By Jeffrey C. Goldfarb, September 5th, 2011 
Today is Labor Day in the U.S. In practice, for most Americans, the primary significance of the day is as the unofficial last day of summer. I just went for a long swim in my outdoor pool, which closes today.
There are also political and union activities on the labor theme, marking the official reason for the holiday. Thus, President Obama gave a speech today in Detroit to a union gathering, previewing the themes of his long awaited address to a joint session of Congress on Thursday, addressing the concerns of organized labor.
This September date as a workers holiday was originally chosen by the Central Union of New York in 1882. It is strange that the rest of the world celebrates May 1st as the international day of labor, marking the Haymarket Affair of 1886, a scandalous labor conflict in Chicago. During the cold war, the U.S. even officially designated May 1st as “loyalty day.” The contrast with the practice of the Soviet Union and its allies was essential. The American Labor Day, though, has an equally serious origin. It became a national holiday after the violent events surrounding the Pullman Strike of 1894. American indeed has an important and rich labor history.
I think it is unfortunate that American labor’s celebration is out of sync with the rest of the world. We commemorate alone, which weakens the power of the ritual. Nonetheless, especially now, when labor issues are so central, as President Obama indicated in his speech, it is important to take notice. I recall some previous Deliberately Considered posts.
Rachel Sherman’s “Domestic Workers Gain Visibility, Legitimacy” noted an advance in labor legislation in the state of New York. She highlighted the achievements of the Domestic Workers Union to agitate and achieve some fundamental rights in the new legislation, concerning overtime, vacation leave and protections against sexual and racial harassment. As she also observed the place of American domestic workers in the global economy and the connection between class and gender, . . .
Read more: In Review: On Labor Day
By Daniel Goode, September 1st, 2011 
(A reply to composer, David Mahler)
I don’t blame John Zorn. Also, New World Records, the curators of a recent series at the Stone were certainly well-meaning, and I understand that they did some actual promotion, which is what is necessary to get beyond the composer-only-fueled concert. I don’t even feel my usual righteous indignation. More in sorrow. Larry Polansky noted the undeniable fact that there is a raft of new music chamber groups out of various schools and conservatories, made up of crack performers, getting big coverage and big bucks relative to us. The nub of it is that we all BECAME new music performers to get our own music out, while also expressing our interest and passion for new music and our composer friends’ work.
Now that the virtuosi are taking up new music and are such good practitioners of it, our down-home DIY style is pushed into limbo. But just having done a Sound/Text program upstate twice recently with the DownTown Ensemble, I know that SO percussion or ICE or “ACE” or whatever—they would never do such a weird mixture of things, one of which was erotic verging on porno text by Richard Kostelanetz requiring no standard virtuoso instrumental techniques but rather speaking sensitivities and some clever well-motivated playing, would certainly never be chosen as a repertory number by any of these crack groups. Bill Hellermann made that general point. And Anne Tardos’s quirky, odd, non-virtuoso songs for voice and two instruments: they’d never do that either. Nor Jackson Mac Low, nor Daniel Goode’s text, “Misdirection of the Eye” about Wisconsin politics with free improv using “On, Wisconsin.” (You can listen to this performance below.) So composer-driven groups are still important counterweights to virtuoso performer driven groups. And we’re still poorly funded. It’s that awful circus virtuosity problem in music culture since forever.
[audio:/wp-content/uploads/2011/09/Daniel-Goode-Misdirection-of-the-Eye.mp3|titles=Daniel Goode-Misdirection of . . .
Read more: We’ve Been Demoted, Part II
By Jeffrey C. Goldfarb, August 23rd, 2011 
In recent posts, Vince Carducci examining the urban environment in terms of psychogeography, derive and detournment, and the gift and potlatch, explored the art of Detroit, the city at the epicenter of Fordism and ground zero of post – Fordist devastation. While I think his inquiry is illuminating, showing art playing an important role in democratic society, I am skeptical about his political utopianism, as he stands on the shoulders of Marx and the Situationists and Ken Wark’s account of them. I don’t think that the full power of the artwork is captured as a critique of capitalism or that the full political significance of the work is in its message. We disagree, once again, on art as propaganda and how art becomes politically significant.
Artwork, and the world it creates when appreciated, is, in my judgment, more important than context. The art, its independent domain, is where the action is, which is then related to a variety of different contexts. To be sure, Carducci shows how this works. Detroit artists don’t only speak to each other, creating work that communicates for themselves and their immediate audience. They speak to the de-industrializing world, providing insights, suggesting an alternative way of living. But this can work in many different ways, not necessarily tied to political programs of the left or the right or the center.
Take an example drawn from two past posts: Ivo Andric novelistic depiction of The Bridge on the Drina inspired Elzbieta Matynia to reflect on the way that bridge, connecting Serbia and Bosnia, provided a space for interaction between people from elsewhere, at the kapia, the public square on the bridge, enabling civility. Her account, in turn, inspired me to reflect upon the bridges I observe on my daily run through the public park that was the Rockefeller estate, and provided me with critical perspective for thinking about the devastation . . .
Read more: In Review: Democracy and Art for Art Sake (Without Elitism)
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