New York Music Daily

Love's the Only Engine of Survival

You and What Army, DiBozo? #noapartheidnyc

Mayor Bill DiBozo’s announcement of an apartheid state where New Yorkers who don’t use his blockchain-based medical spyware will be banned from bars, restaurants and venues starting September 13 has more to do with those who have already taken the various experimental genetic code injections than those of us who won’t. Just like the lockdowns and all the restrictions, this has nothing to do with public health and everything to do with total, fascist control and the institution of a Chinese communist style surveillance state.

The point is to get everyone on a blockchain, where their every move will be electronically spied on and analyzed. As Naomi Wolf has succinctly explained, DiBozo’s proposed medical “passport” is simply a ruse to put spyware on your phone, which will provide the government with every text, every conversation and every activity that you perform, along with a real-time record of everywhere you go. It’s the first step in the introduction of a draconian social credit system, just like the one that’s been rolled out in communist China.

The elephant in the room is who’s going to enforce DiBozo’s scheme – and that problem, this blog believes, will kill it. Along with our general noncompliance and protests.

Seriously – who’s going to enforce it? Not the NYPD, who heroically refused to enforce Andrew Cuomo’s muzzle regulations and six-foot rule last year. Health inspectors? Just wait til they start showing up in the Gowanus Canal. We all know that a certain percentage of New York bars, restaurants and venues are money-laundering operations for the mob. And the mob doesn’t like it when you mess with them.

DiBozo’s medical “passport” affects all New Yorkers. No matter whether or not you believe that there is any kind of health emergency, that the bioweapon responsible for it still exists, or that the so-called vaccines are really vaccines at all, this is the first step toward an Orwellian nightmare for everybody. And DiBozo is relying on those who lined up for the needle to line up for this too.

If you think DiBozo is going to stop with restaurants, bars and venues, you’re living in a dream world. Don’t feel like complying with the next random, arbitrary order from the Mayor’s office? You can’t go to the supermarket. You can’t leave your apartment. Your bank account is seized.

To a small extent, this is about peer pressure. But the lethal injection campaign is dead in the water. According to the whistleblower in the ongoing Federal lawsuit to stop the injections, more than forty-five thousand Americans have been murdered by the needle. Those who were going to take it already have. Nobody else is going to. Look at the needle sites and testing sites in your neighborhood – they’re all empty. It’s the easiest job in the world. The kids who work there just sit around smoking weed all day.

And there’s another sinister side to DiBozo’s apartheid scheme: the destruction of small farms. Most people aren’t aware that there are two food supply chains in this country: one for supermarkets and one for restaurants. Most of what’s sold in supermarkets is from agribusiness. But restaurants rely on fresh food, which is cheapest if it’s locally sourced. If restaurants are forced out of business because their customer base is destroyed, local farms lose their customer base as well.

And then lockdowners like Bill Gates and Ted Turner – the largest owners of farmland in the country – or the Blackstone Group, or whatever other oligarchs you can think of, can buy up family farms for pennies on the dollar. And turn them into private feedlots, or places where they can replace heirloom produce with Monsanto frankenfood.

What can we do? Simply don’t comply. Locked out of your favorite bar or restaurant? Find a friendly place that doesn’t comply. They’re out there. They were there during the lockdown – sure, you had to go in the back door, and they weren’t open all the time, but those places still exist and will be there if DiBozo’s scheme goes into effect.

Afraid you won’t be able to go see the Mets or get into Carnegie Hall? Give the Mets and Carnegie Hall a rest until we take back power in this city. There are thousands of house concerts and underground shows going on, just as there were during the lockdown. Sniff around a little and you’ll be rewarded. Even better, start your own speakeasy or restaurant in your apartment or business.

Remember – the medical “passport” is the first step toward total tyranny, Chinese communist style. And the only way it can be enforced is if we comply.

And we can win this. There are massive protests around the world. The province of Alberta in Canada, one of the harshest lockdown nations in the world, just broke free. We can derail this Handmaid’s Tale before it happens if we stick up for ourselves and stand strong. #noapartheidnyc

Fond Farewells and New Revelations at This Year’s Concluding Naumburg Bandshell Concert

Tuesday night in Central Park, a collective “awwwwww” swept through the crowd when the Naumburg organization’s Christopher London announced that the East Coast Chamber Orchestra‘s concert with pianist Shai Wosner would be the final one of the summer at the bandshell. What a blessing it has been to have these performances at a time when orchestral music has never been more imperiled. And what a great year it’s been! At this time last year, who would have imagined that we would be in a position to be so celebratory now?

It was a night to revisit familiar Mozartean comfort in newfound intimacy, but also to be entranced by far more recent material. The evening’s piece de resistance was Hanna Benn‘s Where Springs Not Fail, based on a morbid Gerard Manley Hopkins poem. Dov Scheindlin, one of the three violists in the orchestral string collective, introduced it as “impressionistic and haunting,” which turned out to be an understatement. With an elegance that would define the night, the group parsed its slow, somber, insistent pastoralia with collegial attention to dynamics, anchored with visceral intensity in the lows.

Bassist Anthony Manzo introduced a mournfully tolling theme, the ensemble rising toward fullscale angst but not quite going there. Eventually a sense of closure, however mournful, appeared. The fade down at the end was obliterated by a passing helicopter. Technology destroying the soul: a metaphor for 2021 from above, literally.

The orchestra found even more angst in Osvaldo Golijov’s 1996 composition Last Round, equal parts boxing parable and salute to the composer’s iconic countryman and foundational influence Astor Piazzolla. As a portrait of the combative godfather of nuevo tango bedridden after a stroke and battling but slowly and ineluctably losing it, it’s set up as a couple of string quartets with the bass in the center as referee.

Sparks flew as agitation rose, then a poignant quote from Piazzolla’s Libertango appeared and was spun through a series of permutations. The sudden glissando at the moment of death was crushing; the group’s rise from a hush to a picturesque series of reflections was a vivid an elegy as anyone could have wanted.

The big hits with the crowd were Mozart favorites, which Wosner played from memory with exceptional attunement to underlying emotion. His approach to both the Piano Concerto No. 114 in E flat and No. 12 in A was unhurried, and spacious, and insightful to the nth degree: he’s really gone under the hood with this material.

He opened the night’s first concerto with a liquid, comfortably nocturnal legato, then left no doubt that the second movement was a love song. The conclusion was irresistibly fun, a puckish game of hide-and-seek, and the strings responded in kind.

The closing concerto was just as fresh and convivial, Wosner taking his time with the lustrous contentment of the opening movement, then backing away even further for a muted tenderness and then a sudden sense of trouble around the corner, a cautionary tale stashed away inside a glittery wine-hour piece for the entitled classes of Vienna, 1782-style. Both of these pieces are as standard as standard repertoire gets – and how rare it is that an ensemble can bring out as much inner detail as Wosner and the orchestra did here.

The pianist encored with a poignant, affectionately paced version of Schubert’s Hungarian Melody, D817. This is it for 2021 for the Naumburg Concerts, but a series for 2022 is in the works.