l.
One of the funniest--and profound--comedy skits I've seen recently was one of David Chappelle's, a very talented man. He played the part of a blind African-American Ku Klux Klan leader. The joke was, of course, that he had no idea he was black; recognizing talent when they don't see one, his fellow Klaners considered his rants sufficiently disgusting as to be downright inspirational. (They had no idea he was black either, since he always dressed in the racist version of the burkha, that is, a white robe and a white hood which covered his entire head except for his eyes.) At a heated point in one of his hate speeches, he attempted to cool off by removing his hood. No more cheers from his audience-- just a barely audible gasp of shock. You're black, they told him. He refused to believe it.
I have never seen a more hilarious demonstration of an obvious fact: race is a social construct. Racial identity does not exist "out there" but in the mind. Racism involves characterizing another as "other" or "foreign" based on superficialities, such as skin color and other aspects of appearance. It is obviously still causing much harm around the world. It is one of many examples of what I call the "staccato mind," which, along with "the legato mind" is the subject of this essay. Using an analogy from music, I will advocate for the practice of legato thinking as a way to combat racism and other forms of harmful behavior.
2.
I don't remember what the two of us were discussing; I don't even remember who the other one was, except that he was white and about my age at the time. (The time was approximately thirty years ago.) I might have told him that while individual variations in a race demonstrate a broad spectrum of ability, there is no such range of ability when one race is compared to another; that is, one race is just as talented as another. (Racial division in evolution came late; no race has an edge regarding brain development over another.) Whatever I said, he didn't believe. What about blacks? he asked. They're only good in sports and music.
The racism of this statement is too obvious to deserve comment. Instead, I would like to address the cultural obtuseness of what he said.
Achievement in sports is like any other achievement, that is, something truly remarkable. (People like me who are much better at writing than at boxing are, nevertheless, pleased to take a few jabs occasionally--in writing--at snobs who consider athletic achievements to be unimportant. ) I must admit, however, that I spend much more time exercising than I do at watching sports. My admiration for those who excel at competitive sports is like my attitude toward brain surgeons--respect without any attempt at emulation.
My attitude towards music is much different. I am an avid amateur musician and have some expertise in this field. (Thirty years ago I had no expertise; only a love for music, which has only intensified with the passage of time.) I will now discuss that racial put-down from a musical angle.
For me--and for many others--music at its best pierces one to the quick. It is the universal "language"--the music of Michael Jackson--not to mention Mozart's--is able to be understood by people in Singapore, Senegal and Cincinnati. The only adequate response to music at its best is utter astonishment, absolute awe.
Saying blacks are only good at music is like saying Shakespeare was only good at poetry and drama. That forgotten man with whom I spoke was not only prejudiced against a race, but ignorant of what are among that race's and all races' most stellar achievements. Music--like all art--must first of all entertain, but the best music does a lot more than entertain. Music takes us into a divinely human realm where all who enter must, at least temporarily, leave the rags of greed, hate and delusion at the entrance. When the nightingale is finished singing, we might recall Keats's words: "Fled is that music--/ Do I wake or sleep?" If she had been singing a great work by Bach, music at its best challenges us, in the best sense of the verb, to wake up.
3.
Before I discuss the two basic attitudes towards others, which I call the staccoto and the legato mind, I will first define these musical terms. Staccato means "detached" in Italian; it is a form of musical articulation in which the note in question is played for a shorter duration than one would expect, followed by silence. It is therefore always detached from the subsequent note. There is no communication between them. The opposite is legato, Italian for "tied down." In legato playing, one note is seamlessly connected to the following note, that is, with no silence in between. Staccato technique in piano entails lifting the finger completely off the key before playing the next note. In legato playing, the finger of the first note is released while the finger of the subsequent note is being pressed down, resulting in the sound of the first note flowing into the sound of the second without any interval. That might sound easy, but it's not. There is nothing that separates the amateur from the professional more than poor legato technique. (Legato playing necessitates frequent digital acrobatics, especially when notes of a melody are "voiced," that is played simultaneously with less important notes.) Practicing legato in the mind, as it were, is not easy either, and, as we shall see, the lack thereof causes many problems.
Let us now illustrate the legato and the staccato mind with four examples:
I read about the so-called 2 million biker gathering in Washington D.C. to commemorate the victims of 9/11. I also read that it was organized to counter a so-called Million Muslim March on the same date at the same place. The organizer of the bikers stated that their philosophy was "to stand by the Constitution, and Bill of Rights," adding that they're "against any fundamental transformation of America." This statement seems to contain code words for something else; I began to be suspicious. I noticed on the news that several bikers were holding anti-Muslim placards. Many bikers came to Washington on 9/11/2013; the Million Muslim March renamed MiIllion American March Against Fear in order to sound less threatening, attracted very few participants. It was not backed by most American Islamic groups. Although the theme was tolerance, it was thought to be too risky to have a march of Muslims on the 9/11 twelve years after the terrorist attacks.
2. A political Internet site lamented the death of a white man, murdered by a black man in Washington Square, New York City. The black man, 31 years old, stated that he hated whites and would punch the next white man who came along. The victim was a harmless 62 year old white man, who died from his injuries the next day. The authors contended that this case went underreported due to an anti-white bias in what they viewed as the liberal-controlled media. The right-wing site was incensed that this "lamestream media" is not interested in reporting black-on white crime, just the other way around. The authors lamented that no T shirts will be made to commemorate the white victim, an obvious reference to the death of Trayvon Martin. Needless to say, the two enraged authors were both white.
3. A young woman, studying to be a nurse, also worked as a waitress at a restaurant. One day she noticed that one of the members of the party she had just served wrote on the credit card receipt, "No tip, N*****r!" She showed it to her boss and it was reported. The young lady, who looked perfectly decent, was subsequently interviewed. I do not recall her exact words, but, as best as I can recall, she said: "Why would somebody write a thing like that? I try to serve everybody well, and had no complaints while I served those who left me that receipt.. I love everyone. I even love those who did this, although I do not love what they did."
4. A young white man in uniform went into a deli. He ordered a sandwich. A teen on line behind him told him that the deli was owned by Muslims--how could he frequent a place like this? The man behind the counter was dressed in Muslim attire and sported a full beard. The teen went on and on. A funny thing happened when the teen asked him, "Aren't you fighting these guys?" The soldier responded, without a trace of humor: "No, not at the moment. At the moment I'm just trying to order a sandwich." He went on to state, justifiably angered, that he was wearing his uniform to defend, among other things, freedom of religion. He didn't care if the man was a Muslim or not. We're all Americans, he stated. It turned out, as I suspected, that the whole thing had been staged, but the man in uniform obviously hadn't been acting. He was completely surprised when he was informed that everyone but him was following a script. When he was asked whether he thought that his kindness made him a hero, he said no. All Americans must behave in this way, he replied.
The first two examples are examples of the staccato mind; the second two illustrate thinking with legato. In those using a social staccato, the "note" can be an individual or a group to which the individual belongs. . It is "played" in a fashion completely disconnected from the next note, which can also be an individual or a group. In the first example, bikers with an anti-Muslim bias ( I do not wish to imply that the majority of bikers had this bias) were playing the notes "us, us, us" in staccato fashion, separated from the notes--in this case, Muslims, that followed. In the second example, the white authors were playing white notes completely separated from the notes sounded on black keys. The authors obviously felt that the "lamestream media" were not interested in reporting examples of white victimization, which for them was a significant phenomenon. This is a glaring example of the staccato mind. What is really underreported is the appallingly high murder rate in the United States, which is six times higher than the rate in Germany. When a black victim is involved, it is a black-on-black crime 94% of the time; when a white victim is involved, it involves a white-on-white crime 89% of the time. The staccato white authors were apparently much more interested in portraying what they saw as widespread anti-white bias in the media then in reporting a tragic incident. This disconnect makes it much easier to view others as enemies or opponents.
In the third example, a young woman is playing legato with her mind.. She even feels connected to those who have treated her in a cruel, staccato fashion. In the music playing in her mind, the individual notes are connected, resulting in beautiful melodies. Legato thinking is just as evident in the fourth example, in which the serviceman includes all Americans as notes in a great American symphony.
Just as a pianist must spend a lot of time perfecting legato, I am suggesting that we attempt to master sounding life in legato fashion.. This practice of connection is a variation on Buddhist techniques of mindfulness. It also recalls the Christian teaching that we see Christ in everyone, no exceptions. Perhaps one could begin by practicing a form of legato meditation for fifteen minutes or so a day; during this practice one would train oneself to "hear" the connection in relation to every individual they see, especially individuals of a different race or who have markedly different views. One might begin with one's own family, connecting more harmonious members to more difficult members with the legato thoughts, such as "Deep down, she is as good as anyone else." "The pearl inside him is also the pearl inside me. I can see it through the mud. " etc. Then one could expand practicing legato in relation to neighbors, with a deliberate effort to treat friendly and less friendly ones exactly the same, etc. A good challenge would be listening to political commentators who espouse a view very different from your own while practicing a feeling of connection to them as individuals, as fellow human beings.
I would encourage those interested in this practice to invent ways to do it on their own. This is especially easy for those who are familiar with Buddhist meditation techniques. I will give one I use as an example. I exercise frequently, often at a facility where there are many treadmill machines. I select one at the back, so the people in front won't notice if I stare at them. I begin with the person on the treadmill farthest away from me on the left. I look at this person while reciting these words in my mind:
Keats wrote that heard music is sweet, but unheard melodies are sweeter. The more we practice legato thinking, the more audible the great music we are becomes. If we keep on practicing, we will eventually be able to hear the sweetest music of all, Silence. If we practice the music of mindfulness, the world will become a better place, and we will be astonished by what we "hear." Why not begin with a fifteen minute session of legato meditation today? Sooner or later, we'll all be glad you did.
A related article: Legato and Narcissism by Thomas Dorsett, can be accessed on the internet by googling the title and author together.
One of the funniest--and profound--comedy skits I've seen recently was one of David Chappelle's, a very talented man. He played the part of a blind African-American Ku Klux Klan leader. The joke was, of course, that he had no idea he was black; recognizing talent when they don't see one, his fellow Klaners considered his rants sufficiently disgusting as to be downright inspirational. (They had no idea he was black either, since he always dressed in the racist version of the burkha, that is, a white robe and a white hood which covered his entire head except for his eyes.) At a heated point in one of his hate speeches, he attempted to cool off by removing his hood. No more cheers from his audience-- just a barely audible gasp of shock. You're black, they told him. He refused to believe it.
I have never seen a more hilarious demonstration of an obvious fact: race is a social construct. Racial identity does not exist "out there" but in the mind. Racism involves characterizing another as "other" or "foreign" based on superficialities, such as skin color and other aspects of appearance. It is obviously still causing much harm around the world. It is one of many examples of what I call the "staccato mind," which, along with "the legato mind" is the subject of this essay. Using an analogy from music, I will advocate for the practice of legato thinking as a way to combat racism and other forms of harmful behavior.
2.
I don't remember what the two of us were discussing; I don't even remember who the other one was, except that he was white and about my age at the time. (The time was approximately thirty years ago.) I might have told him that while individual variations in a race demonstrate a broad spectrum of ability, there is no such range of ability when one race is compared to another; that is, one race is just as talented as another. (Racial division in evolution came late; no race has an edge regarding brain development over another.) Whatever I said, he didn't believe. What about blacks? he asked. They're only good in sports and music.
The racism of this statement is too obvious to deserve comment. Instead, I would like to address the cultural obtuseness of what he said.
Achievement in sports is like any other achievement, that is, something truly remarkable. (People like me who are much better at writing than at boxing are, nevertheless, pleased to take a few jabs occasionally--in writing--at snobs who consider athletic achievements to be unimportant. ) I must admit, however, that I spend much more time exercising than I do at watching sports. My admiration for those who excel at competitive sports is like my attitude toward brain surgeons--respect without any attempt at emulation.
My attitude towards music is much different. I am an avid amateur musician and have some expertise in this field. (Thirty years ago I had no expertise; only a love for music, which has only intensified with the passage of time.) I will now discuss that racial put-down from a musical angle.
For me--and for many others--music at its best pierces one to the quick. It is the universal "language"--the music of Michael Jackson--not to mention Mozart's--is able to be understood by people in Singapore, Senegal and Cincinnati. The only adequate response to music at its best is utter astonishment, absolute awe.
Saying blacks are only good at music is like saying Shakespeare was only good at poetry and drama. That forgotten man with whom I spoke was not only prejudiced against a race, but ignorant of what are among that race's and all races' most stellar achievements. Music--like all art--must first of all entertain, but the best music does a lot more than entertain. Music takes us into a divinely human realm where all who enter must, at least temporarily, leave the rags of greed, hate and delusion at the entrance. When the nightingale is finished singing, we might recall Keats's words: "Fled is that music--/ Do I wake or sleep?" If she had been singing a great work by Bach, music at its best challenges us, in the best sense of the verb, to wake up.
3.
Before I discuss the two basic attitudes towards others, which I call the staccoto and the legato mind, I will first define these musical terms. Staccato means "detached" in Italian; it is a form of musical articulation in which the note in question is played for a shorter duration than one would expect, followed by silence. It is therefore always detached from the subsequent note. There is no communication between them. The opposite is legato, Italian for "tied down." In legato playing, one note is seamlessly connected to the following note, that is, with no silence in between. Staccato technique in piano entails lifting the finger completely off the key before playing the next note. In legato playing, the finger of the first note is released while the finger of the subsequent note is being pressed down, resulting in the sound of the first note flowing into the sound of the second without any interval. That might sound easy, but it's not. There is nothing that separates the amateur from the professional more than poor legato technique. (Legato playing necessitates frequent digital acrobatics, especially when notes of a melody are "voiced," that is played simultaneously with less important notes.) Practicing legato in the mind, as it were, is not easy either, and, as we shall see, the lack thereof causes many problems.
Let us now illustrate the legato and the staccato mind with four examples:
I read about the so-called 2 million biker gathering in Washington D.C. to commemorate the victims of 9/11. I also read that it was organized to counter a so-called Million Muslim March on the same date at the same place. The organizer of the bikers stated that their philosophy was "to stand by the Constitution, and Bill of Rights," adding that they're "against any fundamental transformation of America." This statement seems to contain code words for something else; I began to be suspicious. I noticed on the news that several bikers were holding anti-Muslim placards. Many bikers came to Washington on 9/11/2013; the Million Muslim March renamed MiIllion American March Against Fear in order to sound less threatening, attracted very few participants. It was not backed by most American Islamic groups. Although the theme was tolerance, it was thought to be too risky to have a march of Muslims on the 9/11 twelve years after the terrorist attacks.
2. A political Internet site lamented the death of a white man, murdered by a black man in Washington Square, New York City. The black man, 31 years old, stated that he hated whites and would punch the next white man who came along. The victim was a harmless 62 year old white man, who died from his injuries the next day. The authors contended that this case went underreported due to an anti-white bias in what they viewed as the liberal-controlled media. The right-wing site was incensed that this "lamestream media" is not interested in reporting black-on white crime, just the other way around. The authors lamented that no T shirts will be made to commemorate the white victim, an obvious reference to the death of Trayvon Martin. Needless to say, the two enraged authors were both white.
3. A young woman, studying to be a nurse, also worked as a waitress at a restaurant. One day she noticed that one of the members of the party she had just served wrote on the credit card receipt, "No tip, N*****r!" She showed it to her boss and it was reported. The young lady, who looked perfectly decent, was subsequently interviewed. I do not recall her exact words, but, as best as I can recall, she said: "Why would somebody write a thing like that? I try to serve everybody well, and had no complaints while I served those who left me that receipt.. I love everyone. I even love those who did this, although I do not love what they did."
4. A young white man in uniform went into a deli. He ordered a sandwich. A teen on line behind him told him that the deli was owned by Muslims--how could he frequent a place like this? The man behind the counter was dressed in Muslim attire and sported a full beard. The teen went on and on. A funny thing happened when the teen asked him, "Aren't you fighting these guys?" The soldier responded, without a trace of humor: "No, not at the moment. At the moment I'm just trying to order a sandwich." He went on to state, justifiably angered, that he was wearing his uniform to defend, among other things, freedom of religion. He didn't care if the man was a Muslim or not. We're all Americans, he stated. It turned out, as I suspected, that the whole thing had been staged, but the man in uniform obviously hadn't been acting. He was completely surprised when he was informed that everyone but him was following a script. When he was asked whether he thought that his kindness made him a hero, he said no. All Americans must behave in this way, he replied.
The first two examples are examples of the staccato mind; the second two illustrate thinking with legato. In those using a social staccato, the "note" can be an individual or a group to which the individual belongs. . It is "played" in a fashion completely disconnected from the next note, which can also be an individual or a group. In the first example, bikers with an anti-Muslim bias ( I do not wish to imply that the majority of bikers had this bias) were playing the notes "us, us, us" in staccato fashion, separated from the notes--in this case, Muslims, that followed. In the second example, the white authors were playing white notes completely separated from the notes sounded on black keys. The authors obviously felt that the "lamestream media" were not interested in reporting examples of white victimization, which for them was a significant phenomenon. This is a glaring example of the staccato mind. What is really underreported is the appallingly high murder rate in the United States, which is six times higher than the rate in Germany. When a black victim is involved, it is a black-on-black crime 94% of the time; when a white victim is involved, it involves a white-on-white crime 89% of the time. The staccato white authors were apparently much more interested in portraying what they saw as widespread anti-white bias in the media then in reporting a tragic incident. This disconnect makes it much easier to view others as enemies or opponents.
In the third example, a young woman is playing legato with her mind.. She even feels connected to those who have treated her in a cruel, staccato fashion. In the music playing in her mind, the individual notes are connected, resulting in beautiful melodies. Legato thinking is just as evident in the fourth example, in which the serviceman includes all Americans as notes in a great American symphony.
Just as a pianist must spend a lot of time perfecting legato, I am suggesting that we attempt to master sounding life in legato fashion.. This practice of connection is a variation on Buddhist techniques of mindfulness. It also recalls the Christian teaching that we see Christ in everyone, no exceptions. Perhaps one could begin by practicing a form of legato meditation for fifteen minutes or so a day; during this practice one would train oneself to "hear" the connection in relation to every individual they see, especially individuals of a different race or who have markedly different views. One might begin with one's own family, connecting more harmonious members to more difficult members with the legato thoughts, such as "Deep down, she is as good as anyone else." "The pearl inside him is also the pearl inside me. I can see it through the mud. " etc. Then one could expand practicing legato in relation to neighbors, with a deliberate effort to treat friendly and less friendly ones exactly the same, etc. A good challenge would be listening to political commentators who espouse a view very different from your own while practicing a feeling of connection to them as individuals, as fellow human beings.
I would encourage those interested in this practice to invent ways to do it on their own. This is especially easy for those who are familiar with Buddhist meditation techniques. I will give one I use as an example. I exercise frequently, often at a facility where there are many treadmill machines. I select one at the back, so the people in front won't notice if I stare at them. I begin with the person on the treadmill farthest away from me on the left. I look at this person while reciting these words in my mind:
May you be happy, content and peaceful;
May no harm come to you, may no trouble come
to you,
May you always meet with success.
May you always meet with success.
May you meet and overcome
Inevitable problems, difficulties and failures
of life.
of life.
Then I proceed to the person on the neighboring treadmill, etc. I repeat the cycle until my exercise session is over. This meditation never fails to improve my spirits. The primary purpose of meditation like this is not to feel good, however, but to help insure that good feelings get transformed into good actions. If we master legato thinking for fifteen minutes or so a day for a while, we can then proceed to increasing the amount of time. Thinking in legato fashion is like walking a mile in your's neighbor's moccasins before judging him or her. The resultant harmony is undoubtedly worth hours and hours of practice.
In music legato playing is crucial, but there is a place for staccato too. This is also true in life. If we never separated ourselves temporarily from others, we would never be able to fashion ourselves into instruments which are capable of playing legato in a beautiful way. We must think, we must learn, we must plan; such essential activities demand time spent in solitude.. The purpose of this separation, however, is to increase our abilities to connect. Wisdom and love are undoubtedly what's most important in life; by the practice of legato thinking--even when it hurts, it's not easy-- we become wiser and more loving. And you don't need a piano--that wonderful instrument, yourself, is with you at all times.Keats wrote that heard music is sweet, but unheard melodies are sweeter. The more we practice legato thinking, the more audible the great music we are becomes. If we keep on practicing, we will eventually be able to hear the sweetest music of all, Silence. If we practice the music of mindfulness, the world will become a better place, and we will be astonished by what we "hear." Why not begin with a fifteen minute session of legato meditation today? Sooner or later, we'll all be glad you did.
A related article: Legato and Narcissism by Thomas Dorsett, can be accessed on the internet by googling the title and author together.
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