Pavel Chesnekov – “We Praise Thee” – performed by the St Petersburg Chamber Choir (Russia)

Hola a todos. Below is a performance of “We Praise Thee” from The Russian Liturgy by the Russian composer, Pavel Grigorievich Chesnokov (in Russian: Павел Григорьевич Чесноков). This piece is performed superbly by the St Petersburg Chamber Choir of Russia and conducted by Nikolai Korniev.

Chesnekov lived during the years 1877-1944, approximately the same time as Sergei Rachmaninov, 1873-1943. And because of the style and harmonies of this piece, if one didn’t know otherwise, one might think it was written by Rachmaninov.

I played this for mi amigo/my friend and his first comment was about those Russian basses you will hear. They are known as Oktavist basses which are basso profondo (from italiano) basses with an exceptionally low (on the scale) range. They are usually the older men of the Chorus and this is especially typical of Russian Orthodox choral music. When I was a chorister in Norman Scribner’s Choral Arts Society of Washington we performed Sergei Rachmaninov’s choral symphony Колокола, Kolokola/The Bells, Op. 35, in the Kennedy Center Concert Hall with (I think it was) the resident National Symphony Orchestra — as opposed to a guest international orchestra — with either Norman conducting or Mstislav Rostropovich (I forget which, considering it was awhile ago). I think it was Norman; my memory sees him conducting that. But anyway, Norman worked on having our bass section sound authentically Russian for that performance, and it did, very much like what you’ll hear in the performance below. In Chesnekov’s choral music, he focused on the bass section in his writing generally dividing the bass section into six groups with baritones being the higher-ranged voices and the deep and powerful Oktavists basses at the bottom.

This music feels very appropriate for the dark times we’re living in as we proceed deeper into Dark Ages II. Chau.—el barrio rosa

An interview with Olivier Latry, Titulaire Organist at La Cathédrale Notre-Dame de Paris

Hola a todos. Below is an interesting interview with Olivier Latry, one of the three Titulaire Organist at La Cathédrale Notre-Dame de Paris. He plays the Grand Orgue high up in the back of the Nave. There is a smaller pipe organ in the Sanctuary/Choir area used during the Liturgies for accompanying the cantor, a small group of choristers, and/or a larger Choir, when they have one. The Choir organ is played by three other organists who rotate throughout the Liturgical Year. So the reader may be asking: “They have six organists at Notre-Dame?” Yes, that is correct. Six highly-regarded and superb organists. Olivier was interviewed by concert organist and composer, Dra Carol Williams, of “On the Bench with Dr Carol.” Olivier is also Professor of Organ at Conservatoire de Paris and he talks about that too in the interview.

It was interesting to hear how he became one of the Titulaire organists at Notre-Dame and to hear of his background. And just like Paul Jacobs of The Juilliard School’s Organ Department, Olivier is very down-to-Earth and informal (my type of artist). He seems like a lovely person. He’s a superb organist. I can vouch for that. But then he wouldn’t be there if he wasn’t. (lol, smile) He’s very talented especially with his organ improvisations. Superb! He’s also multi-lingual as are many Europeans. In this interview he’s speaking mostly English.

Here’s the interview with Olivier. Chau.—el barrio rosa

High Church French Organ Improvisation at La Cathédrale Notre-Dame de Paris

The Glory of the High Church: Theatre, Rituals, French Organ Improvisations, Incense and Procession at High Church La Cathédrale Notre-Dame de Paris

Hola a todos. Nothing is left to chance at La Cathédrale Notre-Dame de Paris (Roman Catholic). All the participants in the Liturgy know what they’re supposed to do and it flows smoothly as if choreographed. They have splendid High Church Liturgies weekly at Notre-Dame. And there’s nothing uptight about them. They are very relaxing and enjoyable to watch for myself and mi amigo/my friend. For this particular Messe Solennelle/Solemn Mass in the video below (Messe solennelle de l’Immaculée Conception), it was the High Holy Day for the Virgin Mary in the Liturgical Calendar (8 diciembre/December). It was a beautiful Liturgy.

For us, the beginning of this Liturgy was thrilling to watch and hear. It was mainly due to the High Church French organ improvisation presumably played by superb Titulaire Organist Olivier Latry on the Grand Orgue high up in the back of the Nave. His playing was glorious (I think I heard a little bit of Herbert Howells in there, the Anglican composer). The bells rang at the beginning of the Solennelle Messe, followed by the procession with incense wafting through the Nave.

Mi amigo/My friend and I have watched this many times. He (who like me is not religious at all) says: “I love it. I love the three bells at the beginning of the organ improvisation and especially the start of the procession up the center of the Nave beginning at 1.38 in the video. It’s perfect.”

It was perfect. It doesn’t get any better than this. This is the best High Church procession I’ve ever seen. The only change I would make at Notre-Dame is to keep the processional organ improvisation going until the thurifer reaches the Sanctuary, then I would start the hymn, which for this Liturgy was the hymn “Ave Maria” honourinng the Virgin Mary. What they usually do is what they did in this Liturgy, as you’ll see in the video below. Maybe their way of doing it was/is to have all verses of the hymn sung, so they have to start the hymn earlier shortly after the procession enters the center aisle of the Nave. I told mi amigo regarding the organ improvisation and the High Church procession: You’d never see or hear that at Washington National Cathedral (Anglican Communion) that I used to write about. He said, “Oh no, they wouldn’t allow that there. I think they would think it would be too “scary” for the people. (roll eyes). They wouldn’t allow the organist to play like that either.” Yet the Nave at La Cathédrale Notre-Dame de Paris was packed (as it always is) for this High Church Liturgy, and this Liturgy was held on a Thursday night. Let me repeat that: The Nave was packed on a Thursday night for a Liturgy honouring the Virgin Mary. Where would that happen in the US? I can’t think of any parish or cathedral church where that would be the case. Not on a Thursday night.

I don’t speak Francés unfortunately — I wish I did — although some words sounds similar to español, but I think they had a conference of Roman Catholic priests in Paris around this time and this Liturgy was part of the conference, and that’s why the large group of priests were there. The procession of priests was very impressive from the high-up camera view.

Surprisingly, they didn’t have a Choir for this Liturgy. They don’t often have a Choir at Notre-Dame for some reason. What they do with their (service) music at Notre-Dame works well with either a cantor leading the Liturgy or a small group of choristers, but I’d much prefer to have a larger Choir. From my research and assuming this information is current, they have a Choir School at Notre-Dame (Maîtrise/a pre-college music school in Paris) composed of Le Chœur d’Enfants/The Children’s Choir (they perform there the most and they’re quite good; I enjoy them), the Young Ensemble, the Adult Choir of choristers receiving professional training, and the Gregorian Ensemble). We find the Liturgies with a Choir more enjoyable because of the repertoire they’re able to do as well as descants the sopranos sing (such as on the “Alléluia” sung before The Gospel reading) and other added choral harmonies one does not hear when they don’t have a Choir.

The grand and glorious High Church French Organ improvisation accompanying the High Church procession starts at the beginning of this video below. Chau.—el barrio rosa

Related:

An interview with Olivier Latry, Titulaire Organist at La Cathédrale Notre-Dame de Paris

An interview with Paul Jacobs of The Juilliard School’s Organ Department

“We live in a very distracted culture and music education is not something that our culture values.”—Paul Jacobs (B.M., Curtis Institute; M.M., A.D., Yale University School of Music, Juilliard Faculty member since 2003 and Chair of the Organ Department since 2004.)

Hola a todos. Paul is absolutely correct and I’m glad he brought this up in the interview when he said: “We live in a very distracted culture and music education is not something that our culture values.” Exactamente. But it seems to me and others that US culture doesn’t much value education of any kind. I would like to expand on what Paul said for a bit: In US culture stupid is in, dumbing-down is in, shallow pop culture is in, immaturity is in, bullying is in, hate is in, violence is in and rampant, road rage is in, not being “politically-correct” is in, gun violence is in, hate for the homeless is in in San Francisco and other cities where la policía in Denver are taking blankets away from the homeless in freezing temperatures (sick), immature people resolving the most trivial of conflicts with a gun is in, dysfunctional adults now killing their own children is in, there are increasing incidents of dysfunctions occurring on US-domestic air flights, saying the word “like” every-other-word when talking is in (especially in Tech Zombie San Francisco), intellectual is out, sounding educated when one speaks is out among other examples I could give. US culture is a very sick society regardless of how many people go on about how “smart” we think we are and superior to the rest of the world with our ugly and immature superiority complex. Going back to stupid is in for a moment: Stupid motorists are distracted because they’re playing with their phones that they’re addicted to (for their constant dopamine rush/hit) while driving and in some cases killing themselves and others. In Tech Zombie San Francisco, many motorists are so distracted/addicted to their many phones that they have multiple phones mounted across their dashboard and/or rear-view mirror to play with while driving. Some stupid cyclists have multiple phones mounted to their handlebars to play with while riding on San Francisco’s dangerous and potholed streets. “Never take your eyes off those screens, San Francisco.” But here in Billionaire’s Bay, at least we have The Techie Basura Millionaires and Billionaires — with their enormously big heads and over-inflated sense of self-worth — to continually come up with “you must have the latest and greatest” phone or app for tech billionaires to keep making billions off of the stupid and lobotomised sheeple to keep them distracted from things that really matter in humanity. Imagine if the people who waste most of their life “practising” their phones on a daily basis used that time for practising/learning an instrument. Wouldn’t that be a change? Don’t expect to ever see that. Not in this dumbed-down culture. But I suspect most of them would probably not have the talent, discipline or intelligence for learning an instrument and learning music. Although these phone addicts certainly do have the discipline for their toy/their phone. But music training is not a mindless toy. It’s hard work. The fun comes from hearing one’s gradual progress while working through a piece and the end results. The ultimate satisfaction/fun comes when one realises one has completed a piece and hopefully is able to play it well after adding the polish and refinement. I would point out that the decades of music training that Paul Jacobs and other highly-regarded, gifted, talented and successful musicians have received is far more difficult, complex and involved than the training required for tech coding. Yet people like Paul and other superb musicians don’t strut around with their nose in the air and this “we are the gift to the world” mentality that one gets from these arrogant techie pendejos who live under this illusion that they are “god’s gift to the world.” I can’t stand them; I can’t stand arrogant people. They’re basura! Related: What’s more difficult: Tech Training or Music Training?

But fortunately, we have superb organ music from Paul Jacobs, Olivier Latry (one of the three Titulaire organists who plays the Grande Orgue high up in the back of the Nave at High Church La Cathédrale Notre-Dame de Paris) and other fine musicians. We also have my favourite Choruses the Collegium Vocale Gent/La Chapelle Royale, The Orchestra and Chorus of Les Arts Florissants and other outstanding musicians to turn to for superb music to escape this sickness/madness as we go into Dark Ages II.

The Juilliard School is located within Lincoln Center for the Performing Arts in Manhattan. I was very pleased to read that Paul invited organist Diane Bish to Juilliard to give a masterclass for the organ students. Good for him! I don’t think the chairperson of any other Organ Department in a School of Music or Conservatory of Music would have Diane as a guest and to give a masterclass there, although they should. I’m sure the elitist snots who have membership in the AGO would not approve as they’ve been making ugly, derogatory comments about Diane for years, mostly about her playing. Or are they easing off on that now? I think they describe her playing as “shallow.” I’ve never thought of it like that. I suspect this is a case of jealousy involved within immature people, which describes many church organists. They can be rather petty and a piece of work. Diane has her own television programme and these snots don’t, although there was nothing stopping them from doing the same thing Diane did with The Joy of Music. Get yourself a good/skilled camera crew and find some excellent pipe organs to perform on. But good luck (you’ll need it!) dealing with church organists to get permission to use the parish or cathedral church organ. Diane has said that church organists can be “touchy.” Oh stop it Diane; stop being polite. Tell us what you really think about them! (smile). Come on Diane, spill it, dish the chisme/gossip. We all know you have stories to tell from dealing with these piece of work church organists! I’ll tell you what I think about them in no uncertain terms: Church organists can be los pendejos. I know from experience of dealing with them. Ugh. I’ve had very negative experiences with church organists no matter how respectful, nice and kind I was to them. I didn’t get the same in return with their chip on both shoulders approach. Even though I told them I was Conservatory-trained in piano and pipe organ to give them some idea of my background since they’d not heard me play, that didn’t seem to help at all. Mi amigo/My friend said: “They were probably intimated by that or thought you were trying to take their job especially when/if you play better than they do! Were any of them Conservatory-trained? And you focus on difficult French organ repertoire. What do they play?” But back to Paul. He’s not like that at all. He was very gracious and said, “Thank you, Diane, for all you’ve done for the art of organ playing!.” Yes indeed, Diane has done more for bringing the pipe organ and organ playing and organ music into people’s lives than the Classical Music Snots (some of the AGO members). What have they done? Well, they’ve served as snooty and elitist armchair critics nitpicking everyone’s performance to death, measure-by-measure in some cases. I can’t stand people like that. Some people have made comments about Diane changing things contrary to the composer’s wishes in the score. I’ve only noticed one instance of that where as I recall she ended a toccata slightly differently than it’s written in the authentic French edition. I’m not positive but I believe it was the Dubois Toccata Sortie. She played that on occasion. The way she played it sounded fine and if you didn’t have the score in front of you, you probably wouldn’t even know she made a change. I don’t know why she did, but I didn’t make any big deal about it. Maybe it was the edition she was using (Editions G. Schirmer possibly?). I don’t know. Other people (bigots and anti-GLBTQ/prejudiced people) have also made derogatory comments about her suspected sexual orientation (her being a lesbian), which I wrote about here. For some reason, there’s a lot of interest in Diane’s sexual orientation lately considering the number of people who come to pink barrio each week clicking on that article. They come here from searching, “Is Diane Bish married?” Of course, they mean married to a man. They’re not thinking about same-gender marriage. No, not those bigots as one can read about in that link directly above.

Paul seems like a wonderful person; the nicest guy. With all his many accomplishments he comes across as very down-to-Earth, informal, humble and modest. The ideal/perfect artist in my opinion. When Paul was describing his childhood in the interview and what he did, it sounded similar to mine. I don’t want to spoil/give away much of the interview, but similar to what he did, I would go to the room where our piano was in my childhood home, shut the door and put on recordings of an Orchestra and Chorus and conduct them following the score which I had ordered, giving cues to the soprano section, then the tenors and so forth. Well, my dad would come to the room and ask me to turn it down a bit because he said it was too loud. I was thinking to myself: But it’s supposed to be loud, this is a large Orchestra with a 200-voice Chorus. I think it was Mendelssohn’s Elias/Elijah, or Robert Shaw’s Cleveland Orchestra Chorus at the time — this was before his tenure with the Atlanta Symphony Orchestra and Chorus — with various selections from major symphonic choral works. I turned my music down a bit but I think my dad came to realise it was futile to even ask. He probably thought: Why isn’t my child out here playing ball with all the other children? That’s because your child had no interest in sports and I wasn’t good at sports. I was studying the piano and also playing the organ (although untrained in organ at the time) at my family’s church and didn’t want my hands to get injured. I didn’t like catching balls because that made my hands sting. I also didn’t like getting hit in the head with a ball. That can really hurt. So I ran from balls rather than running to them as one is supposed to do in competitive sports, therefore I wasn’t much help on sports teams. I’m sure Paul can relate to this.

The person interviewing Paul is Dra Carol Williams of “On the Bench with Dr Carol”. She’s a concert organist and composer. She’s just as informal, down-to-Earth, modest and humble as Paul. She seems like a really nice person too. She did a good job interviewing Paul. Muchas gracias to Carol and Paul for the interview. I enjoyed it and found it very informative. One can watch the interview below. Chau.—el barrio rosa

César Franck – Variations Symphoniques – Nikolay Khozyainov – Orquesta Juvenil Universitaria Eduardo Mata

Hola. Below is a performance of César Franck’s Variations Symphoniques (Sinfónica De Variaciones en español) with pianist Nikolay Khozyainov (he’s one of my favourites) and la Orquesta Juvenil Universitaria Eduardo Mata of México, CDMX (la Ciudad de México), conducted by Jan Latham-Koenig. Los mexicanos accompanied Nikolay very nicely, although with this piece there’s one section where the roles reverse and the pianist becomes the accompanist and la Orquesta become the soloist. That section is my favourite part of this piece (it could be a short piece of its own really) and that begins at 8.43 in the first video below and ends at the octave trills in the piano when the mood of the piece changes.

I’ve heard César Franck’s Variations Symphoniques (Symphonic Variations) many times over the years but I’d not given serious thought/study to the piece until I saw it performed recently by Nikolay Khozyainov. For me, seeing it performed made a difference and sparked a major interest in the piece.

The camera work for this performance was not the best. When it comes to music performances, finding good camera crews is very difficult these days. What’s up with that? They often don’t seem to know what the camera should be focused on. Although the camera crew for my favourite orchestra, hr-Sinfonieorchester/Frankfurt Radio Symphony en Alemania/Deustchland is superb. In this performance, there were times I wanted to see the keyboard but the camera was stuck at the back end of the stage with the piano way over there in the distance (it was during the section where Nikolay was accompanying la Orquesta). Then there were other times where I wanted to see the keyboard but the camera was stuck over on the double bass side of the stage. And why was the piano placed out in front of la Orquesta? That’s the US performance style, unfortunately. I would have thought that México would be using the European performance style where the piano is more inside the orchestra — where the right side of the piano is in line with the strings on each side of the stage creating a perfect line across the front of the stage — as it should be, and not stuck out like a what-not the way it’s unfortunately done in the US. Why does the arrogant bully, The Empire (the US) think it has to be different from the rest of the world even regarding piano placement for a piano concerto? I also noticed that the cellos were on the outside which is also the US performance style instead of placed inside the orchestra per the conductor’s discretion and what sound s/he wants for the performance repertoire on the programme.

I’ve watched this many times and to my ear, at one point la Orquesta and Nikolay weren’t together. The piano was ahead of la Orquesta and Nikolay didn’t pull back to try to align his part with them, or maybe he couldn’t hear them that well. Sometimes that’s the case with stage acoustics. I saw the conductor seemingly trying to push la Orquesta along just before that. The piano was ahead of la Orquesta at around 5.20 in the video (first video below). They came back together at around 5.30-5.37 where Nikolay seems to try to get back with la Orquesta at the ritard and fits his part in with them. It’s always interesting as well as risky when something like that happens (an ensemble problem). I didn’t hear an ensemble problem in the second performance below and they played that particular section slower. I almost got the sense that the conductor in the second performance was setting the tempo and not the pianist.

When mi amigo/my friend watches performances with me, he doesn’t like to watch the bows and that’s because he finds the traditional protocol for bows ridiculous. And he says they do the same thing in the Rock Music genre. I’ve previously written about the many silly and outdated traditions of the slowly-dying Classical Music field. I do wish performing artists would stop this silly tradition of going back and forth from the podium area to back stage and turning around and coming right back out again. It has come to look so predictable. And what idiot came up with that? Was it god Franz Liszt that dreamed that up too? Or did some overpaid idiot concert manager come up with that? Performing artists should stay on stage, smile at the audience in the orchestra level and in the tiers and bow occasionally until the audience gets tired of applauding. If the soloist wants to play an encore, play an encore. Stop this nonsense of what’s called “making the audience work for an encore” where the soloist has to go back and forth three times from the podium to that room/back stage in order to get an encore out of the soloist. That too is ridiculous. The pianist likely has an encore planned so just play it! If someone there doesn’t want to hear your encore they can walk out (preferably quietly). But I suspect no one will. With nearly every concert I watch, there goes the pianist walking off quickly to that stage door or appointed room off stage and immediately turning around and coming back out, bowing (or bobbing as some artists do) a couple of times and going back to that room again and then out on the stage again to bow again, then back to that room wondering if the applause will keep going to generate the encore. Ludicrous. Insane. Stop this playing games with the audience. They’re there to hear the soloist play, so sit down and play, jesus! I just don’t have the patience for this nonsense. What idiot came up with these silly traditions?

While writing this, I watched other performances of this piece including an audio-only version of a performance by Alicia de Larrocha, which I enjoyed. Each performance is a little different of course. I’m always curious to hear how the pianist plays the section where the piano accompanies la Orquesta and how each pianist interprets the markings in the score, such as how much weight/emphasis to put on those accent marks. I also watched one performance where the pianist had multiple memory slips. After the first memory slip, that performance was somewhat downhill from there on, unfortunately. I felt sorry for the pianist. It reminded me again of why the pianist should use the score for performances (everybody else is! and with a page turner, if needed). After the first memory slip, I suspect the pianist was playing more on “automatic pilot” and dwelling on the memory slip — thinking “this is no longer a perfect performance” — while playing the rest of the piece. Unfortunately, subsequent memory slips occurred and I think because of nerves the pianist’s hands (the right hand especially) seemed to “lock up” and did not work at times from then on until the end of the performance. Sometimes the hands “have a mind of their own” no matter how well one is prepared. I’ve heard other pianists say that. At the end of the performance (the time for a bow), the pianist acted rather out-of-it, probably in a state of shock and maybe thinking “I’m just glad this is over.” The pianist did not go to shake the hand of the conductor or the hand of the leader/concertmaster as is customary and respectful for concerto performances, and didn’t really feel like bowing. The piano soloist just slowly walked off the stage — probably feeling dazed and thinking “what just happened?” — somewhat bent over looking thoroughly disgusted. But I sensed from the short applause (the camera shut off so that’s all that viewers saw) that no one really noticed the problems in the performance. During the performance, there was one time where the orchestra mostly stopped playing because they got lost not getting their cues from the piano. At that point, the pianist seemed to be improvising trying to get back on track so the conductor had no idea where the pianist was. I think all musicians on stage knew that the pianist was lost. But they were skilled enough to know where to later pick up and they did so and it came back together. This was also a performance where the piano was stuck way out in front of the orchestra (that damn US way of doing things for piano concerti), which I don’t like and the piano placement outside of the orchestra may have hindered the pianist’s performance. It’s very difficult for an artist to do what I’m about to suggest, but when this type of thing happens with multiple memory slips and the performance almost shutting down, when the pianist gets up to bow pretend that nothing was wrong because most people in the audience will likely not know there were any problems because most people there don’t know the piece well or at all, many hearing it for the first time. They’d likely say, “that was great” even though the pianist and the orchestra know differently. The mistake that many artists make (and I’ve done this too) is assuming that the audience know the piece in intricate detail as well as the artist, which is not the case. There may be some pianists in the audience who know the piece well possibly from having played it, but most people there will likely think nothing was wrong and they enjoyed it. And with some of the people sitting in the front row, I know what you’re about. Some of you are just sitting there waiting for the pianist to make a splat/a mistake so you can sit there and critique the mistakes and see how long it takes the pianist to get back on track as you make it obvious with your head shakes in disapproval when each mistake occurs. The pianist can see some of this head-shaking of disapproval from los pendejos in his/her peripheral vision which can make it even more difficult to get back on track. Although I think most people in the audience are there for a good enjoyable performance and hope that the pianist plays the best s/he can, and they don’t much pay attention to or even notice mistakes. Mistakes and memory slips can also be avoided by the pianist using his/her score like all other musicians on stage are doing.

Pianists: If you use your score, put it on the music rack rather than try to disguise/hide the score down in the inside of the piano. The audience will know you’re using your score — and that’s absolutely nothing to be ashamed of — because they will see you turning pages, so what’s the point of trying to hide the score by putting the score inside the piano? Loco. By using the music rack and having the score visible it gives a more chamber music feel to the performance in my opinion, since by tradition pianists are allowed to use their scores for chamber music performances.

As for encores, some pianists like to play more calming/subdued/reflective encores after a performance — especially after a performance of difficult repertoire — while others prefer something very “showy” as was the case in Nikolay’s performance en México. His performance of the Franck is one of the finest I’ve heard. Chau.—el barrio rosa

Here’s another performance (2 part video) of this work from Singapore. The piano soloist is excellent but in my opinion la Orquesta Juvenil Universitaria Eduardo Mata desde México is more refined than this particular orchestra in Singapore. Their performance is in two parts: John Chua Cheng Hong is piano soloist with The Nanyang Academy of Fine Arts Orchestra, conducted by Volker Hartung.

I came out from under my Democratic Party rock to the horrible news of Trump

Hola a todos. I recently received a strange e-mail solicitation to join the corrupt and imperialistic Democratic Party. WTF? The solicitation came with the following testimonial:

I was seriously traumatized by the election of Trump. He terrifies me in a way I have never been before. I disliked George W Bush but never felt he could totally destroy our country. Trump currently has one Supreme Court opening to fill, possibly two unless Ruth Ginsburg can hold on for 4 years. What is more important is because of the obstruction of the Republicans the past 8 years he has 100 judges to appoint. This crazy man and his minions could change our country for years to come in terms of the judiciary. The foreign policy [Ed. I prefer the words "international policy" as the word "foreign" has negative connations (I don't need to explain that, do I?)] implications go without saying. If we can go 4 years of him without being attacked it will be amazing. Any brown, black, yellow, LGBT [Ed. Brand LGBTTM is the hijacking of the original gay and lesbian (GLBTQ) movement] or women need to run for the hills. Trump, or in the case of an impeachment, Pence will make it intolerable to live here. I am sure more people feel this way. I am just trying to figure out how to fight them, living in a red state full of crazy Trump supporters who hate science, education and liberals of any kind. I am coming out from under my rock, sort of. Still can’t bring myself to read the front page of the NYT which I have been getting most of my life. I have always felt well informed. I can’t bear to see him on TV, I can’t listen to Kelly Anne. I can see this being really emotionally difficult the next 4 years, along with worrying about being blown to bits after a tweet.

My response: Why are you seriously traumatised? You didn’t expect this to happen as some of us did who were not living under a rock the 8 long years of the imperialistic Obama regime (also known as Bush II)? I even wrote an article about the possibility of a Trump presidency sometime back (¿Trump Presidente?). I and most of the people I know are not “seriously traumatised.” We expected this in a way. (Although my neighbour, a Hillarybot, she’s another story. She’s completely flipped out to the point that she’s turned to organised religion and is now devout. Loca.) Or were you living in Denial under your rock that Trump could not or would never be (s)elected in this weird way where he loses the popular vote by nearly 3 million votes that we know of but “wins” in the outdated Electoral College? You thought that your war criminal Hillary automatically had la casa blanca and would be the next presidente?

What is “running for the hills” going to do, people? Do you expect the entire population of The Cesspool/the US to “run for the hills?” And you don’t think the Trump regime can find you in the hills? You’d have to come out of those hills to get food and other necessities at some point. This thinking of “running for the hills” — which I’m hearing more of — is ludicrous. Where have you and others like you been since 2000? Under that rock you mentioned that you’re “sorta of” coming out from under?

But I have to say that you’re typical of the fake-progressives and fake-liberals who chose to go into a deep sleep for the past 8 years because your messiah Obama who has that “D” next to his name — when in reality he’s been the best Republican president the Republicans could have ever asked for — was in office. The fake-liberals and fake-progressives like yourself have paid little attention to what he’s done — lived under a rock while calling yourselves “a liberal” or “a progressive” — because their thinking seemed to be “we’re all safe now and can go back to sleep because there’s a Democrat en la casa blanca.” Other fake-progressives and fake-liberals have made a bank of excuses for messiah Obama’s Bush-clone policies/actions, an the expansion of the Bush policies that they protested under Bush. Hypocrites! I suppose people living under a rock wouldn’t notice any of that. You don’t think that Bush and (presumably your) Obama have already destroyed this country? The US has been a Cesspool since at least 2000. I suppose you haven’t heard about this either (from 2014):

“A new study from Princeton and Northwestern Universities has found that the United States’ government more closely resembles an Oligarchy or a Corporatocracy than a Republic or Democracy….The researchers write, “The central point that emerges from our research is that economic elites and organized groups representing business interests have substantial independent impacts on U.S. government policy, while mass-based interest groups and average citizens have little or no independent influence.”—Princeton and Northwestern Universities’ study

It seems to me that you and many others have been in a state of mass Denial under your rock since Obama took office. And I would point out that Obama’s nominees to the US Supreme Court have been pro-Establishment conservatives. Just like Obama, his nominees to the US Supreme Court are not genuine liberals or genuine progressives, as some stupid people (the partisan far-right comes to mind) think they are. In “let’s rub each other’s back” style, Obama’s US Supreme Court nominees have given him what they think he’s wanted from them.

There’s always the possibility of another 911 Inside Job to get the sheeple afraid of their own shadow (“terror, terror, terror” 24-hours a day) and geared up to hate on yet another group to get the sheeple in lockstep behind messiah Trump as his devout boot lickers. Also, why did you use that “LGBT” nonsense instead of GLBTQ? Because “everybody else uses it” and you wanted to fit in with the sheeple? And you call yourself a “liberal?” In reality, you’re a typical partisan Democrat like most fake-progressives and fake-liberals.

And it grieves me so that you haven’t been able to bring yourself to read the front page (is that all you were reading?) of that corporatist publication called the NYT. I’d like to point out that there are far better news sources out there than the NYT.

Also, do you not recall that your corrupt Democrats served as employees and enablers during the entire length of the illegitimate Bush Regime and gave GWBush whatever he wanted. Ms Pelosi (D) even took impeachment “off the table” and we later saw pictures of Pelosi and Bush together as if they were best of friends. It’s not all about those nasty Republicans (whom I can’t stand) but I can’t stand your cesspool of a party either. In reality, these Democrats and Republicans are all amigos despite their theatre of opposition to the contrary for the benefit of gullible suckers like you and other fake-liberals and fake-progressives. These basura party together. Not reading the front page of a corporatist rag is not going to help anything. That’s more living under your rock/Denial which has been your way of living for years.

I can’t offer any sympathy to you because people like you annoy me. You are the fake liberals and fake progressives I can’t stand and that I’ve written about. Genuine progressives (there’s approximately 3 of us world-wide) and genuine liberals would have stayed informed the entire length of the Obama regime — and would have protested Obama et al (as I’ve done) for expanding on the policies of the illegitimate Bush regime — rather than living under your comfy rock. Unfortunately, Denial is a very comfortable place for many people such as yourself. You are part of the problem. “Feeling well informed” and being well-informed can be two different things. I sense you’re in the former category since you’ve admitted to being under a rock.

I’m not saying this will happen but frankly it won’t surprise me in the least if and when Trump announces that there will be no senate confirmation hearings for his nominees and the billionaire basura he’s nominated will take office upon his Executive Order. Someone may say, “He can’t do that!” You wanna bet? Who would stop this arrogant egomaniac schizophrenic bully (and that doesn’t even begin to cover it)? I’ve come to expect the worst from all of these D and R rotted trash/corporate parasites and you and others should too if you expect to view them realistically. How much more does one need to see to understand that?

Although upon reflection, I don’t know why Trump would be the least bit concerned about the senate confirmation hearings. Won’t it be one big ass-eating session? I suspect so. They usually are. I would think most or all of his nominees would breeze on through. I suspect the hearings will go something like this:

Senator (insert name; doesn’t matter which name it is) says:

“Thank you so much for coming here today your esteemed and distinguished worship. It is such an honour, privilege and sincere pleasure for us to meet such a highly-regarded billionaire and someone of such distinguished and honourable character that our very fine and highly-regarded and esteemed new president Trump has nominated. Your part of this charade hearing shouldn’t take long. We just have a few perfunctory questions for you (the same ones we’re asking everybody else), your distinguished worship.

Then at end of this charade:

Senator (insert name) says:

“Even though we have some small concerns about you (unspoken: we Democrats have to give some appearance of opposition for corporate media theatre purposes and to pacify our consistently stupid and gullible base), we think that president Trump should have who he wants in his cabinet, your esteemed worship. (Unspoken: most of our base will be pissed off with us but that’s not the least of our concerns because most of these stupid brainwashed people always vote for us no matter what we do as they scream, “Do you want a Republican?” even though most of us Democrats are Republicans. We’re just too damn lazy to re-register and switch parties. And we have to keep up this partisan image as long as possible for the benefit of stupid partisan people who consistently far for this charade). Thank you, thank you, thank you, your worship for coming here today. (Broad smiles all around signaling we have every intent to confirm/appoint you).”

Oh and by the way, you don’t have to listen to that Kelly Ann if you watch an español-language network. They cut her off in midstream and begin translating what la basura says, if that’s any consolation. With any of these political D and R trash, I often find it’s best to read what they said from some other credible source than to actually listen to these basura. I don’t listen to any of these corporate parasite politicians because all they spew are lies (which they won’t be challenged on), feel-good pabulum, empty words and bull shit. I don’t have the time or patience for that. They’re too fucking annoying to listen to. All they are are sales people/marketing people for their pathetic corrupt party and its barbaric imperialistic agenda of killing innocent people in the Middle East and elsewhere per the goals of the PNAC agenda (the Project For The New American Century). I haven’t listened to anything that messiah Obama has said during his eight years — and when I see him I see George W Bush (I couldn’t listen to Bush either) because Obama has expanded Bush’s policies/agenda — but I’ve kept well-informed and have read what Obama said from credible sources. You might want to try that. It’s worked well for me and the people I know who do the same. Chau.—el barrio rosa