressive number of “periods” that structure the break-down of the exhibition into the following sections:

• the influence of the St. Louis musicians who, from New Orleans to Chicago to Kansas City, developed a “school” of trumpet playing that would leave its mark on his own sound;

• his affiliation to the vanguard of the 1940s, bebop, with the blessing of its mentors Dizzy Gillespie and Charlie Parker, whose regular sideman he became;

• the novelty of the arrangements and “soft” quality of sound put out by his first orchestra, that opened the way to a new jazz – cool jazz – from which Miles would then turn away in order to go back to the basics of afro-american jazz, the expressiveness of blues, the lyricism of standards, along with the main perpetrators of hard bop (Horace Silver, Sonny Rollins, Jackie McLean, Art Blakey, and John Coltrane);

• the first years with Columbia marked by the orchestral works of Gil Evans, his ambitious adaptations of Porgy and Bess and Sketches of Spain, as well as his modal exploration with the sextet, culminating in the masterpiece Kind of Blue;

• the so-called Second Quintet with which, in the middle of the 1960s – influenced as he was by young guns (Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams) – he shook the very structure of jazz, ushering in a certain rhythmic freedom, while never losing control over his music;

inextricably bound to his music – a dismissal of urgency, a sense of less-is-more, a contained lyricism – and to his attitude. On stage, in the studio, while socializing, or in front of journalists, Miles Davis made his presence felt without ever giving much away. Beneath the cool exterior, there was a volcanic temperament; he had a way with words and a dry sense of humor, mixing colorful language and pithy retorts to provide some classic repartee. This multi-faceted man is one of the most fascinating heroes in the whole history of music. It is impossible to discuss his art without evoking the aura that emanated from him, because that aura is part and parcel of how he went down in history. Photography’s greatest names tried to capture this impression he gave from all angles and, from the inventors of the black and white imagery of jazz (Herman Leonard, William Gottlieb, Bob Willoughby, Ed van Der Elsken), to the leading photographers of the 1960s (Dennis Stock, Lee Friedlander, Amalie Rothschild, Baron Wolman), to the “jazzmen” of the profession (Guy Le Querrec,), and the greatest contemporary portrait artists (Anton Corbijn, Annie Leibovitz, Irving Penn), the exhibition shows these pictures.

the aura of a legend

A woman’s man, an enigmatic character, oscillating between strokes of genius and furious outbursts, a “glamorous” figure in some respects, Miles Davis spun his own legend. The author of a surprisingly frank autobiography, whose opening pages are presented in the exhibition, he forged his image in much the same way he crafted his music, becoming a star before rock stars made it an obligation to be one. At each stage in his artistic development, Miles Davis enriched his biography with anecdotes and episodes that make his life one of the most colorful in the history of jazz. His relationships with leading ladies, his escapades, his detached attitude, his provocative declarations, his bad reputation linked to drugs, his taste for the finer things in life including sports cars, his various – and sometimes extravagant – image changes, as well as his demanding nature, all fueled the myth that fascinated the public. He turned the bandstand into a new kind of stage. The archetypal jazzman in dark shades, as inaccessible as he was elegant, Miles Davis was, in the eyes of the twentieth century, the embodiment of coolness. The word “cool” is both

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“to be white” or the racial issue

The racial issue was present as an undercurrent throughout Miles Davis’ career, regularly provoking tensions that influenced his music. Marked by the context of segregation and a strong sense of pride inherited from his father, Miles Davis’s attitude is that of an artist who refused to be considered just by the color of his skin. Defying any kind of ghettoization, surrounding himself with white musicians (often European) who played a decisive role in the evolution of his work, he also celebrated a certain genius in black music, hitting back at the irreverence of those who saw jazz as mere entertainment. Similarly, he was ferocious in his criticism of black musicians he deemed too servile toward white society. The exhibition includes this dimension of the persona as it overlaps on the development of his music and his relationship to jazz. His whole life Miles Davis was caught between his roots in the music of his kin and his fear of ever getting trapped in that genre; torn between the fundamentals of jazz (in particular blues) and his refusal to consider it a finite musical language. From Walkin’ (1954), which resounds like a wake-up call for the black community, to You’re Under Arrest (1985), in which he play-acts his control by the police at the wheel of a Ferrari, and from the “African” undertones of Kind of Blue (1959) to On the Corner (1972), which seeks to reconnect with the ghetto, a “black” theme runs through Miles Davis’s work; which is not to say it could be mistaken for a kind of negro chant. It constantly goes beyond that, transcending musical boundaries and racial issues (even if the latter sometimes surfaced uninvited). The assault the musician suffered at the hands of policemen in 1959, in front of a club where he was working, and the resulting scandal, are painful episodes the exhibition evokes.

A black artist in an industry dominated by white men, Miles Davis refused to be considered as a second rate musician. He made Columbia put his women in his life – beautiful black women who were a picture of artistic success (the dancer Frances Taylor, the actress Cicely Tyson, the singer Betty Davis) – on his record covers instead of vulgar white playmates. The financial conditions he posed were the object of heated debate, in which the racial question was never not an issue. His passion for boxing – a sport in which African Americans were at the top of the game and that he himself practiced – culminated with him signing, in 1970, the soundtrack of a documentary on Jack Johnson, the first black man in history to become world heavy-weight champion. He was furious when Columbia didn’t promote it properly. That’s how Miles was: he never missed a beat, he was in the ring, his wits about him, ready to give as good as he got – and with no small dose of ambiguity, as can be seen from Baroness Pannonica’s notebooks, which are presented at the exhibition. A patron of jazzmen, she took to asking them what their “three wishes” would be regarding their situation in life. Miles gave this individual, laconic and cynical answer: “to be white.”

Miles Davis with handcuffs on his wrists, shortly after the assault by policemen in front of Birdland, New York, August 26, 1959. © Ullstein Bild / Roger-Viollet.

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From miles to obama

By the way in which he embraced his times, his capacity to reinvent himself and his art, the density and profusion of his work, the unfaltering and resounding influence of his music on the rest of jazz, and his ingenious intuition, and because of the legend of his own life and all the phases that marked his creative itinerary, we are tempted to think of Miles Davis as the “Picasso” of jazz – an exceptional artist, without whom the face of twentieth century art would not be the same. We speak of “Miles” like we speak of “Picasso” and a whole oeuvre is before us. Almost twenty years after his death, Miles is a benchmark not just for jazz, but for music, and he commands not only respect, but profound admiration. An “icon” for our age, annexed by advertising already during his lifetime, Miles Davis shines on, just as his records have become classics. He was a precursor of contemporary jazz, but more than that: he has been an example for musicians as diverse as Santana, Brian Eno, Laurent Garnier, and Q-Tip, and an inspiration to artists such as the film-maker Dennis Hopper, the choreographer Anna Teresa de Keermaeker, and the painter Jean-Michel Basquiat... Who isn’t a fan of Miles Davis? Who doesn’t find a piece that moves him in a body of work so varied and so vast? Everyone has their favorite album, and not least Barack Obama, whose rise to power in the United States casts new light on an anecdote Miles Davis recounted in his biography. In 1987, Miles was invited to a dinner held at the White House by Ronald Reagan. When an old goat asked him, rather condescendingly, what he had done with his life to get invited to Washington, Miles answered somewhat icily: “I’ve changed music five or six times.” This alone calls for an exhibition – We Want Miles !

vincent bessières

Born in Toulouse in 1974, Vincent Bessières is a holder of the French Agregration of Literature. As well as teaching, he started out as a journalist in 2000 with the magazine Jazzman, of which he became associate editor-in-chief in 2007. As well as a regular slot on the show Jazz de Cœur, Jazz de Pique on the French radio station France Musique from 2002 to 2008, he is also artistic advisor to Studio 5, a daily music program on the channel France 5. He is responsible for the editorial coordination of the content of the jazz section of the Médiathèque’s portal for the education department of the Cité de la Musique, and since 2006 he has been in charge of the department’s workshop on contemporary jazz. The author of numerous liner notes for jazz albums, including those of the label B Flat Recordings, created by the Belmondo brothers, he signed a chapter in the book On Jazz, celebrating the twentieth anniversary of l’Orchestre National de Jazz. He has also worked for several years on the biography of the trumpeter Lee Morgan. He is a member of the French l’Académie du Jazz.

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From saint-louis to 52nd street: the search for bird (1926-1948) Born into the black middle class, Miles Davis was brought up in East St. Louis (Illinois) by a father, a dental surgeon, who drummed a sense of racial pride and individual success into him, and a mother, who extolled integration into white society and its values. Going against his mother’s wishes, he did not play the violin but the trumpet, the king of jazz instruments. At first influenced by the “St. Louis Sound”, a school of trumpeting originating from St. Louis, and to which his mentors belonged, he developed a fascination for bebop, the vanguard jazz of the time, whose leading stars, Dizzy Gillespie and Charlie Parker, he met there in 1944. From then on, his mind was made up: he would join them in New York. Using study at the Juilliard School as a pretext, it wasn’t long before he joined Parker in Manhattan, becoming his regular sideman. By his side, Miles Davis performed in the jazz-clubs on 52nd Street, made his first records, invented his own style (that set him apart from other trumpeters) and made a name for himself in the world of music, where he was regarded as a “modernist”

for the times.

exhibit Description

Miles Davis aged 8 or 9.

Courtesy of Anthony Barboza Collection.

Miles Davis, his sister Dorothy Mae, his brother Vernon, and his mother Cleota H. Henry Davis. Courtesy of Anthony Barboza Collection.

Miles Davis within Charlie Parker’s quintet at the Three Deuces Club, 52nd Street, New York, toward 1945. © Frank Driggs collection.

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Jean-Michel Basquiat, Horn Players, 1983. The Broad Art Foundation Collection, Santa Monica.

Photo by Douglas M. Parker Studio, Los Angeles © The Estate of Jean-Michel Basquiat – Adagp, Paris, 2009.

A star painter of the 1980s, Jean-Michel Basquiat (1960-1988) admired jazz in general and bebop in particular. An emblematic figure of the black music vanguard of the 1940s, Charlie Parker was a

source of inspiration to him in a number of his works: they suggest a true fascination, not unlike that experienced by Miles Davis four decades earlier and, at the same age, for bebop musicians. Two paintings by Basquiat on display in the exhibition illustrate this: the immense triptych Horn Players, which portrays his two idols, Dizzy Gillespie and Charlie Parker, and Bird of Paradise, the title of a 10-inch record by Charlie Parker in 1947 with Miles Davis (featured in the detail of the work) by his side.

Jean-Michel Basquiat, No title (Bird of Paradise), 1984. Stéphane Samuel and Robert M. Rubin Collection. Photo by Robert Mckeever. © The Estate of Jean-Michel Basquiat – Adagp, Paris, 2009.

out of the cool: self destruction and self invention (1949-1954) Collaborating with the arrangers Gerry Mulligan and Gil Evans, Miles Davis directed, from 1948, a group of nine musicians with an unusual instrumentation that paved the way for the next step after bebop. Brought together later under the title Birth of the Cool, these pieces focused on orchestration and gave rise to “cool jazz”, that would come into its own in California under the banner West Coast Jazz. In 1949, invited to the jazz festival in Paris, Miles Davis had a fling with Juliette Gréco and discovered in the intelligentsia of Saint-Germain-des- Prés an appreciation of his music that went well beyond what he had known in the United States. Upon his return, he found the ghetto, in which modern jazz remained confined, hard to bear and, like so many others, he spiralled down into drugs. As a reaction to the vogue for cool jazz, considered unexciting and white, he delved back into bebop and blues, while drawing together the new rising generation of hard bop artists. Sonny Rollins, Jackie McLean, Milt Jackson, Thelonious Monk, Art Blakey, Horace Silver – to name but a few – took part in the recordings he made for the independent labels Prestige and Blue Note. Magnifying his sound with a Harmon mute, he forged his style. Program of the Paris International Jazz Festival, 1949. Bibliothèque Nationale de France, Département de l’audiovisuel, Charles Delaunay archive. Collection of albums published by the label Prestige between 1951 and 1956. © DR.

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miles ahead : in studio for columbia (1955-1962) In 1954, aware of being caught up in a circle of self-destruction, Miles Davis quit drugs and took his career back in hand. Following his triumph on stage at the Newport Festival the following year, he convinced Columbia to sign him up and he set up a stable quintet, including John Coltrane, who was then largely unknown. Despite its scandalous reputation, the group made a name for itself as one of the best of its time in just a few months. The musician played off the contrasting personalities of his band-mates and, inspired by the pianist Ahmad Jamal, he fine- tuned its approach, dramatized its renditions, and developed the modal improvisation epitomized in 1959 with the masterpiece Kind of Blue. At the same time, joining forces once more with Gil Evans, he produced ambitious albums in which he notably revisited Gershwin’s Porgy and Bess and Joaquim Rodrigo’s Concierto de Aranjuez. His new-found status as a jazz star – conveying a certain elegance and seemingly superior attitude from behind his dark shades – couldn’t have set him further apart from the image of the genial entertainer, associated with jazz musicians until then. Nevertheless, in 1959, he was assaulted in front of New York’s Birdland Club, by policemen after refusing to walk away. In Europe, where he recorded the soundtrack of Ascenseur pour l’échafaud in 1957, he was unanimously applauded on the greatest stages. Louis Malle and Miles Davis while recording the music for the film Ascenseur pour l’échafaud © Vincent Rossell / Cinémathèque Française. Poster for Ascenseur pour l’échafaud by Louis Malle, 1958. Cinémathèque Française Collection. Willy Mucha © ADAGP, 2008.

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Miles Davis during the recording of Porgy and Bess, 1958. Photo by Don Hunstein © Sony Music Entertainment. Collection of orchestral scores of Gone Gone Gone arranged by Gil Evans, taken from the album Porgy and Bess (1958). Miles Davis Properties, LLC Collection. Trumpet belonging to Miles Davis at the end of the 1950s. © Chris English, UNCG. Miles Davis Jazz Studies Program Collection, University of North Carolina, Greensboro. Handwritten note by the producer Irving Townsend listing the musicians of Kind of Blue and the order in which they appear on the record sleeve,1959. Teo Macero Archives, New York Public Library for Performing Arts. John Coltrane, Cannonball Adderley, Miles Davis et Bill Evans pendant l’enregistrement de Kind of Blue, 1959. Photo by Don Hunstein © Sony Music Entertainment. A masterpiece in the history of music and, to this day, the best-selling jazz album ever in the world, Kind of Blue is in many respects regarded as a model of perfection. Recorded in 1959 with his group of that time – in which the saxophonists John Coltrane et Cannonball Adderley shone – the album owes part of its originality to the pianist Bill Evans who penned the album notes on the sleeve. The original handwritten version of these as well as the notes taken by the producer during the recording sessions are on display in the exhibition. The adaptation of Gershwin’s Porgy and Bess opera as a version for orchestra and jazz soloist— under the direction of Gil Evans—was among the ambitious projects from the label Columbia designed to make Miles Davis’s better known beyond jazz aficionados. The exhibition presents a collection of original orchestral scores as well as Miles Davis’s sole part in the emblematic record Gone, Gone, Gone.

miles smiles: controlled freedom (1963-1967) At the beginning of the 1960s, Miles Davis was faced with a new situation: his musicians began leaving him to pursue solo careers. Forced to find new blood, the trumpeter, showing his characteristic flair, brought in highly gifted, younger instrumentalists, with whom he would chart out new territories. The pianist Herbie Hancock, the drummer Tony Williams, the double- bass player, Ron Carter, and, finally, the saxophonist, Wayne Shorter transcended the rules of ensemble playing, and – spurred on by the trumpeter’s directing – abandoned the traditional repertoire in order to invent a jazz that was at once free, intuitive, controlled and edgy; a jazz that differed from the “free jazz” that was developing at the same time. The individual and collective influence of this group would be considerable and act as a precursor to contemporary jazz. While his music brought him international accolade – from Tokyo, to Antibes, and Berlin – Miles Davis’s love life saw him living with beautiful black women artists, he made his label put on his record covers. He drove a Ferrari, and distinguished himself as part of show business’s black elite, whose limits went well beyond the mere spheres of jazz.

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Miles Davis at the wheel of his Ferrari 275 GTB © Baron Wolman. Miles Davis and Wayne Shorter in Berlin, 1964 © JazzSign/Lebrecht Music & Arts. Handwritten score of E.S.P. by Wayne Shorter dedicated to Miles Davis, 1965. Miles Davis Properties, LLC Collection. Miles Davis and his wife Frances on the album cover of E.S.P., Columbia, 1965. © All rights reserved. electric miles: on the corner: Still shot from an amateur film of

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electric miles: under rock distorsion(1968-1971) 1968 brought its fair share of social unrest, racial tensions, and musical innovation. The musicians surrounding Miles Davis became interested in the new electric keyboards; and he himself began thinking about how to incorporate the rhythms of rock music into his own music, aware as he was of the way in which artists such as Jimi Hendrix, James Brown and Sly Stone were mobilizing whole crowds, while jazz seemed confined to a more limited audience. Always surrounded by the best, (Joe Zawinul, Wayne Shorter, John McLaughlin), Miles “plugged” into this movement, contributing to the emergence of what would become known as “jazz rock”, with records that had sleeves bearing psychedelic illustrations and that are, in their way, concept albums. The recording studio became the den in which he elaborated his music, in close collaboration with the producer Teo Macero, who availed himself of all the editing and mixing techniques imaginable. Bitches Brew went gold, marking its time, and Miles Davis played at all the major venues of the rock circuit, like the Fillmore, and the colossal Isle of Wight Festival. In 1968, he married one of the figureheads of the time, the flamboyant Betty Mabry, who would go on to lead a singing career under the name Betty Davis. Mati Klarwein, Live/Evil, oil on canvas, 1971 (diptych for the eponymous album by Miles Davis). Galerie Albert Benamou. While revolutionizing his music under the influence of rock and electrification, Miles Davis also changed his wardrobe; and his record covers reflect these shifts too. Somewhere between surrealism and the psychedelic, paintings by Mati Klarwein (1932-2002), a figure of the New York counter-culture, decorate the album covers of Bitches Brew (1969) and Live/Evil (1971) – the original painting is displayed in the exhibition. Miles Davis, photo taken from the series made for the album cover of In A Silent Way, 1969. © Lee Friedlander. Courtesy Fraenkel Gallery, San Francisco. Miles Davis on the cover of the magazine Rolling Stone, 1969. Private collection. © Rolling Stone Magazine. Miles Davis, in his New York apartment, 1971. © Anthony Barboza.

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on the corner: the funk pulse (1072-1975) At the core of a group with ever changing members, Miles Davis slid, in the early 1970s, from the nebulous heights of rock to the hypnotic fever of funk. Concerned that he was not reaching the Afro- American audience, Miles looked to the ghetto in order to absorb the sound coming off the street: On the Corner resounds like a manifesto. Always at the cutting edge, the trumpeter connected a wa-wa pedal, like the ones used by guitarists, on his instrument, adopted the electronic keyboard, that he himself played, and punctuated his act with boxing moves – a sport he practiced tirelessly and whose champions he admired. Carried by the riffs of bass guitarist Michael Henderson, straight from the Motown studios, and filled by the electricity of guitarists accustomed to the virtues of distortion and the expressivity of blues, his group spearheaded a deep groovy music with drawn out improvisations, whose original themes and structures, could no longer be discerned. Still shot from an amateur film of Miles Davis in the boxing ring, Ca. 1970. © Corky McCoy Poster of the Miles Davis concert at the Berliner Jazz Tage, 1971. © Günther Kieser. Notes by the producer Teo Macero on the making of the album On the Corner, 1972. Teo Macero Archives, New York Public Library for Performing Arts. Cover of the album On the Corner drawn by Corky McCoy, 1972. © All rights reserved.

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Trumpet in C, engraved with Miles Davis’s name and personalized with green paint, around 1973. Photo by Ed Berger. Institute of Jazz Studies, Newark From the end of the 1950s, Miles Davis took to personalizing his trumpets with engravings in the brass or colored varnishes. The exhibition brings together seven trumpets that belonged to him at different times and that are poignant symbols of his talent.

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silence, solitude, and requiem (1976-1980)

Exhausted by several surgical operations, romantic deceptions, and excesses of various kinds, Miles put his trumpet away and stopped performing in 1975. One of the last recordings he made before retiring is a long piece with funerary overtones, a veritable requiem; a tribute to Duke Ellington who had just died. For long months, worn down by depression, Miles Davis, stayed quietly home. Alarmed by his silence, various attempts to get him back into the studio were made, but it wasn’t until 1980 that – with the support of those close to him and alongside young Chicago musicians, including his nephew the drummer Vince Wilburn – he began to make a come-back.

star People:

the world-wide icon (1981-1991) Fascinated by synthesizers and the possibilities afforded by new studio technology, Miles reinvented his music-making to fit the times. Taking in the pop music of the moment, without losing sight of blues, he looked for a way to marry contemporary sounds with his three decades worth of experience. His repertoire would include commercial hits (by Cindy Lauper, Michael Jackson, Toto, and Prince), conceived as new standards. The tone of his trumpet became the central element in his records and his concerts became shows led by a close-knit band. In 1986, the album Tutu, composed especially for him by Marcus Miller became a world-wide Miles Davis at home, shortly before his come back, around 1981 © Teppei Inokuchi. First annotated draft of Miles’s autobiography, 1990. Schomburg Center For Research in Black Culture Collection, NYPL, Astor, Lenox & Tilden Foundations. Picture taken from the movie Dingo, 1986, © Les films du paradoxe. Pictures taken from an advert for Honda scooters (1986) and from the series Miami Vice (1985). © Universal, Honda Motor Europe, Warner Music Group. © Universal Studios. © Honda Motor. © Universal Studios.

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Fodera bass guitar “Monarch Deluxe” played by Marcus Miller during the recording of the album Tutu. Photo by Vincent Fodera. Marcus Miller Collection. success. The man with a sphinx face had risen from his ashes. Reassured as to his star status, Miles Davis helped forge his own legend and played with his image. He published his biography, took to wearing extraordinary outfits drawn by the greatest designers, exposed his talent as a painter, and made multiple appearances on screen (video clips, talk shows, adverts, movie and small screen roles). His health problems, however, would not let him be. In 1991, for the last time, Miles accepted to go back in time: at the Montreux Festival he again played Gil Evan’s scores from the 1950s; in Paris at La Villette, he reunited with old tour partners from different points in his career. He passed away soon after, on September 28. In 1992 the album Doo-Bop – an unfinished collaboration with rappers – came out; posthumous evidence of his burgeoning interest in hip-hop. Photos taken for the album sleeve of You’re Under Arrest, 1985 © Anthony Barboza.

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At first a means to re-educate his hand after a stroke, drawing and painting became a daily activity for Miles Davis in the 1980s. Used on some of his album covers, his works bear witness to his aim to be an all-round artist. Several canvases are displayed are the exhibition for this reason, and in particular the one the acted as the stage backdrop for his concert at La Villette in July 1991.