Monday, June 8, 2026

War of the Nine Kings: Prelude - Beginning

  Dossier from the Desk of Eliezer-ben-Eliezer 

Eastern Powers

Deesh. 

Shinarites: alias Sumerians. 

King: Amraphel: alias Hammurabi VI

Capital: Ur. Our place of origin. 

Other major cities: Uruk, Lagash, Nippur, Eridu

Gods: Chaotic Neutral 

An empire spanning Southern Mesopotamia, once the glory of the world in literature, culture, technology, finance and jurisprudence, Abram-bar-Terakh proved astonishingly prescient in leaving at what now appears to be a golden age for Sumeria, perhaps a dreadfully final golden age. Our ancestral homeland currently lies in a state of terrible decline thought unthinkable a mere generation ago, riven by fiscal debt and hyperpartisanship: the rural working class clash with urban middle class and poor, made more partisan because of urban aristocracy siding with rural farmers and craftsmen, for whose labor they underpay. In addition to getting caught in global warfare (war for which their hubris may be the cause) Sumeria is in grave danger of collapse, civil war, and financial meltdown. The famed Sumerian work ethic has deserted them, and in its place arrives a civilization decadent and declined, rulers corrupt, government hyperpartisan, work ethic subsumed by radical ideology extoling the demerits of hard labor. While the Sumerian government used to respond to floods and droughts with astonishing speed and efficacy, the government today is ruled by an ideology of non-interference, against which there is much clamor for revolution. 

King Hamurrabi VI, formerly Amraphel, was once a friend of Abram's who worked in Terakh's idol store and told Terakh of Abram's consorting with the Habirus. Abram bore Amraphel a terrible grudge, but the former Amraphel has paid Abram's Elamite tribute for eleven of these last twelve years. The nature of current relations between Abram and King Hammurabi is a secret known only to our master and the homeland's king. We prevail, yet again, upon our master to tell us the standing of things between Abram-bar-Terakh and the Sumerian Emperor. 

Alliance Reliability: Extraordinarily, low. 

Min. 

Elamites: 

King: Khederla'omer

Capital: Shushan 

Religion: Hermetic 

A rising empire east of Mesopotamia, in the southwest of a region now called Persia. They speak an Indo-European language not unlike both Sumerian and Habiru. Even Sumeria views them as ferociously intelligent. But whereas Sumeria and Ur is cultured, profligate and individuated to point of decadence, Elam is utterly thrifty, industrious, community focused, and future minded. The Sumerians have spent the last generation in a delicate dance of diplomacy with Elam involving multiple treaties and massive financial involvement. So much so that Elam makes an enormous amount of the raw material consumed by Sumer. Elam can be said to be dependent on Sumerian purchasing power for the increase in its standard of living. Sumer can be said to be dependent on Sumer for manufacturing products that are too expensive to make amid Sumerian inflation. 

The great danger is that this rising empire and falling empire may fall into what's commonly called the Enkidian Trap, in which a rising power unintentionally destabilizes a falling power, which results in the widespread destruction of both. There are many empires which would benefit from such an occurrence, just as many who may also be destroyed in the coming melee, but ultimately the effects of such a conflict are so chaotically destructive as to be entirely unpredictable. 

King Khederla'omer is clearly a strategist of a brilliance not seen since Hammurabi I. He has extracted (some would say extorted) payment from Canaanite kings for twelve years, and in return he provides security. Surprisingly, he has kept his promise, and there has been no civil conflict for the entirety of his rule-by-proxy. However, many Canaanite kings are consulting with the Sumerian ambassador in what they think is secret. They currently negotiate a strategy to rid themselves of their dues to Elam while paying a one-time tribute to Sumeria in raw material as payment for their assistance. 

It is the opinion of this analyst that this collusion is doomed from its outset, and any king who crosses Khederla'omer will quickly be deposed. 

Alliance Reliability: Surprisingly High

Esh. 

Amorites: 

Habitats: Nomad

Conquests: Prolific

Settlements: Prolific

Government: Confederate Republic 

Gods: Chaotic Good

A stunningly adaptable people: capable of farming, shepherding, soldiering and financial trading. They have a deceptively sophisticated form of government. For centuries other empires habitually dismiss them as of lower intelligence and lower sophistication, they were thought a parasite nation who occupy the houses and technologies of the conquered, yet they continually win whatever wars they elect to fight. 

Rumors abound that the Amorites began as a Habiru splinter group, but there is no proof as such. Yet as they traversed the Levant they have proven astoundingly adaptive with achievements that at times dwarf their neighbors. 

Alliance Reliability: Quixotic and Mercurial

Limmu. 

Hurrians. 

Habitats: Nomad

Linguistic Origin: Unknown

Ruling Class: Mitanni

Ruling Class Language: Indo-European

Primary Occupation: Warriors

Military Advantage: Horsing Skill

King: Ariokh 

Gods: Lawful Neutral 

A Turkic mercenary people said to inhabit a sometime empire in the corner border between Anatolia, Mesopotamia, Syria and Armenia. A race of cavalry soldiers, expert in riding, breeding, training and cavalry tactics. Occasionally seen in other parts as traders and guides, the Hurrain are said to hear of conflicts and immediately embark to participate. Upon arrival they immediately offer the losing side assistance for profit. If profit is not paid immediately, they offer assistance to the winning side. 

Alliance Reliability: Medium Low

Western Powers

Ia. 

Canaanite City States 

Government: Confederation

Languages: Varied

Gods: Lawful Good

Kings: Bera and Bisha are the ones we negotiate with

Capital: Sodom 

The independent city states of Canaan are in danger of falling into the Elamite empire. Contrary to Yahweh's divine information to Abram, the Canaanites are surprisingly wealthy, or at least they were until the Elamites extracted tribute. Yet they themselves can be said to extract tribute because all goods that move from continent to continent are taxed by moving through Canaanite land. Egypt must pay to do business in in Sumeria, Sumeria must pay to do business in Arabia, Arabia must pay to do business in Anatolia, all must pay merely to do business in Canaan, and the best ports are Canaanite so in order to move goods to Yevan and Italia, many choose to leave from Jaffa, Akko, Ashkelon and Gaza. Elsewhere Canaanites can inevitably be seen as merchants and traders, or driving caravans from empire to empire. Canaan has no wish to conquer, merely to extract tribute, and that is precisely the nature of their conflict with Elam. Elam wishes to be the sole beneficiary of Canaanite remuneration, and consequently the Canaanites have little money left to fund their own pursuits, which indulge in all the sophisticated pursuits of elsewhere, brought to Canaan and some would say refined (others would say vulgarized). 

Ur may be the world's capital, boasting a culture all too worthy of a capital, but Sodom (and its suburb Gemorah) is the world's cultural capital, where passes through all things literate, artistic, musical and gastronomic (and erotic). It is a city of the ultimate liberality, where all lifestyles are welcome, all progress celebrated, and all sentiments of conservation and reaction unwelcomely viewed as backward. Yet it is so expensive that only the wealthy and upper middle class may dwell within it. It sits upon a quaternary fault near the Dead Sea that gives it an utterly unique topography and climate. Its appearance is astonishingly well maintained, seemingly every building painted a hundred colors, and while there is much talk of homeless within it, one could be forgiven for thinking it the wealthiest, most prosperous city in the world. 

In the event of a military strike, Sodom will be the first site in Canaan to reap the whirlwind. 

Alliance Reliability: Immaterial, we are bound together. 

Ash.

Habirus: (alias: Apiru, Hyksos, Shepherd Kings) 

Homeland: Stateless

Orientation: Bedouin

Religion: Borderline Monotheist 

King: Abram?

God: Chaotic Evil

Referred to derogatorily as 'the shepherd kings' because they cross the world with nothing but their cattle, they are often thought the dregs of the earth: hated by every major civilization as mercenaries, thieves, peasants and rebels. Habirus seem to turn up in every state's record as fugitive convicts, army deserters, escaped slaves, political agitators, yet our master saw fit to consort with them, to break bread with them, to fornicate with them, to promote a few from slave to servant, to even adopt three Habirus into the household. 

However unacceptable the rest of the household finds the generosity of his treatment, Abram has been rewarded by Habirus with unconditional loyalty. They have no god but Set, yet Abram seems to be worshipped by them as something akin to a god. In return for settlement upon Abram's land, they have bound all their possessions into Abram's keeping. This race of thieves has only committed only four recorded acts of theft upon anyone on our land. They have worked as shepherds, farmers, craftsmen and soldiers with the ultimate industry. 

Alliance Reliability: Stunningly, Absolute. 

Umun. 

Philistines: (alias: 'The Sea Peoples')

Cities: Ashdod, Ekron, Gat, Ashkelon and Gaza are mixed Philistine and Canaanite

King: Tidal 

The Philistines are European outliers, some would say 'occupiers' of this Canaanite land. They claim they are originally from Canaan, but they carry with them the art, architecture and linguistic structure of Europe. They are a mix of Greek, Turkic, Anatolian, and no doubt there is some Canaanite in there too somewhere. They are called people of the sea because they arrived from the sea, but it is to the sea they must be tossed back. They arrived just one century ago as refugees from the Trojan War. They may well be the descendants of the remaining Trojans, though they could just as easily be Mycenean. Who knows with those people? All we know is that they must be eliminated. Their numbers grow and grow, and they are an ongoing threat we must deal unless we want our land to be permanently occupied by the West. 

Usu. 

Egypt: 

No descriptor needed. 

Illimu.

Desert Tribal Alliance: 

Orientation: Bedouin

Ethnicities: Midianite, Edomite, Moabite, Ammonite, other tribes unknown as they are Arabian

Religion: Monotheist

God: Lawful Good

King: Zo'ar 

For the moment, a closed society. The Midianites, Edomites, Moabites and Ammonites have continued presence in Canaan, but many of them simply wander the Arabian desert, setting up camp in indeterminate locations. Nobody knows anything of their whereabouts until they appear in the Negev en masse like a mass vacation during which they trade and party, perhaps reuniting with relatives, perhaps worshipping a god that only can be properly worshipped here, and then they go home and we don't hear from them for another seven or ten years. There are many records of these tribes committing acts of thievery and raids, yet in times of drought they have always been extremely forthcoming and generous with other tribes. 

Alliance Reliability: Utterly Unknown

Tales of Disturbed Creation: War of the Nine Kings - Prelude - Beginning

 Dossier from the Desk of Eliezer-ben-Eliezer 

Side 1. Eastern Powers

Deesh. 

Shinarites: alias Sumerians. 

King: Amraphel: alias Hammurabi VI

Capital: Ur. Our place of origin. 

Other major cities: Uruk, Lagash, Nippur, Eridu

Gods: Chaotic Neutral 

An empire spanning Southern Mesopotamia, once the glory of the world in literature, culture, technology, finance and jurisprudence, Abram-bar-Terakh proved astonishingly prescient in leaving at what now appears to be a golden age for Sumeria, perhaps a dreadfully final golden age. Our ancestral homeland currently lies in a state of terrible decline thought unthinkable a mere generation ago, riven by fiscal debt and hyperpartisanship: the rural working class clash with urban middle class and poor, made more partisan because of urban aristocracy siding with rural farmers and craftsmen, for whose labor they underpay. In addition to getting caught in global warfare (war for which their hubris may be the cause) Sumeria is in grave danger of collapse, civil war, and financial meltdown. The famed Sumerian work ethic has deserted them, and in its place arrives a civilization decadent and declined, rulers corrupt, government hyperpartisan, work ethic subsumed by radical ideology extoling the demerits of hard labor. While the Sumerian government used to respond to floods and droughts with astonishing speed and efficacy, the government today is ruled by an ideology of non-interference, against which there is much clamor for revolution. 

King Hamurrabi VI, formerly Amraphel, was once a friend of Abram's who worked in Terakh's idol store and told Terakh of Abram's consorting with the Habirus. Abram bore Amraphel a terrible grudge, but the former Amraphel has paid Abram's Elamite tribute for eleven of these last twelve years. The nature of current relations between Abram and King Hammurabi is a secret known only to our master and the homeland's king. We prevail, yet again, upon our master to tell us the standing of things between Abram-bar-Terakh and the Sumerian Emperor. 

Alliance Reliability: Extraordinarily, low. 

Min. 

Elamites: 

King: Khederla'omer

Capital: Shushan 

Religion: Hermetic 

A rising empire east of Mesopotamia, in the southwest of a region now called Persia. They speak an Indo-European language not unlike both Sumerian and Habiru. Even Sumeria views them as ferociously intelligent. But whereas Sumeria and Ur is cultured, profligate and individuated to point of decadence, Elam is utterly thrifty, industrious, community focused, and future minded. The Sumerians have spent the last generation in a delicate dance of diplomacy with Elam involving multiple treaties and massive financial involvement. So much so that Elam makes an enormous amount of the raw material consumed by Sumer. Elam can be said to be dependent on Sumerian purchasing power for the increase in its standard of living. Sumer can be said to be dependent on Sumer for manufacturing products that are too expensive to make amid Sumerian inflation. 

The great danger is that this rising empire and falling empire may fall into what's commonly called the Enkidian Trap, in which a rising power unintentionally destabilizes a falling power, which results in the widespread destruction of both. There are many empires which would benefit from such an occurrence, just as many who may also be destroyed in the coming melee, but ultimately the effects of such a conflict are so chaotically destructive as to be entirely unpredictable. 

King Khederla'omer is clearly a strategist of a brilliance not seen since Hammurabi I. He has extracted (some would say extorted) payment from Canaanite kings for twelve years, and in return he provides security. Surprisingly, he has kept his promise, and there has been no civil conflict for the entirety of his rule-by-proxy. However, many Canaanite kings are consulting with the Sumerian ambassador in what they think is secret. They currently negotiate a strategy to rid themselves of their dues to Elam while paying a one-time tribute to Sumeria in raw material as payment for their assistance. 

It is the opinion of this analyst that this collusion is doomed from its outset, and any king who crosses Khederla'omer will quickly be deposed. 

Alliance Reliability: Surprisingly High

Esh. 

Amorites: 

Habitats: Nomad

Conquests: Prolific

Settlements: Prolific

Government: Constitutional Monarchy 

Gods: Chaotic Good

A stunningly adaptable people: capable of farming, shepherding, soldiering and financial trading. They have a deceptively sophisticated form of government. For centuries other empires habitually dismiss them as of lower intelligence and lower sophistication, they were thought a parasite nation who occupy the houses and technologies of the conquered, yet they continually win whatever wars they elect to fight. 

Rumors abound that the Amorites began as a Habiru splinter group, but there is no proof as such. Yet as they traversed the Levant they have proven astoundingly adaptive with achievements that at times dwarf their neighbors. 

Alliance Reliability: Quixotic and Mercurial

Limmu. 

Hurrians. 

Habitats: Nomad

Linguistic Origin: Unknown

Ruling Class: Mitanni

Ruling Class Language: Indo-European

Primary Occupation: Warriors

Military Advantage: Horsing Skill

Gods: Lawful Neutral 

A Turkic mercenary people said to inhabit a sometime empire in the corner border between Anatolia, Mesopotamia, Syria and Armenia. A race of cavalry soldiers, expert in riding, breeding, training and cavalry tactics. Occasionally seen in other parts as traders and guides, the Hurrain are said to hear of conflicts and immediately embark to participate. Upon arrival they immediately offer the losing side assistance for profit. If profit is not paid immediately, they offer assistance to the winning side. 

Alliance Reliability: Medium Low

Ia. 

Canaanite City States 

Government: Confederation

Languages: Varied

Gods: Lawful Good

Capital: Sodom 

The independent city states of Canaan are in danger of falling into the Elamite empire. Contrary to Yahweh's divine information to Abram, the Canaanites are surprisingly wealthy, or at least they were until the Elamites extracted tribute. Yet they themselves can be said to extract tribute because all goods that move from continent to continent are taxed by moving through Canaanite land. Egypt must pay to do business in in Sumeria, Sumeria must pay to do business in Arabia, Arabia must pay to do business in Anatolia, all must pay merely to do business in Canaan, and the best ports are Canaanite so in order to move goods to Yevan and Italia, many choose to leave from Jaffa, Akko, Ashkelon and Gaza. Elsewhere Canaanites can inevitably be seen as merchants and traders, or driving caravans from empire to empire. Canaan has no wish to conquer, merely to extract tribute, and that is precisely the nature of their conflict with Elam. Elam wishes to be the sole beneficiary of Canaanite remuneration, and consequently the Canaanites have little money left to fund their own pursuits, which indulge in all the sophisticated pursuits of elsewhere, brought to Canaan and some would say refined (others would say vulgarized). 

Ur may be the world's capital, boasting a culture all too worthy of a capital, but Sodom (and its suburb Gemorah) is the world's cultural capital, where passes through all things literate, artistic, musical and gastronomic (and erotic). It is a city of the ultimate liberality, where all lifestyles are welcome, all progress celebrated, and all sentiments of conservation and reaction unwelcomely viewed as backward. Yet it is so expensive that only the wealthy and upper middle class may dwell within it. It sits upon a quaternary fault near the Dead Sea that gives it an utterly unique topography and climate. Its appearance is astonishingly well maintained, seemingly every building painted a hundred colors, and while there is much talk of homeless within it, one could be forgiven for thinking it the wealthiest, most prosperous city in the world. 

In the event of a military strike, Sodom will be the first site in Canaan to reap the whirlwind. 

Alliance Reliability: Immaterial, we are bound together. 

Ash.

Habirus: (alias: Apiru, Hyksos, Shepherd Kings) 

Homeland: Stateless

Orientation: Bedouin

Religion: Borderline Monotheist 

God: Chaotic Evil

Referred to derogatorily as 'the shepherd kings' because they cross the world with nothing but their cattle, they are often thought the dregs of the earth: hated by every major civilization as mercenaries, thieves, peasants and rebels. Habirus seem to turn up in every state's record as fugitive convicts, army deserters, escaped slaves, political agitators, yet our master saw fit to consort with them, to break bread with them, to fornicate with them, to promote a few from slave to servant, to even adopt three Habirus into the household. 

However unacceptable the rest of the household finds the generosity of his treatment, Abram has been rewarded by Habirus with unconditional loyalty. They have no god but Set, yet Abram seems to be worshipped by them as something akin to a god. In return for settlement upon Abram's land, they have bound all their possessions into Abram's keeping. This race of thieves has only committed only four recorded acts of theft upon anyone on our land. They have worked as shepherds, farmers, craftsmen and soldiers with the ultimate industry. 

Alliance Reliability: Stunningly, Absolute. 

Umun. 

Philistines: (alias: 'The Sea Peoples')

Cities: Ashdod, Ekron, Gat, Ashkelon and Gaza are mixed Philistine and Canaanite

The Philistines are European outliers, some would say 'occupiers' of this Canaanite land. They claim they are originally from Canaan, but they carry with them the art, architecture and linguistic structure of Europe. They are a mix of Greek, Turkic, Anatolian, and no doubt there is some Canaanite in there too somewhere. They are called people of the sea because they arrived from the sea, but it is to the sea they must be tossed back. They arrived just one century ago as refugees from the Trojan War. They may well be the descendants of the remaining Trojans, though they could just as easily be Mycenean. Who knows with those people? All we know is that they must be eliminated. Their numbers grow and grow, and they are an ongoing threat we must deal unless we want our land to be permanently occupied by the West. 



Sunday, June 7, 2026

Dear Dad #9

You would kill me for this trip. I mean, you would absolutely lay into me for a thousand reasons. Not because of my profligacy, though you'd find an unbelievable amount to criticize there, but my idiocy, my incompetence, my laziness: Missing flights and full price for the new one, going to the ER at the first sign of a little trouble, skipping the concert I organized the whole trip for, being around so many friends who've gone back to chain smoking cigarettes, going back to drinking wine when it's so detrimental to my health (and not just a little, one night was a bottle worth, another day was half a large bottle of prosecco). I resisted the cigarettes completely, but the simple act of being around them pushed my voice down an octave. You might be a little more understanding about leaving my glasses in a lyft, that one I'm down on myself enough for, but you'd definitely be down on me for purchasing a bunch of pairs of reading glasses that aren't perfect when each pair is thirty bucks. 

But this is the sort of trip you'd love: the events, the people watching, the history, the views. It's everything you could want. I'm sorry you were careful with your life. Care to what end? You were the type that would get more out of vacations and tourism than anyone: most people have no idea of the history they tour. They ooh and ah by the gravesides of writers and statesmen they'd never heard of; but by the time you realized what you'd missed, your health slowed down. No one is sorrier than me that you didn't take more vacations but... well... you were cheap. I'm not. You were all too responsible, I'm not. My father is dead and your death taught me that life is all too short. Maybe I'm having my mid-life crisis, but I'm going to have all the adventures you refused yourself. 

I'm heading home right now on a train from New York and it's been twenty days. Twenty days! The longest I've been away from home in four years by a factor of well over two weeks! My own health took a turn for the much worse in your final years, and a few months after your passing I finally found a drug that keeps it mostly OK. I feel like life is just starting over now, and I'll have to be careful to not have a second half that will be as reckless and profligate as the first half was careful, lest the second half turn into a fourth quarter. 

Oh my god: San Francisco. You took J and I to San Francisco in 2009: it was wonderful. Whatever skirmishes we might have had on the trip (I can't remember), you took us to show us what stuff may be lying out there. Maybe it was really for you, maybe you wanted to share memories with your children, but maybe it was to show J all the possibilities that lie out there post-college, and maybe it was to show me that there was as much beauty and glory in the history of America as there is in the Europe I longed to go to for more than three weeks every ten years, but it was a great trip. We saw a David Mamet play, we ate some of America's best (mildly priced) food, and we got thrown out of the Robert Mondavi winery. The scenery everywhere took your breath away be it the windy hills of the city or the glowing sunlight of Napa. A homeless man sang to me a serenade in the street and another one asked J to critique the quality of his mugshot. The moment I was to go into the City Lights Bookstore: spiritual home to Lawrence Ferlinghetti and Gregory Korso, and at that moment out stepped David Gergen: press secretary to both Clinton and Reagan. It was as though DC invaded San Fran and I was an unwitting accomplice. 

This time was shorter than the last two: just three days in American paradise. Even the sun in California is different: at all times you can literally see the sunlight. It doesn't just glow, it shines, not in the heavens above, but on the earth right next to you. The only other place I've seen anything like that is Italy. Even at sixty-five degrees Fahrenheit it's strong enough to bore red marks into your exposed skin, yet somehow if you don't have a jacket you freeze to death even on a summer night. Every moment in that city seems like an outdoor party. I was there for the 'Breakers Festival', a costume festival not unlike Mardi Gras, only with more nudity. I probably saw about fifty dongs that Sunday morning, most of them old gays, probably Boomers, trying to recapture their glory days. San Francisco, like everywhere, has gotten a little more puritan, and I doubt there were more than two or three nudists there under fifty. So much has the spirit of San Francisco changed that I even saw a straight couple make out in the Castro! 

Even if San Francisco has changed, I don't understand how a place like that can exist. I've still never seen New Orleans or Charleston, but I have never seen a city in America that beautiful: maybe by a country mile. Even if the homeless are defecating right outside, even if a quart of milk costs a million dollars, every property is so well maintained, every townhouse seems painted a hundred colors, every restaurant has outdoor seating, every park seems to have a perfectly half and half mixture of pine trees and palm trees. It is that precise place in America where temperate meets tropics, and the climate creates a perfect city of a type that may not be seen anywhere else on earth. 

But there's no such thing as 'real perfection', and such perfection can breed a kind of unreality. The spirit of San Francisco may have changed, but it is just as vivid today as in the sixties, and perhaps quite a bit more influential. The world can seem all too explicable when living in circumstances so ideal. On the one hand you have the tech sector, which seems to have crossed overnight from libertarian into authoritarian (as I'm pretty sure I predicted to you), on the other you have the very famous San Franciscan brand of leftist. There's a whole new generation of them now: simultaneously more puritan and decadent than ever: tattoos on three sleeves yet so scared of saying something inappropriate that their very smiles seem to indicate a kind of desperation; more self-righteous than ever, yet simultaneously more terrified. You'd bristle with contempt for all sides: their utopian beliefs, their line item ideologies, the very lack of concern for money which lets them stay in America's most expensive city. There was never a less Californian person than you. The only people in San Francisco you'd have sympathy for are the Asians: who still dress as though America is in the 1950s, the young among whom carry themselves with that very middle class confidence which tells the world that they are the ones who truly run it. White people in San Francisco all have weird ass hair and bad tattoos, and at times they all look a little insecure. The Asians right next to them look happy as clams: hanging out with each other in a country that even in its depleted state is at least more distant from the threat of the Chinese government. 

 I certainly had moments of impatience I did my best to hide from San Francisco and all its mental baggage: be it a friend gone right-wing, one I'd rarely ever seen get heated in twenty five years, who heatedly asserted to me that liberals have controlled the Supreme Court for sixty years (why not seventy=five years then?), or his left friend who asserted to me that Israel is an ethnonationalist state in its very creation and only seemed to get madder with every calm contradiction I tried to make to points even he acknowledged were not particularly informed. Alcohol doesn't help in those situations, but one has the sense that whatever circles one moves in, the Bay Area is so ideologically lock stepped that they forget what it's like to talk with those who disagree with them. Those of us who live among disagreement every day and conscious of our surroundings realize that you have to approach political discourse as though you're walking through a landmine territory, where any footstep can cause a destructive explosion. But in such idyllic surroundings, it's very easy to think you don't have to be careful. 

But I have a certain sympathy with all of them. You try being from my generation and see how you'd take to it. I have the same deep terror of Silicon Valley we all do, but at least they're trying to solve problems, even if it's increasingly the problems they create, in a country where we've given up on solving problems almost entirely. As for the leftists, well, there is something about the intractability of modern America that pushes everybody to extremes: left and right. They think the country lied to them, and they're right. My generation was told there would be jobs, there would be prosperity, that our educations were worth something, that all those years spent prepping for college with extra-curriculars and volunteer work would pay off: then we took out massive student loans we couldn't pay because we all thought we were going to get high paying jobs. Where is all that money? It's all concentrated in 930 billionaires. Anybody who blames millennials for turning left without looking into themselves is doomed to worsen the problem. 

Boomer center-liberals like you chose your prosperity over making society work, so when pragmatists who know how to fix things choose their prosperity over solving society's problems, people inevitably flock to radical solutions. This is the world we now live in. It's sad to see hubristic friends who should know better be so heedless of history, but what can we do? The J Tuckers of the world told us to work hard, because hard work was what worked for you. We're not lazy, we just know that hard work won't be rewarded anymore. 

Nothing is more fragile than beauty, and there is something truly fragile about San Francisco. The very glory of it feels like it's running on borrowed time. Just like how cities as beautiful as old Dresden, old Warsaw, old Tokyo and Rotterdam were bombed to ember (Paris and Prague almost were too), the most beautiful cities in America seem the most threatened: either from war with China like San Francisco and Portland, or from civil conflict like Austin and Nashville, or even rural California. These are places much more dangerous than they look. Not yet, but if life gets still more unstable than it currently seems, it won't be places like Baltimore or Detroit which opponents will look to destroy. Why bomb something that already looks bombed out?

Perhaps Denver tomorrow...


Saturday, June 6, 2026

Celibidache Rant

You can always tell a Celibidache pupil, they parrot his arrogance, they parrot his pseudo-philosophical bullshit, they populate conducting programs and reproduce his cult: a cult that has produced almost no conductors of note at all.
I had to defriend one of them: who just strikes me as one of the most arrogant little shits in the music world, and who controlled the conducting program at my local conservatory for years. Thank god I never went there, I would have challenged every assertion of his and lasted about five lessons. Everybody who disagrees with him is 'wrong'.
On his webpage he has a thing about 'maestro malpractice' about how so few conductors obey the tempo markings in Shostakovich 5. If he knew anything about the history of Shostakovich performance he'd realize that Sanderling was picked apart by some Shostakovich pupil for not obeying the markings, and Shostakovich shouted him down! He said 'if Kurt feels it that way, let him do it!'
Then there was a thing the other day about how to hold a fermata. Reading it enraged me. He said that in some debate 'everyone is wrong' and 'there is only one explanation.' It's one thing if I've seen it from him once, but I've read him do it over and over and over again. This is the kind of closed system that has cut off classical music from music for over 100 years, and has closed classical music at the root from the evolution of the world. It academicizes all sorts of phenomena that are about practical accommodation and living evolution, and prevents classical music culture from participating in the wider evolution of music. We have many great composers right now, but they are, by and large, composers for a small audience of conoisseurs: and there should always be composers for a small, specific audience, but where are the populists? Where are the ones who can appeal to the broad base? Where are our Shostakoviches, our Verdis, our Beethovens, our Mahlers?! What distinguished them was not tonality or tunes, it was the broader support of the music world that allowed them to realize their ambitions, even when nobody liked the results. Sure, there were still commercial and censorious considerations, but the vision remained, the ability to pursue the large scale remained. Where are our composers who can represent humanity at its broadest crossections? The ones who even try to do it are generally confined to ghettos we don't accept: film music, video game music, crossover, where they are almost entirely dependent on commercial appeal which dilutes the vision.
Nearly every composer can't do it today: and it's not that they can't, it's that they're prevented. The circumstances are certainly better than they were even 20 years ago when I was applying to grad school, perhaps even much better, but we still haven't felt the results yet. The combination of academic pressure, lack of funding, lack of experience in learning musical techniques of other genres, and commercial pressures mean that the vision it takes to create the longest, most diverse, most visionary and challenging projects is discouraged. There are so many talented composers out there, of all ages, that the fabric of talent has lumps! But we're all stuck doing the small shit, we're all teeming with ideas that are too big to ever get the funding and audience we need, and many of the older academics were incentivized to root against our success because it would ruin the justification for the ones who got the jobs we all coveted by repeating the atonal/serial bullshit dogmas of their own professors. Academia rewards orthodoxy. The problem is not that tonality lost, the problem is that curiosity lost! Those who love atonal/serial music (as I occasionally do) should always be free to listen, support, create it with no block to their funding and productivity, but when so many of them said 'this is the only way', they created an iron curtain around our music that wrecked our ability to be influenced by the wider world. Thank god, they're retiring now, but their effect on us will continue for a lifetime.
Similarly, where are the performing musicians who are truly free? Between the moderation of Kubelik and the extremity of Bernstein, I'll usually take moderate romantics like Kubelik, but there has to be a place for extremity too! We have a few, some of whom unfortunately embrace extreme politics in addition to music, but at least the extremists realize what we're missing, and want to turn back the clock to an era when the public really cared. We need more musicians who can shock us, the shocks are where the real challenges lie: musicians like Patricia Kopatschinskaya, Fazil Say, Ivo Pogorelich, Gidon Kremer, Adam Fischer, even conductors of dubious ethics like Francois-Xavier Roth and Teodor Currentzis. Just like past musicians like Stokowski, Gould, Gitlis, and dare I say, Celibidache in his performer form (not the cult leader), the negative reactions they engender is part of the artistic process that grows us all. We grow through being challenged. You (and I) may not always like the results, but the results are necessary. No challenge: no art.
I have deep, philosophical suspicions of anyone who says there is only one explanation. Music is not a science! It's not even a soft science, it's an art, and art is done by practical solutions, not theory and certainly not ideology. I'm sure there are cases when there is only one solution, but it's maybe 1 in 100 at most. People who say that there is only one reason or solution are generally dogmatists trying to squelch your individuality: either subscribers to a cult or the leader themselves. Celibidache would throw Buddhism and totalitarian philosophers like Heidegger as justification for his 'phenomenology' and 'epiphenomena' bullshit, against him I raise philosophers like Isaiah Berlin, Montesquieu and Giambattista Vico, who say that the truth is not discovered but made, built, dependent on the circumstances of its creation, and the vast majority of the time, there is more than one way of doing things, and that the world becomes a better place when people realize that there can be irreconcilable viewpoints that nevertheless can live together in peace and celebrate each other's differences.

If not following the score is an excuse for laziness, obviously it's unacceptable. But if it's a way of creating a different sort of performance, that is how music LIVES. That is how music EVOLVES. The musical scenes and genres that realize this are the healthy ones, the others are diseases that can only live by killiing healthy bodies.

Wednesday, May 13, 2026

TCP Vol 2: Tale X: Counterauthority--rough draft

 To High Priest Yoazar,

I'm afraid I can't reveal my identity to you, but rest assured, you know me. 

What you need to do is firstly assure the people of Israel that this is not a prelude to slavery, no matter what taxes signified in previous civilizations, Rome is Rome. These other civilizations practically took over neighborhoods and blocks compared to Rome's empire spanning the world. Rome is a step up in the progress of the world, and when Rome taxes, the taxes are put to public use, not private enrichment. 

Secondly, the idea that high taxes would be a prelude to the nationalization (internationalization) of all Jewish industries and property is absurd. That will never happen, and once again, just because it happened this way in other occupations does not mean that Rome is the same. 

Rome is the exception to history. Other empires fold by their lack of competence, their lack of organization, their lack of dynamism and adaptability. Rome's rise continues because it has solved the question of how to maintain civilization, and can maintain it ad infinitum should it so choose.

It's true, it is rather concerning that Hillel's school has acceded to the bellicosity of Shammai's, but when the real violence begins (imminently I'm sure), Hillel will regain their tactful composure. However, the continued mistreatment of all the mokhes and gabbais in Rome's employ is a shandous outrage. They are now beaten in the street, or at least spat on, and whenever they report their ill-treatment, Rabbis and Elders dismiss their claims prima facie because the Sanhedrin ruled that the credibility of known Jewish employees in Rome's public sector is so damaged that they cannot testify in court. 

This is a development so beyond unacceptable to Rome that Rome demands action for it and orders you to threaten any such vigilante with excommunication. We and Rome are well aware that the issue of excommunication falls under purview of the Sanhedrin and tribal councils, but Rome is adamant that you claim counterauthority from them and attempt to seize power from the Sanhedrin by claiming their irredeemable corruption. Such a claim is always helped by the fact that the Sanhedrin is just as corrupt as the priesthood, and the more you repeat your accusations, the less their accusations against your administration hold moral credibility to the average Judean. 

This is what Rome bids you do at the moment, and if you have any further questions, they will be conveyed though the couriers of the Roman governate and any written questions or requests will be sent to me, who bears far more detailed instructions from the Emperor's family. 

For the Senate and People of Rome,

Rome's Man in Jerusalem


Sunday, May 10, 2026

The American Sublime 2: Bug-centric Cockatoo


.
So I just got back from West Side Story today--a work I've written about endlessly. It was a pretty great performance, 9/10? A little too busy and unsubtle, but all the leads were great bordering on wonderful. Better than I thought I'd ever see it done. At the beginning scenes and the ending I wiped away a lot of tears as my lip quivered, then I looked over and saw my mom doing the same, then I looked in front of me and there was a woman outright sobbing while her husband consoled her, then I looked next to me and there was a couple younger than me and both the man and the woman were wiping tears. The only person near me who didn't like it was the twelve year old texting on his phone the whole time until I asked him to stop nicely at intermission. He apologized very politely, then kept checking the time during the second half.
What is it about this play that speaks to everybody here so deeply? You can't just explain it rationally. Part of why West Side Story is timeless is because we're still living West Side Story's crisis. and it's basically the same show: still gangs, still poverty, still projects, still racist cops, still misspent youth. It could be set in Baltimore today and all you'd need is David Simon to revamp the script, make the Jets African-American and up the racism of the cops, and it's the same show.
But no, you can't explain it like that, that would just make West Side Story a sociology lesson. It has to provoke deep emotional associations, and it can't just be nostalgia.
No, what we're experiencing is something much deeper. Something almost ecstatic. I come out of West Side Story not just moved, but electrified. Simon Schama talks about that effect in the famous documentary: The Power of Art: "
"In the end, there's only one test that matters. You come into the room, you fix it in your sights. Does it, or does it not attack you in the guts, it does. Does your heart jump? Do your eyes widen? Does your pulse race? Do your feet get a bad attack of lead boots you're so struck down by it?"
There's so much about West Side Story that shouldn't work: the antique slang that probably wasn't even real slang in 1957, the ridiculous love story, the ballet sequence that comes out of nowhere and feels like an ego trip from the choreographer... and yet we buy every bit of it. It's one of those works that moves through our heads in a state of grace. Some works just have that irrational impact on us. It's not many, it's never many, but they exist, and if you're open to it, you usually know it when you see it.
You particularly know it because you keep coming back to them. They marinate in your head like an unfinished dinner in the fridge that gets better overnight, and every time you revisit it, it's a completely different experience. A character may resemble your parent, then 20 years later resemble you, then 20 years after that resemble your child; a place may represent the place you live in, then it becomes the place you grew up in, then it becomes the place it used to be but no longer is. Aristotle called it 'mimesis', but what it means is that we just look at the screen or page or stage and say 'that's me.'
It may not exactly be you, but it's something you know, something you remember, something you love or hate or fear, something you're experiencing right now or expect to experience later, and it goes through a journey into your psyche, and by the time it's done you're not the same person anymore.
What's a little unique about West Side Story is that for a country with so many choices for entertainment, how few of them seem to have that ecstatic effect on millions of people. Sure, all kinds of musical groups can get a whole stadium to bob their heads and raise their arms in a kind of trance, but that's not the experience I'm talking about. I'm talking about the solitary experience, the experience that when you leave, you know that your life can never be the same after it happened, and you know that if you come back in 50 years, it will have the same effect. Not just because of its effect on your emotions or nerves, but it's affect on your mind. The kind of piece where your thoughts complicate your emotions, and your emotions complicate your thoughts. And between the two, something deeper emerges even than the heart: a soul. The essential part of who we become, and by the end of that process, we don't just feel delighted or deflated, we understand.
Russia devoted 200 years of literature to that effect, Italy had multiple hundreds of years of that art, but we in America? We don't think much of solitary creation. Of course, even the solitary creators have help, but in so much of even our best art, the vision itself comes from collaboration. Collaboration can do all sorts of wonderful things, but collaboration can also mean committee. And when a committee creates a work of art, the result is not a person's original vision. Committees generally don't look at a work and say 'let's get more daring'. It happens, but not that often, and I think it's a little harder to communicate from one heart to another.
So, individual or collaboration, how do these works have that effect on us? Well, I wonder if there are three ways (and I had a little help from ChatGPT on this...): in the works we see the 'concrete America,' the 'mythic America,' and the 'metaphysical America.' In the concrete America, your mind sees sights and concepts just like the ones we know: open landscapes, tall cities, saturated media, money problems. In the mythic America, it speaks to the dreams we have, both when we sleep and when we wake: the freedom to reinvent ourselves, to meet our destiny, to venture into the frontier. The dream that we'll all be free and equal, and the nightmare that we may get only less as time goes on. Metaphysical America is the America of the spirit, where being American stops being a fact and becomes a way of life. Maybe it's a particular American loneliness where we start questioning what all this freedom and prosperity was for. What happens if, when we reinvent ourselves, we lose ourselves or our souls. We're in a country where we're free to believe anything at all, but what happens if we stop believing in anything?
And when you see these three levels of America reflected back at you, it hits you harder than any rational truth would. It doesn't wrestle with things that are true right now, it wrestles with universal values, fundamental moral laws, universal emotions and experiences and conditions.
I think what makes West Side Story so extraordinary is that there aren't all that many pieces in America that unquestionably do that: We have our share, but we are, supposedly, the freest country there's ever been (that's another story...), and yet we haven't used that freedom to make all that much art that probes questions just that deep, and what we do have, even the best of it, feels just a little bit commercial, just a little bit safe. Not everything's supposed to be a 'really good show,' and even in a show like West Side Story, you can feel the audience concessions. The first half-hour of West Side Story is so beautiful, and then you go into America: America is one of the best songs ever written in this country, but it's placed right after Maria and Tonight, two songs so ecstatic that you want to stay in their spell forever, and it yanks you out of that ecstasy so jarringly that you (I) almost resent it. Then, a half hour later, comes One Hand One Heart, another of the most beautiful songs ever written, and West Side Story's built an entirely new head of steam, and you feel yanked back into love and beauty. Then Act 1 ends with deaths on the stage, and Act 2 opens with I Feel Pretty. We were in the world of the The Wire, and then we're yanked into the world of Rodgers and Hammerstein. It's part of West Side Story's greatness that it can be so many things at once, but it's a little bit exhausting, and in the back of your mind, you wonder if they did it because they worried about the ADD of the audience.
But it's true, sometimes commercial considerations make a work better, sometimes populism makes a work better, sometimes 'simpler' is simply better...
In the vast majority of the best American work, that's what we get. For better or worse, artists here usually have to be entertainers first. The unregulated profundities of Dostoevsky and Wagner don't as often happen here. Does that make the work here worse? Maybe a little bit... but it also means that most of our best art is just that entertaining, and you wouldn't just miss out on something that will change you and give you wisdom and a self-transformation, that seems different every time you experience it, but also, you'd miss having a really good time.
I was going to write about which works are on this list and why, but I don't have that kind of time. Here's another f***ing list....

Absolute: means what it says.

The Simpsons (f*** off it's my list...)
Citizen Kane (a lot more entertaining than you remember)
West Side Story
Moby Dick
Death of a Salesman
Leaves of Grass
Our Town
Alan Lomax Collections
Louis Armstrong Hot Five & Seven
Pinocchio
New York
This World is Not Conclusion
A Love Supreme
Mad Men
Gershwin Songs (basically all of them)
Do The Right Thing
Gypsy
Wizard of Oz
Appalachia
The Muppets
Bessie Smith (basically everything)
-------------------------
Unnamable, competes with the best of any time and place:

Life on the Mississippi
The Souls of Black Folk
Assassins
Barbecue Cuisine
Invisible Man
Twin Peaks
Beloved
The Grand Canyon
Riverside Church
New Orleans
Black, Brown and Beige
Come Sunday
Charlotte's Web
Nashville (movie)
The Mississippi Delta
Chicago
Vietnam Veterans Memorial
The Great Plains
Take the A-Train
Grand Central Terminal
The Pacific Ocean
Diego Rivera Detroit Murals
Mood Indigo
Harlem Air Shift
The Twilight Zone
Because I Could Not Stop for Death
The Red Badge of Courage
Levi's Blue Jeans
Absalom, Absalom!
The Haunting of Hill House
I Heard a Fly Buzz --when I died
National Geographic
Let Us Now Praise Famous Men
The Times They Are a'Changin'
It's Alright Ma, I'm Only Bleeding
Chimes of Freedom
The Years of Lyndon Johnson
Flatbush and Flushing
A Hard Rain's-a Gonna Fall
Democracy in America
The Civil War (documentary)
The Vietnam War (documentary)
Varieties of Religious Experience
Deep Space Nine
Ah-Um
Kind of Blue
The Last Picture Show
The True Believer
It
-----------------------
Cosmic. Essential for anyone who cares to experience America:

Mahalia Jackson (Move On Up A Little Higher, How I Got Over, Precious Lord Take My Hand, Come Sunday)
Migrant Mother
Long Day's Journey into Night
As I Lay Dying
Pryor: Live in Concert
The Great Gatsby
San Francisco
The Awakening
Diminuendo and Crescendo in Blue (Newport '56)
To Kill a Mockingbird
The Redwood Parks
Company
late George Carlin specials
Follies
Woodstock
Boston
The Stand
The Education of Henry Adams
Seinfeld
The Public and its Problems
The Liberal Imagination
An American Tragedy
African American Spirituals
Central Park
The Left Hand of Darkness
The Warmth of Other Suns
Star Trek TNG
Waffle House
Creole Cuisine
Neuromancer
Baseball (documentary)
The Scarlet Letter
Such Sweet Thunder
Los Angeles
Robert Frost (Stopping by the Woods on a Snowy Evening, Mending Wall, The Road Less Traveled, After Apple Picking, Death of the Hired Man, Home Burial)
New Orleans Jazz (generally)
Mardi Gras costumes
Rear Window
These Truths
Baltimore (!)
Watchmen
Bowling Alone
Black Boy
Las Vegas
Call It Sleep
The Searchers
Blade Runner (under protest)
Peanuts
Calvin and Hobbes
All The King's Men
James Brown: Live at the Apollo
Fun Home
Go Down, Moses (novel)
Thanksgiving Dinner
Sophisticated Lady
Civil Rights Movement Songs
Niagra Falls
Strange Fruit
Ko-Ko
John Lee Hooker (generally)
Desolation Row
Follies
I Am Legend
The Godfather Saga (TV version putting both movies in chronological sequence with an hour of restored scenes is best)
Yellowstone National Park
Master's of War
Second Line Funerals
Far East Suite
How The Other Half Lives
Slouching Towards Bethlehem
Origins of Totalitarianism
The Great Lakes
Battle Hymn of the Republic
How The Grinch Stole Christmas
Hoop Dreams
The Unanswered Question
Pentacostal Services (generally)
Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart
Apocalypse Now
Fallingwater
Freedom Highway
I've Been Loving You Too Long
The Assistant
Spirit In The Dark
King Heroin
The Atlantic Magazine
Brooklyn Bridge
A Raisin in the Sun
Close Encounters of the Third Kind
Collected Stories of IB Singer
Chinatown
Midwest County Seat Towns
Tangled Up in Blue
The Fire Next Time
Chrysler Building
The Truman Show
The Iceman Cometh
Brokeback Mountain
Porgy and Bess
The Manchurian Candidate
Their Eyes Were Watching God
Blood Meridian
Raging Bull
Narrative of the Life of Frederick Douglass
Civil War Union Songs
Experience and Nature
The Rust Belt
The Promise of American Life
Moonlight
Nebraska
Green Eggs and Ham
Nature (Ralph Waldo Emerson)
My Antonia
Lady Soul
Where The Sidewalk Ends
MAD Magazine
Rain Dogs
King of the Hill
Bless Me, Ultima
The Making of the Atomic Bomb
County Fairs
the Zoot Suit
The Fish Fry
Dispatches
The Crawfish Boil
Jewish Deli
The Human Condition
"Chinese Food"
Armies of the Night
The Southern Breakfast
Pragmatism (William James)
Autobiography of Malcolm X
Work Boots
The Giving Tree
Sesame Street
-------------------------------------
Gold: a Transcendent Achievement:
Mean Streets (still Scorsese's best...)
Philadelphia
The Truman Show
A Streetcar Named Desire
The Italian American Dinner
Mullholland Dr.
Goodfellas
The Public and its Problems
The Rockies
Frasier
Memphis
Walden
Life Against Death
The Clambake
New York Pizza
Denim
Jazz (documentary)
Detroit
Alien
Work Boots
From Beirut to Jerusalem
Plains
The Adventures of Augie March
Sunrise: A Song of Two Humans
Pet Sounds
The Mojave Desert
Washington DC
The Martian Chronicles
The Cat in the Hat
Converse Chuck Taylor All-Stars
The New Yorker
Closing Time
Bonnie & Clyde
The Apartment
The Matrix
The Closing of the American Mind (under protest)
Emily Dickinson (various)
American Pastoral
Native Son
Taxi
Graceland
Appalachian Mountains
Gravity's Rainbow
Las Vegas Strip
Platoon
Born on the Fourth of July
Long Day's Journey into Night
Portrait of a Lady
The Night of the Hunter
Blue Velvet
The Power Broker
The Right Stuff
Soul Food
Bojack Horseman
Robert Johnson (generally)
Photo of Allie May Burroughs
Ives 4
New York Bagel
Harlan County, USA
Gumbo
Blue Velvet
Blue Plate Special
The Battle Cry of Freedom
Ubik
County Fairs
His Girl Friday
Appalachian Spring
Angels in America
Blood on the Tracks
The Brothers Ashkenazi
Soul Food
Ace in the Hole (movie)
Creative Orchestra Music 1976
Roseanne
Leather Jacket
The Presentation of Self in Everyday Life
Love and Will
Highway 61 Revisited
Show Boat
Reconstruction: America's Unfinished Revolution
The Moviegoer
The Conversation
Modern Times
Pacific Overtures
The Glass Menagerie
The Problem We All Live With
The Searchers
The Civil War: A Narrative
The Twilight Zone
The Fog of War
Cole Porter (various)
Deadwood
It's a Man's World
The Sopranos
Woody Guthrie (various)
Zodiac
Walden
The Immortal Otis Redding
Duck Soup
ET
The Producers
Watchmen
Catch-22
The Executioner's Song
Staples Singers (various)
Coat of Many Colors
Hank Williams (various)
Woolworth Building
Long Day's Journey into Night
Fargo
Alexander's Ragtime Band
Waffle House Breakfast
The Sweet Smell of Success
Touch of Evil
The Philadelphia Story
Army Field Jacket
Black Church Hats
Drag
The Man Who Shot Liberty Valance
Jimmie Rodgers (various)
Johnny Cash America Albums
America Today Mural
Carousel
Six Feet Under
The Larry Sanders Show
Chappelle's Show
Bluegrass Jam Sessions
American Gothic
The Americans
Contract With God Trilogy
Roots
Go Tell It On The Mountain
Cheers
Her
-----------------------------------------------------
Silver: A Great Achievement
The Fixer
The Social Network
Robo-cop
Herzog
The Turn of the Screw
All The Pretty Horses
Blazing Saddles
Gas
Corn on the Cobb
The Steerage
Randy Newman (album)
Portnoy's Complaint
Everything, Everywhere, All at Once
Mary Tyler Moore
Christina's World
Kind of Blue
Cat on a Hot Tin Roof
Hippie Fringe and Denim
Disneyland
Pittsburgh
All in the Family
Battlestar Galactica
One Flew Over the Cuckoo's Nest
There's A Riot Goin' On
Succession
Cleveland
Suttree
St. Louis
Church Potluck
Guggenheim Museum
Twin Peaks
Gravity's Rainbow
Dreamgirls
Follies
Jurassic Park
Other Johnnie Cash
Denial of Death
King Kong
Nixon (movie)
City Lights
Vertigo
Amusing Ourselves to Death
Ebony
Jet
Washington Square
The Deer Hunter
The Sopranos
Sugar Shack
Rolling Stone Magazine
A Good Man is Hard to Find
Diner Pie
Carol Burnett Show
Born to Run
Network
The Wizard of Oz
Into the Woods
American Graffiti
Red-Headed Stranger
Dazed and Confused
Treasure of the Sierra Madre
Sunset Boulevard
Boogie Nights
McCabe & Mrs. Miller
Paris, Texas
M*A*S*H (TV)
Tom Waits (various)
Animal House
Mister Rogers' Neighborhood
The Apartment
Rothko Chapel
Piano Music of Henry Cowell
Rodeo & Billy the Kid
Exciteable Boy
The Iceman Cometh
The Crucible
Fences & The Piano Lesson
Glengarry Glen Ross
Stag at Sharkey's
Carousel
Groundhog Day
Close Encounters & ET
Fargo
Toy Story
What's Goin' On
Double Indemnity
All About Eve
Pudd'nhead Wilson
--------------------------------------------
Bronze: A Mostly Great Achievement:
Nighthawks
The Wire Breaking Bad
The Best Years of Our Lives
Black Saint & Sinner Lady
Sula
Kind of Blue
The Color Purple
Ah Um
Erasure
The Hunger Games
The Apartment
Playboy
A Face in the Crowd
Friday Night Lights
Flannel Shirt
The Americans (TV show)
Dog Day Afternoon
Macaroni and Cheese
White T-Shirt
Badlands
Magnolia
Tapestry (album)
Apollo Theater
Habits of the Heart
The Quest for Community
Wise Blood
JFK (movie)
Koyaansqatsi
Deep Dish Pizza
Twin Peaks
South Park
Some Like It Hot
Singin' In the Rain
No Place of Grace
Girls
First Reformed
South Bronx Housing Projects
Stagecoach
Easy Rider
Gone with the Wind
Nebraska
Get Out
Air Jordan Sneakers
The Big Lebowski (pinnacle of Western Civilization)
Casablanca
Days of Heaven
----------------------------------


Doesn't Belong:
Andy Warhol
Jeff Koons Jackson Pollock
Cindy Sherman
Robert Rauschenberg
Ye
The Eagles
Steely Dan
Nine Inch Nails
Velvet Underground
Lou Reed
Talking Heads
Patti Smith
Metalica
Tool
Eminem
Grateful Dead
John Cage
Damien Chazelle
Scarface
La La Land
2001
Infinite Jest
The Tree of Life
Easy Rider
Superhero Mythology (sorry)
Austin
Silicon Valley
Mount Rushmore
Tom Cruise movies
American Beauty
Joker
Fight Club
La La Land
Friends
Avatar
Nomadland
White Noise
Ready Player One
Tarantino
Dan Harmon
Noah Baumbach
Ayn Rand
Bret Easton Ellis
Michael Bay
Joss Whedon (was not a fan before everybody else wasn't)
Ryan Murphy
David Foster Wallace (as a novelist)
Don DeLillo
Chuck Palahniuk
Seth MacFarlane
Wes Anderson
Lin-Manuel Miranda
Jordan Peterson (Canadian I Know)
Taylor Swift
Lena Dunham (this one honestly also hurts)
How I Met Your Mother (god that aged badly... should have seen that coming)
Chuck Lorre
The End of History
Steven Pinker
Wall Street (movie)
Natural Born Killers
On The Road
The Goldfinch
Visit from the Goon Squad
House of Leaves
Vonnegut
Hunter S. Thompson
The Sun Also Rises
Hemingway novels
Dom DeLillo
Naked Lunch
Pynchon
William Gaddis
Blood Meridian

Regretfully off the list:
Anthony Jeselnik
Bo Burnham
Frank Zappa
Hunter S. Thompson
Blood Meridian
Sam Harris
David Foster Wallace
Jonathan Franzen
Damien Chazelle
Woody Allen

Belongs under protest:
Stanley Kubrick
Billy Joel (really)
Norman Rockwell
Frank Capra
George Lucas
Cornell West
Oliver Stone
Howard Zinn



Take Them Seriously As Artists:
Charles Schultz
Mister Rogers
George Romero
Bob Ross
Harold Ramis
Brian de Palma

Take Them Seriously as Great Artists:
Steven Spielberg
Jim Henson
Johnny Cash
Tom Waits
Garrison Keillor
John Prine
Dolly Parton
Norm MacDonald (I know he's Canadian)