The intellectual standards of academics nowadays! Fred Block refers to capitalistic freedom as the "the Robinson Caruso [!!!] freedom", at time mark 09:43, if you care to watch this not-a-must-see-interview, and immediately goes on to explicate:
The freedom of some people to make a lot of money has a lot of consequences for the lack of freedom for other people who then have to work in Wal-Mart at low wages or whatever ...
I quote this excerpt not because I am particularly eager to point you to the interview. For the purpose of this post, I am solely concerned with a widely held attitude resonating in Block's pronouncement, which is congeneric with a rather popular argument that never fails to annoy me for being immensely absurd and hypocritical.
What I have in mind is the subliminal idea that there is a special class of people with a duty, call it the E-duty, as basic as the most elemental personal rights, to create opportunities for safe, durable and satisfying employment for another class consisting of people that are either not willing to or not capable of providing employment to anyone, while at the same time being fully exempt from the E-duty.
When people attack, say, "capitalist swine X" for laying off employees or not paying wages deemed sufficient by their recipients, I ask the accusers why it is that they do not provide these workers with employment at agreeable wages? In not even trying to provide jobs, are the accusers not being even more egotistical than "capitalist swine X"?
Apparently, it is perfectly virtuous for employees not to even begin to create employment and a flow of income to the employed, while the same inability or unwillingness in employers is being considered a moral failing of the severest kind.
If the accusers thought matters through, they would find that the non-employing employee would by definition have to be regarded as being morally more base than the employing employer, who at least provides some employment and some income for others.
"Ukelele Serenade" by Aron Copland is a truly remarkable piece of music; it has a pantomimic quality to it, if I may use this oxymoronic phrase, conjuring funny characters before my eyes. I am not sure I have ever been amused by music before I heard "Ukelele Serenade".
It is the time of the year when summer and autumn are alternating and interfusing. The last two nights were almost hot summer nights; with days of blazing light emanating from a still powerful sun, leaves taking on the colours of autumn, and many already falling. Today was a a grey and dark day of heavy rain, almost like on a snow-less winter day, apart from the mild temperature.
Shrill shriek the crows that to the town in whirls roam: soon come the snows - weal unto him, who - has a home!
Oh, that's what it is. I guess we would have called it hard rock, in my days. The 20-year-old sun of a friend of mine has been to a "metal" concert recently, and I want to be sure I know what he is talking about. Not much different from rock as I knew it during the 1970s, "metal" seems to be perhaps more versatile, more eager to interpret different musical styles from classic music to German folklore or soft rock classics such as "Popcorn", though even such diversification was not uncommon in my youth.
Robert Schumann (1810-1856) - Adagio and Allegro in A flat major for horn and piano, op. 70
A friend just asked me what kind of a connection I might hope to insinuate between the image of the beach and the Schumann piece.
When pairing image and content in a blog entry, I always intend a certain suggestiveness. However, the association can be more or less equivocal; and though the linking thoughts can have a precise meaning to myself, they may be impossible to guess for my readers.
Thus, in the present instance, I was thinking of slow (adagio) scenes in a sea of vivacity (allegro), such as might be observed on a beach, at the end of summer.
Incidentally, since about the middle of a cold and rainy August, we've seen an early autumn slowly colouring this part of Germany.