J is for Jubilee

People of Christian faith often ask God to “forgive us our debts as we forgive our debtors.”


“Proclaim liberty throughout the lands and to all the inhabitants thereof, it shall be a jubilee for you.” – Leviticus 25:10. In the Judaic tradition, during the Jubilee year, debts were forgiven and land that had been sold to repay debts was returned to the original owners. “What was sold shall remain with the purchaser until the year of jubilee; in the jubilee, it shall be released, and the property shall be returned.” – Leviticus 25:28. In both Judeo-Christian and non-Biblical traditions, there has been an understanding that forgiveness of debt, when that debt becomes so onerous that one cannot ever get from under it, is both fair and practical.

Julius Nyerere, former President of Tanzania, asks, “Must we starve our children to pay our debts?” As Jubilee USA Network notes: “In the world’s most impoverished nations, the majority of the populations do not have access to clean water, adequate housing, or basic health care. These countries are paying debt service to wealthy nations and institutions at the expense of providing these basic services to their citizens. The United Nations Development Program estimated in 2003 that 30,000 children die each day due to preventable diseases. Debt service payments take resources that impoverished countries could use to cure preventable diseases. Debt cancellation frees up resources to reverse this devastating reality.” And, in many cases, the debt has already been paid, or would have, had the interest rates been reasonable.

The primary argument against debt jubilee is the notion of moral hazard; i.e., “situation where the behavior of one party may change to the detriment of another after the transaction has taken place.” People who enter into contracts should fulfill contracts, lest others be tempted to renege as well. Too often though, the original loan was consummated without the borrower having all the information. Or that the borrower is a nation that generated debt under a previous regime. This writer submits that when debt is essentially fraudulent, then debt forgiveness is both the logical and the only remedy.

People of the Christian faith often ask God to “forgive us our debts as we forgive our debtors.” To me, that suggests that the way to show God’s love involves showing much more compassion than many financial institutions have shown to their customers. The United Church of Christ, for one, “has joined with other faith communities and organizations to call on governments to cancel the debts of poor countries and restore just economic relations between nations.”

Many US householders understand this concept on a micro-level. They buy a house, lose their job, and, instead of the banks agreeing to negotiate interest rates with the borrowers, the lenders choose to foreclose. And this mass seizure of homes has forced cities such as Cleveland, Ohio to raze some of its housing stock, since banks, by their nature, are ill-equipped to actually protect and take care of the buildings in their ownership. How much more reasonable and mutually beneficial it would have been if money lenders had been able to agree on a lower interest rate with homeowners,as some of the largest banks have finally been forced to do.

The business magazine Forbes asked last year if a debt jubilee might help kick start the American economy. As any good accountant will tell you, debt or credit which cannot be paid back is never an asset; it is always a liability.

ABC Wednesday – Round 10

Requiem of the week: Fauré

Camille Saint-Saëns said of it, “Just as Mozart’s is the only Ave verum Corpus, this is the only Pie Jesu.”

This late 19th century piece, by composer Gabriel Fauré (1845-1924), is probably my second favorite requiem. My current choir has performed it at least twice, in 2005 and 2009. It runs about 35 minutes, and consists of seven movements; the linked audios are from sundry sources.

I. Introït et Kyrie (D minor)
II. Offertoire (B minor)
III. Sanctus (E flat major)

Yes, the call-and-response is important, but it’s the violin that makes it.
IV. Pie Jesu (B flat major) A lovely soprano aria, often used in films, etc. Camille Saint-Saëns said of it, “Just as Mozart’s is the only Ave Verum Corpus, this is the only Pie Jesu.”
V. Agnus Dei et Lux Aeterna (F major) – but it’s almost always the Agnus Dei that gets to me.
VI. Libera me (D minor) Wish I could sing like this baritone.
VII. In Paradisum (D major) Another popular work in other media.

Ah, here’s another In Paradisum

You can hear the whole thing, if you have the right media player, here.

Kegs and Eggs Riot, plus one year

The solution designed by UALBANY was to have its mid-semester break, not during Presidents Day week and/or around the Christian Holy Week, but rather this past week.

Apparently, for years, there had been these “kegs and eggs” parties, although I had been blissfully unaware of them until 2011. I gather the “point” of the activity was to drink beer all night, have some eggs for breakfast, then continue to “party” through that day’s St. Patrick’s day parades and other celebrations.

Except that, in the “student ghetto” a half dozen blocks from my house, the morning marauding after breakfast turned into a riot; check out some pictures here.

Interestingly, some students objected to the term “riot” for their behavior. Let’s look at the dictionary: 1) a noisy, violent public disorder caused by a group or crowd of persons…, 2) Law. a disturbance of the public peace by three or more persons acting together in a disrupting and tumultuous manner in carrying out their private purposes. 3) violent or wild disorder or confusion. Yup, it was a riot all right. I think some rejected the term because it’s something that someone ELSE does.

In any case, the solution designed by UALBANY was to have its mid-semester break, not during Presidents Day week and/or around the Christian Holy Week, but rather this past week. Unfortunately, St. Paddy’s Day is on Saturday this year, and I have to wonder if a bit of partying stupidly by students will still be taking place tonight. Or last night, for that matter, with students crashing at the houses of townie friends.
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Almost everyone in America deigns to be Irish on this day, whether they actually are or not. As it turns out, Barack Obama, back in 2007 during his initial campaign for the Presidency, found out about his Irish ancestry. “Last year, he traveled with the First Lady to pay a visit to Moneygall, the town of 300 people where his great-great-great-grandfather was born, and jokingly told a crowd there: ‘My name is Barack Obama, of the Moneygall Obamas, and I’ve come home to find the apostrophe we lost somewhere along the way.'”

Naturally, his reelection campaign has seized on the opportunity to sell T-shirts. $30? You’d think it was a rock concert. Or maybe campaigns ARE rock concerts.

MOVIE REVIEW: The Lorax in 3D

The Lorax movie seemed to want to play to every audience.

I promised my daughter that we could see a movie last Saturday. What I had in mind was The Secret World of Arrietty, based on The Borrowers books. Unfortunately, it was in town for two weeks and then it was gone. Boo hiss. Since my wife had gone to see another film – Pina – the Daughter and I decided to see The Lorax at the Madison Theatre in Albany.

While I was/am a fan of Dr. Seuss, I was totally unfamiliar with the Lorax book, as was my daughter. In the movie, treeless Thneedville is where everyone seems to have the perfect suburban life. Well, almost.

Mr. O’Hare (Rob Riggle), who vaguely looks like the superhero boss lady in The Incredibles, gets to sell folks air. Young Ted (Zac Efron) is smitten with Audrey (Taylor Swift), and when she (somehow) starts drawing trees, real trees, and desiring to see them, Ted springs into action.

What follows is Ted talking to the Once-Ler (Ed Helms) about where the trees all went. He tells the story involving the Lorax (Danny DeVito), and I don’t want to reveal any more plot points, except that Ted’s grandma (Betty White) runs interference for Ted re: his mom (Jenny Slate).

The movie seemed to want to play to every audience. The Mission: Impossible theme for the adults – the animals were occasionally funny, though too cute; a sense of (not too much) danger for older kids; an environmental message as subtle as the Once-Ler family RV.

There were occasional good bits. The cameras everywhere remind me of the movie The Truman Show, or modern-day London or New York City. The budding romance had a couple of moments I could relate to. I laughed a few times. But ultimately, I thought it was a bit of a mess. The Lorax was a major player in such a small part of the movie. And paying extra for a 3D effect, which I could have done without, did not endear me either.

The Lorax movie website.

The Beatles vs. the Four Seasons

The label, with pretty much only the songs from the Beatles Please Please Me album, repackaged it several times.

 

The Wife and I have been to two programs at Proctors Theatre in Schenectady in the last month, both enjoyable, though in quite different ways.

On Friday, February 24, we went to the GE Theatre and attended “Looking Through A Glass Onion”, a deconstruction of the Beatles white album presented by Scott Freiman. Actually, we were the perfect audience. I remember hearing the album for the first time in the basement of the Unitarian church in Binghamton, NY late in the fall of 1968. By contrast, my wife had probably never heard of more than a half dozen of the 30 songs on the album. Yet we both walked away learning things.

That bit Can You Take Me Back Where I Came From between Cry Baby Cry and Revolution 9 came from a take of the song I Will. The song Revolution 9 came from an iteration of Revolution 1, is one of FOUR versions of Revolution, including the single and the version that shows up on the Anthology video, which is my very favorite, as it rocks like the single, but has the doowaps of Revolution1.

The difference is that Frieman was able to provide music snippets showing these things in context. He also somehow separated some tracks so you could hear Paul sing the bass line in I Will, e.g. Quite entertainingly told. The only problem is that he only got through about 2/3s of the songs on the album, though he did also touch on the single Hey Jude.

Tuesday, March 6, we saw Jersey Boys, the story of the Four Seasons, at the main Proctors stage. The reason the show worked, besides solid performances, is the Rashomon nature of the story, with Tommy, Bob, Nick, and Frankie having different recollections of what took place. I knew this quartet far less well than I did the Fab Four, but learned a lot more about them. Unlike some “musicals” that throw a bunch of songs together so that it’s more a musical revue than a stage production, this actually had a narrative flow. There were also effective visual effects that enhanced the narrative. I thought the Nippertown review was spot on.

The Beatles and the Four Seasons were, for a brief time, on the same record label in the US, VeeJay. The label, with pretty much only the songs from the Beatles’ Please Please Me album, repackaged it several times; likewise, the Four Seasons had moved onto another label. Thus was born the most peculiar The Beatles vs. the Four Seasons collection.

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