Dear Palestinians, (Concerning Barenboim’s Divan-Project)

ORIGINALLY PART OF Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Sep 30, 2008).


There are things to be added in Dear European Countries (WEDO in Europe) (From August 13 to Present).

I was too tired to think of… or I must have been a fool. While writing this sentence, ‘The moment happens when they accompany good soloists,’ I’ve never thought of the fact that Pianist Barenboim ‘mastered’ all the Beethoven sonatas. As a matter of fact, most European ensembles sound different from the present German ensemble. Once they have string section sound, its attractive quality can prove a perfect marriage with Barenboim’s pianism. They can lead each other into the better place. Of course, Maestro Barenboim can travel all the European countries as a guest conductor. What if Pianist Barenboim travels the same place? What if Palestinian ensemble follows Maestro/Pianist Barenboim? Renting a concert hall one more day will be enough. Why do you think I am gladly willing to do this tired-job, contacting Cultural Ministers of ALL the EU members?

Returning to the original issue:
I am sure that all the Knesset MKs still remember Barenboim’s Palestinian scandal, which broke when he refused to be interviewed by an IDF radio reporter and physically confronted her during an interview on his Said-book. Barenboim’s reason was that her wearing soldier uniform upset him. Everybody, including Diehard-Dove, criticized this naïve musician.

If I still evaluate Israeli 12th PM Olmert, despite all the Jewish journalists’ genius plans, as the greatest Jerusalem mayor, who united the entire Israel by denouncing Barenboim’s Wagner performance, my judgment of Likud’s Livnat has been very high since her stinging denunciation of Barenboim’s sentimental behaviors in front of female IDF soldier. By then, Limor Livnat and Tzipi Livni was the same name for me. (I was confused between LL and TL until my Knesset-mail on March 10, Dear Barenboim’s UN, EU, and First Lady of Israel. This is how I followed both LL and TL and wrote; Weirdly, I agree with Likud on this subject. *.* (Jun 24, 2008 to Present).

Anyway… whoever becomes the second female Israeli prime minister, whether Likud’s LL or Kadima’s TL, nothing matters for me. Likud’s LL called Barenboim ‘A Real Jew Hater’ and ‘A Real Anti-Semite.’ I hope all the Likud members and Barenboim’s Palestinian friends to find my idea COOL. At least, Likud members can’t denounce it as ‘A Real Anti-Semitic Plan’ as long as Arik’s FM Shalom lives with them and I remember his terrific English interview.


Basically, there was nothing wrong with Barenboim’s behaviors or his attitude toward the IDF soldiers and his excuses or justification. Later, I read Barenboim’s interview, in which he explained that he thought of Palestinian kids, who were born to be scared of Israeli soldiers, and couldn’t resist his sudden behaviors that moment. I clearly remember this interview, but too tired to find it from my computer files or Internet sources. Hope someone to find it for me. HOWEVER… has it helped Palestinian kids to solve their problem by themselves?

Below TWO are written by the same Brain/Heart. Why do you think so?
🙂 Weirdly, I agree with Likud on this subject. *.* (From Jun 24, 2008 to Present)
🙂 Israeli Arabs are not so cowardly as Likud’s Crying Babies! (From Jul 11, 2008 to Present)

All my writings usually come from my life experience. So does this part. Throughout my life, I’ve never played in a real professional ensemble. Over-powering his ensemble partners was the only criterion elsewhere I went, from my birthplace to America and back to my birthplace again. No one studied or taught this ensemble technique at the (foreign) music schools, yet this was their only favorite ensemble business. When I heard my seniors’ doing this trick, I believed in hope. When I heard my juniors trying to out-sing their ensemble partners, including me, I gave up. I was not enough strong to hold back them. Nor was I born aggressive.

I was born a perhaps-the-weakest-human-being. A female, indeed. Stage-fright was the only word to define my student life. I don’t remember I ate everyday-lunch without tears in my professional twenties. It was toward age 30 when I learned how to say ‘NO…’ in front of my teacher. I still remember how I felt that moment. Since that moment, I’ve been able to say anything to anybody. Finally, one American b*tch made me realize who I really was. I was a human being, born with a strong desire to kill someone around me. I feel no need to express sympathy for the Palestinian suicide bombers, who happily choose their way of life. However, unlike those, I clearly know who I want to kill. I prefer targeted killing to suicide bombing.

But then, it was only after I was able to overcome this strong desire… of suicide bombing. I had to, because if I do, my insane behavior would only prove American b*tch’s definition about me. A normal mentality doesn’t do this. Still, I don’t need anyone, who should express sympathy for my poor life. I only need my right to targeted killing… Surely, my life has not been normal. However, concerning Palestinian suicide bombings or youth violence among the Israeli Arabs, it will be worth comparing my life to theirs.

What if I was enough strong in those days? What if someone taught me about this when I was a student? It was only after I learned how to analyze MYSELF that I was able to free from what used to make me paranoid…; free from MUSIC.

Only if I could make Barenboim’s Palestinian kids free from what used to make them paranoid… Only if Barenboim’s future Divan-project could make this poor kids, who were born to be scared of the IDF soldiers, enough strong. Strong enough to stand against not only Jewish Pigs but also Corruption in their own Palestinian State.

The stories will all sound different. Please ask Barenboim which story is his most favorite:
1. When the Palestinian babies meet the Jewish babies,
2. When the Palestinian kids meet the Jewish kids,
3. When the Palestinian sentimental or self-conscious adolescents meet the Jewish sentimental or self-conscious adolescents,
4. When the Palestinian mature grown-ups meet the Jewish mature grown-ups,
5. When the Palestinian inferior/superior professionals meet the Jewish inferior/superior professionals,
6. When the Palestinian aging parents meet the Jewish aging parents,
7. When the Palestinian oldie-but-goodies meet the Jewish oldie-but-goodies,
8. When the Palestinian winners meet the Jewish winners,
9. When the Palestinian losers meet the Jewish losers,
10. Are there more?

When Jewish Daniel Barenboim met Palestinian Edward Said, it sounded like Story No. 7. Their story was not No. 5-Superior. Nor was it No. 4. Then, those two Oldies-but-Goodies started their Divan-project with those who should join Story No. 3-Sentimental or No. 5-Inferior or No. 9. It never sounded like their original Story No. 7.

Please ask Barenboim which story he wants to hear from his future Divan-project.

♥ TIME for NUMBERs ♥

Has the Palestinian society an ability to run Professional Orchestras? If so, how many?

Under normal circumstances, a Professional Orchestra can’t exist without Government Fund. In most cases, however, it is still not enough. Please check the cases in Germany, where the culture ministry has collapsed. *.* I promise. The situation will only become worse. If you want to know the real reason, please ask German politicians why.

Professional Orchestras can exist when the Government encourages Individual Donations. In this case, one should get a tax rebate if he donates to culture. This is American system. But American professional orchestras are also on the endangered species list. If you want to know the exact reason, please ask American musicians why. At the same time, I am curious if Palestinian government is ready for this system. I am just curious.

In these days, everybody is talking about Simon Bolivar Youth Orchestra in Venezuela. Then, how many professional orchestras are working in this country? Please check the internet source about Venezuelan orchestras or Ministry of Culture in Venezuela. THREE or TWO HUNDRED TWENTY?

I spent couple of days to find what answered my curiosity, and as usual, it was not from all those intelligent Brains/Hearts, who used to gather around Barenboim only to take advantage of his naïve dream of Mideastern Festival Orchestra, so-called ‘Ensemble Against Ignorance,’ for their private business. The article below was from Guatemalan musician. You see… I am not the only one, who feels like vomiting whenever Barenboim appears as a naïve politician and introduces those disgusting members of Bashkirova’s WEDO.

(…) After more than five years of involvement with the Guatemalan offshoot of the Venezuelan Orchestra System, in July I decided it was time to visit Caracas and make new contacts, do research, and visit friends and colleagues. Most importantly, I wanted to see with my own eyes the progress of a movement that I have been involved with for a few years in my own country.

Our first contact with the Venezuela Orchestra System was back in 1996, when one of its representatives visited Guatemala City to find and persuade some professional musicians and leaders to start a similar system in Guatemala. The status of symphony orchestra in Guatemala then was not much different from what it was in Venezuela in 1975, when Dr. Jose Antonio Abreu – a conductor, economist, savvy politician, and one of the most charismatic personalities in Latin America– started the Venezuelan orchestra system. (…)

In 1975, Abreu invited a group of 11 students to start a new Youth Symphony. (…) A year later (…) Some of these students would travel regularly for long hours by bus to their hometowns, where they started small orchestras just like the one they just founded in Caracas. Some of them remember this as a precarious time. These new orchestras were far from a professional level, but they were causing a deep impact in their towns. As Abreu has said “the orchestras turned into the souls of the communities.”

A new system was born. The “State Foundation for the National System of Youth and Children’s Orchestras of Venezuela” (FESNOJIV) was created in 1979 as its organizational base. It has survived the severe political, economic and social changes in Venezuela over the last 30 years with full support of both the government and the private sector. The system has grown exponentially. By 2005, it included 210 orchestral ensembles serving about 240,000 students. (…)

When they speak of their system, Venezuelans are talking about a broad network of musicians, educators and administrators, as well as music education centers and symphony orchestras – children’s, youth and professional. It includes centers for instrument construction and maintenance and for filming and archiving the main concerts, seminars and master classes. This network functions under the same organizational culture, philosophy and principles, dictated by FESNOJIV, guided by its founder, Dr. Abreu, who devotes close and constant attention to the development of each activity.

The system can be viewed from two perspectives: the purely artistic and the social. Artistically, according to Ascanio, “the principle is to turn the musical practice into a collective experience. The orchestra becomes a classroom and a music laboratory in which students find the reason to practice. The interaction with their peers gives them a stronger motivation to practice and study.” In Venezuela, this approach was revolutionary and had a lot of opposition when it started. “Traditionally, music practice was ruled by a system of conservatories which produced a small number of musicians. There was a lack of the less popular instruments. Most students chose violin and piano while other instruments were ignored. The orchestra functioned around the music schools as a supplementary course since students were being prepared for solo careers.” After finishing their academic preparation, musicians would find themselves jobless, frustrated, and faced with having to start new careers.

The system doesn’t expect to graduate thousands of professional musicians. It only expects to make better citizens who happen to play in remarkably good orchestras. In an interview in Chefi Borzacchini’s recently published book Venezuela Sembrada de Orquestas (“Venezuela Seeded with Orchestras”) Igor Lanz, FESNOJIV’s executive director stated, “You cannot speak of desertion in this system. What is important about it is that whoever enters can have multiple choices, from the professional and musical per se, to any other possible choice.” Students not only become remarkable musicians, but also are offered a broader perspective of life and careers opportunities.

This, along with the large number of students served, turns the orchestra system into a significant social force. The system often presents itself as a movement of social action through music. It concentrates on disadvantaged youth and children from troubled or lower income backgrounds. For them, playing in an orchestra with high artistic goals offers more benefits than the hope of becoming a classical music superstar. In the T.V. documentary “Resurrección en Movimiento” (Resurrection in Motion), produced by Venezuela’s Vale TV, Dr. Abreu talks about an economic principle called “the vicious cycle of poverty”: “A country is poor because it is poor, a man is poor because he is poor, and since he is poor he cannot get prepared, he cannot access education, and therefore he remains poor. The orchestra breaks through this cycle of material poverty,” he continues. “By being part of an orchestra, a child that is materially poor, becomes spiritually rich, so he begins to aspire and struggles to be better, and generates an energy that his material poverty doesn’t provide”.

Ascanio explained how he compares playing in an orchestra to living in society: “In the orchestra there are ranks, hierarchies, obligations, rights, discipline, incentives, healthy competition, and each has an important role for the whole, just like living in a family: you enjoy certain liberties but have to respect certain limits.”

The students carry all those values into their households and communities. With an average of 5 members per family, the orchestra system currently reaches over a million Venezuelans. It truly plays an important role in the improvement of society; it is a real community outreach. It is worth noting that FESNOJIV is part of the Ministry of Health and Social Development, which provides most of its working budget.

FESNOJIV’s system is organized through a network of music centers, which are mostly located in poor neighborhoods and towns, called núcleos –96 of them around the country. Each núcleo has at least one orchestra and offers free permanent music lessons, using borrowed or donated instruments. The main teaching method is the intensive seminar, like the one brought to Guatemala. Such seminars are organized constantly. Sometimes they specialize in a specific orchestral repertoire, and sometimes in a specific instrument or section to focus on technique and performance. Intensive seminars offer a chance for larger interaction among established ensembles all over the country. These seminars are frequently taught and led by top musicians from Venezuela, Europe and the U.S. Recently, and after FESNOJIV established a close relationship with the Berlin Philharmonic, many of their musicians led seminars specializing in each instrument of the orchestra.

An important strength of the system is the speed at which students assimilate new skills and face new and difficult repertoire. This is in part because of their teaching method: when a child learns a skill, he or she has to learn it so well that it can immediately be taught to another student. It is common to find students who are only a few years younger than the teacher and have only a few years less experience. This method, combined with constant participation in seminars and festivals, ensures that the students’ progress is not only fast and effective, but also highly competitive and constantly evaluated.

The clearest proof of this progress was the 1998 National Children’s Orchestra –a selection of the best young musicians in the country. Soon after growing in age to become the National Youth orchestra, they grew in quality to become a professional-level orchestra. Today, their members, mostly in their late teens and early twenties, have been following the course of the Simón Bolivar Symphony founding members. The same people who reached international recognition by “playing and struggling” couldn’t just ignore the quality and needs of their pupils. But the Simón Bolivar Orchestra, the top professional ensemble in the system, could neither absorb a whole new orchestra, nor reject such a talented group of young musicians. The solution was to establish a temporary “second” Simón Bolivar Symphony. The original founders’ orchestra is known as Simón Bolivar “A”. The youth orchestra is Simón Bolivar “B”.

(…) Audience development and ticket marketing are exotic concepts in Venezuela. At the moment, no one measures audience demographics. Concert tickets range from free to around US$ 4.50 and according to FESNOJIV’s own accounts, audience attendance remains between 90 to 100% for all concerts presented by the system’s orchestras. For other data, I had to rely on my own empiric calculation by observing a couple of concerts I attended. I estimated the average age to be around 25, and ranging from 10 to 70. In fact, at FESNOJIV they are aware that the majority of their audience consists of people involved as students and musicians in the system. This is an audience that, even if young, can truly appreciate a concert from many perspectives and have a critical opinion about it.

COULD PALESTINE DEAL WITH IT? (NOTICE: It is not an original title. I need the author’s permission to use this word, Palestine.)
When we started in Guatemala, people would ask “if you want help to young people through music, why classical, and not the folk music that is part of some minorities’ cultures, or popular music which youth already appreciates?” The answer is in the universality of classical music. The advantage of the system is that it promotes exchange and cooperation that ripples through race, class and culture. A Venezuelan orchestra can play Copland, and it will sound like Copland, and a Palestinian orchestra can play Ginastera and it will sound like Ginastera. No other genre is as universal as classical music, and no other format in classical music is as complete as a symphony orchestra.

The system reconciles the notions of art as a simplistic “social cure” with little artistic value, and classical music presented by self-absorbed, self-serving institutions accused of being elitist. Venezuelans have proven that a good orchestra can really improve society, and that at-risk youth can make outstanding classical musicians.

(…) In fact, Venezuelans have done that in many other countries using the seminar approach. The first seminars in other Latin American countries have been often called “miracles”. According to Ascanio “100% of the seminars we have conducted abroad have been considered successful.” The Venezuelans provide the rough tools, which have to be polished by local leaders. “The success of these programs depends a lot on leadership,” says Ascanio. Venezuela got a strong start under the leadership of Dr. Abreu. But the system has grown so much that it is securely in the country’s culture.

Well… this system doesn’t work for kids in this country. Only those who gave up their school work can live in this kind of utopia. In recent years, the competition is so high that they have to give up most of their free schedule. That’s the fact. I’m pretty sure that the situation here is very similar to the one in Jewish elementary schools in Israel. The same thing has been happening in America, too. Simply, Asian aging parents don’t understand why their American kids can’t receive good scores enough to enter the same school as theirs.

What I feel funny during this research is that I have a feeling that the entire Venezuela looks like a poverty-stricken or drug-addicted country whenever international FOLKS are mentioning this music program, El Sistema. (I’m not talking about this article. Please check All the Internet Sources, especially Articles written by Western Intellectuals. For me, it seems that the Venezuelan atmosphere made the entire situation possible. Venezuela is where the unique political system earned strong public support, isn’t it? Then, there was a marvelous leader named Dr. Jose Antonio Abreu – ‘a conductor, economist, savvy politician, and one of the most charismatic personalities in Latin America.’

With this ‘wunderschoenen’ character, Dr. Abreu, you don’t have to read this article very carefully in order to figure out why Barenboim’s Divan-Project in Spain had to be doomed to failure. (I need Dr. Abreu’s generosity if my choice of this word, ‘savvy politician,’ hurt his pure pride. I have to… because Barenboim’s most favorite word was ‘No-Politics-Around-Said’sDivan’ while all Bashkirova’s so-called-divans have been excellent in dirty politics.)

Wrong place, wrong idea, wrong management, and so on. First of all, wrong (local) leaders, whose only concern has been ‘fame and quantity’ rather than ‘quality.’ And then… I am still curious. How many alumni of Venezuelan youth ensembles are managing their practical life as professional orchestra members? Internationally famous figures are only in their twenties, and there is still a long way for each of them to go. Can a normal Venezuelan professional orchestra manage its household with concert tickets ranging from free to US$ 4.50?

🙂 NATIONAL SYSTEM of CHILDREN and YOUTH ORCHESTRAs of VENEZUELA on March 29, 2006: (…) Dr. Abreu: “As a Venezuelan musician, I proposed to make my art an instrument of authentic social development, an instrument to build citizens, a powerful vehicle to achieve an integral education for children, compensating in this way the traditional deficiencies of the continent’s education system. ” There were only two symphony orchestras in Venezuela when Abreu started El Sistema. Now there are about 200, with at least one professional orchestra in every state. Every Venezuelan government in the past 30 years has funded the program. This year its budget is 23-million dollars. (…)

🙂 FESNOJIV involves some 135,000 musicians from across the country: (…) Heading a national system; the State Foundation for the Venezuelan System of Youth and Child Orchestras (FESNOJIV), this orchestra is comprised of over 200 young musicians between the ages of 16 and 20, all products of a system that is of equal social, musical and educational importance in Venezuela. FESNOJIV involves some 135,000 musicians from across the country in a system of pre-school orchestras (4 to 6 years), over 90 children’s orchestra’s (7 to 16 years), over 130 youth orchestras (16 to 20 years) and over 30 professional adult symphony orchestras. (…)

Am I paranoid again, if this article makes me think of the bankrupt city of Berlin, for which it is almost impossible to support 7-or-8-or-9 symphony orchestras? I am dying of curiosity. How can those over-30 professionally adult symphony orchestras make a living… especially with those concert ticket prices? Please compare it with Meier’s Lindenoper, which used to put the highest price on their tickets, using Barenboim’s international fame. Most of Venezuelan pro-musicians, who are now getting over age 30, seemed to learn no other practical skills to make living. According to the western journalists, they are just out of drug-addicted. Which means…

🙂 Private Blogger’s Comment on Símon Bolívar Youth Orchestra: (…) Glossy brochures and exhibitions as well as champagne receptions, coupled with hysterical and entirely uncritical applause is what met this orchestra. I must confess to feeling more than a bit uneasy about the orchestra – or rather about the way this orchestra is marketed. Or, truth be told, mainly about the way the underlying musical system of Venezuela from which this orchestra is created is praised by seemingly uncritical journalists and audiences alike. Having traveled extensively in South America including Venezuela, I have learned that things are rarely what they appear on the surface and I am honestly appalled at the apparent lack of critical journalism relating to the coverage of this orchestra. Unless, of course, the ravishing praise is indeed a result of in-depth, independent research done in Venezuela by journalists choosing not to mention this fact in their articles.. I will reserve my unconditional praise for the musical-educational system of Venezuela until after I´ve read such reports meeting minimum standards of critical journalism. Musically, however, I have only positive things to say about the Símon Bolívar Youth Orchestra. The enthusiasm of the players is contageous. Opposed to the increasingly professionalism of Daniel Barenboim’s West-Eastern Divan Orchestra, the Símon Bolívar Youth Orchestra is clearly still a youth orchestra complete with numerous wrong notes, false entries and unnuanced playing. But the sheer enthusiasm seems virtually unbeatable. (…)

See… I am not the only one. What kind of ensemble does Daniel Barenboim want from his Palestinian Divan-Project? Youth ensemble for the pure, enthusiastic kids or Pro ensemble for the inferior orchestra members, who can’t still find a job at the age of 30? Ask Daniel Barenboim, please.

I hope NO ONE in Venezuela to misunderstand my real intention to write about THEIR culture. I believe that whatever they do with their musicians, this is entirely their business, which I have absolutely NO right to meddle in or criticize. I am only interested in Barenboim’s Divan-Project in Palestine and its Arab neighbors. And then, I just wanted to point out that the Palestinian case is not same as the Venezuelan one. First of all, my writing about Venezuelan El Sistema is solely based on my observation of those youngsters, who didn’t follow Maestro X, and therefore, sounded TERRIFIC… I just hope internationally top-famed Maestros from-A-to-Z don’t destroy its precious ensemble. I can say this, because I have an unique experience with one American girl.

Having grown up in slum, she was out of her drug-addicted family by the time I met her. (Well… I decide NOT to write the whole story, since it is now NONE of my business. Please ask Henry Fogel, who is the former President of the Chicago Symphony Orchestra and now the Senior-Advisor-after-President of American Symphony Orchestra League, about how he ignored my American report again and again and gave a diagnosis of my insanity in his Google-Group, in which he succeeded in his German Wagnerian dream with Waltraud Meier. Please check FrontPage of my Music-blog, The Art of Criticism. This American youth said that she never wanted to join school orchestras again. When I heard the recording of her youth orchestra… Probably, her American life won’t be able to afford classical concerts, nor will she find interest in classical music again because this arrogant high-culture can’t become the important subject in her practical life any more. She has to learn how to make-up because she learned that no one, even elementary kids, wanted to offer a job to an ugly-looking lady.)

According to the rule of this bimbo-battle, Barenboim has to collect all his Angels to rush to South America, Guatemala in particular. How long will it take for the entire Latin America to become another Trashbin? I promise… a couple of years will be enough. Curiously, Elena Bashkirova has already planned her Latin Tour as a Jewish muse, so I decided NOT to send my further message to Argentinean neighbor countries.

🙂 Bashkirova’s Performance Schedule after Jerusalem Festival 2008
🙂 Dear Barenboim’s Argentine (May 27, 2008)

It was on May 27, 2008 when I ‘spammed’ the entire Argentine to explain the reason of Beinisch’s Jerusalem Festival. If they really considered Barenboim as their Maestro, they must have known the best way to show their respect during this b*tch’s Latin tour. Or vice versa. The more inferior, the dirtier game they would want to play… all despite my legal warning. The more inferior, the louder… Which country will fall into the victim or which music society will prove its most inferiority?

♥ TIME for NUMBERs, again ♥


1. They started this project in 1990, and then 40 students joined in 1993. Today, there are over 520 students. How many graduate each year? What do their professional life after graduation look like? I am not talking about Piano/Composition department.

2. Starting in June of 2005, they had a five-year plan. Please check how Palestinian pigs among Bashkirova’s WEDO members destroyed it. Of course, the widow of Prof. Edward Said knew nothing about it.

3. Please read VENEZUELAN ORCHESTRA SYSTEM in January 27, 2006 again, very carefully. There are already quite similarities between Venezuelan system and Palestinian one, except money part. I am just curious if Barenboim’s Palestinian friends are willing to take a step forward but on the original track.

4. Venezuelan folks are talking about their focusing on Wind and Brass. But if you carefully listen to their performance, it is easy to figure out where their very basic comes from. The strong, healthy tradition of the Strings. In South America, it was a part of elite education system, and there was no need for them to mention this. Then, both Venezuelans and Western folks seemed to be confused between the cheap instruments’ luxurious sound and the luxurious instruments’ cheap sound.

5. Can female members work in Palestinian professional orchestra? If so, how many performers with a maximum of? I believe that this is a very sensitive issue, not only inside the Palestinian society but also during their international tour. They play for their Arab Diaspora audience. I’m pretty sure that International pigs will never understand this sensitive issue. It seems that they are just Zero-Brain. First of all, female members, especially in the string sections, should pass certain rules. Physical rules first, and then mental rules. Or the problem will become worse as they get old.

6. Bashkirova’s WEDO members can NEVER join this business. I feel no need to repeat this.

7. International passport, fund, and so on: Remember? Merkel’s German Government has run into debt… (Please check Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008).) In addition, how many folks have to pay me in case I start my legal business?

All my previous mails were sent to the president of Birzeit University. Why do you think so? I am now curious how many Palestinian politicians are checking my Knesset-Jokes. I know they are interested in my computer work. Then what about the Hamas, who is still considered as a real leader among the Palestinian public? I can work with anyone in the Palestinian Society. ALL the Jewish leaders, whether extremely-right or left, know that they just can’t butcher all the Palestinians. ALL the Palestinian leaders, whether extremely-fundamental or not, know that they just can’t wipe out all the Jews. ALL the leaders from both sides just believe in Power of Politics. Therefore, my only criterion is that they should not permit illegal terrorism inside the Green Line or what International community considers as State of Israel.

(Updated on NOVEMBER 17, 2008)
🙂 From After Gaza Truce
1. Nonviolent Palestinian demonstration as blackout hits Gaza (Nov 11, 2008)
2. Poll: Most Palestinians support dissolving Hamas-controlled parliament (Nov 3, 2008): (…) 48% of the surveyed will vote for Fatah while 12.3% will elect Hamas. (…)

Please compare this real Palestinian Hope with the information in this article;
🙂 Poll: Only 6% of Americans think U.S. should back Palestinians in peace talks (Nov 17, 2008): (…) Comparatively, 66% said the U.S. should support Israel in the peace process. Some 80% of GOP voters and 59% of Democratic were among those (…)

I hope all the Palestinian politicians to realize what a terrific role the Palestinian Orchestra can play as the best tool to defend their right of Palestinian State while traveling all over the world. Please use it in the most effective way. People all over the world will believe that Peace is what Palestinians want to achieve inside and outside their Palestinian State. Basically, I wanted to do this with the Jerusalem Symphony Orchestra, but who has been listening to me? What about Palestinian Classical Culture? Everything is up to the Palestinians, too. This is their business, I believe.

If they want me as their partner, I can promise one thing. Whether through music or others, everything will be part of educational program. I will train Barenboim’s Palestinian kids as the strongest human beings. I want to see all the Palestinian kids armed with strong Palestinian mentality.

🙂 Gilad Shalit becomes punchline for jokes in the Gaza Strip (Aug 25, 2008): (…) Gilad Shalit, who was abducted from the Gaza Strip border by Palestinian militants in 2006, has become the butt of more than one joke in the coastal territory. Several video clips and E-mails have been making the rounds in Gaza, triggering laughs that stand in stark contrast to the anxiety Shalit’s fate elicits in Israelis and Jews around the world. One clip in a recording of a mock phone call from Shalit’s mother to her son, which thousands of Gazans have downloaded onto their phones. Another image circulating online depicts Shalit dressed as a Hamas fighter and mocks him for supposedly marrying a member of the clan implicated in his abduction. (…)

I wrote and wrote… that the Palestinian case differs from the Venezuelan one. They are born with the feeling of hatred at the bottom of their heart. Unlike other children of lesser God, they clearly know what controls their dying heart. As they get old, this feeling only grows and thickens. Whenever they encounter IDF soldiers, a bitterer feeling of hatred… it just runs through their blood. From the start of their birth, this feeling is destroying their life.

How many human beings are reading this message? Does anyone know what this feeling of hatred is all about?

I knew I was dying. No one had a power to cure my dying heart. I know I can never cure those Palestinian dying hearts. All I can do is to explain how I overcame this strong desire of ‘suicide bombing.’ I just hope those poor Palestinian kids to join my club.

Below is part of my mail to Knesset on OCTOBER 31, 2008;
🙂 When is the best time to join FACEBOOK? (Regarding my Legal Business with Yeheskell Beinisch, From Aug 6, 2008 to Present)

Anyway, I feel no need to intervene in your Election Process. While traveling ALL over the world, including Arab countries, I will just work to prepare EVERYTHING for PM Netanyahu and his nationalist government. If I resume my work in FACEBOOK, my message will only become ‘NOTIFICATION,’ rather than ‘PERSUATION.’ Then, what’s the reason of my mailing today, when I know FOLKs are busy whenever I post something? I have ONE important business with PM Netanyahu and ALL his supporters. I feel no need to ask his permission, though. If my project, which would ‘actually’ hurt nothing Bibi’s life, can prevent ONE Palestinian suicide bombing, PM Netanyahu will be the first one, who would welcome my idea. I know this guy is the most generous Jew. Below is a clue:
🙂 Gilad Shalit becomes punchline for jokes in the Gaza Strip (Aug 25, 2008)
🙂 Voodoo dolls, zombies and France’s president
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Remember? I’ve never ‘fully’ approved Barenboim’s Divan-project, because the Palestinian case clearly differs from the Venezuelan one. Remember? I am the one, who suffered one serious mental symptom-or-illness in American music school and didn’t know it was another myself until I found Jacqueline du Pre’s biography. I promise. Music never helped to cure my mental problem. Ever since the beginning of Barenboim’s Divan-Project, I wanted to raise this issue first, which has been killing Palestinian young hearts. I wrote and wrote, and absolutely NO one listened to me. Because absolutely NO one has suffered the same mental problem as the poor Palestinian kids. ALL they wanted to hear from Barenboim’s international fame was ‘brilliant-titles.’ Is it called a Mental Therapy in the world of medical science? Whatever it is, I don’t care. Hence, I had to finish ALL my writings first, in order to finish my final one; Dear Palestinians, (Concerning Barenboim’s Divan-Project).

How many Voodoo dolls would I have to make for the Palestinian kids?
Time to finish this writing.

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NOVEMBER 17, 2008
Dear Palestinians,
I finished Dear Palestinians, (Concerning Barenboim’s Divan-Project).
Hope YOU to choose me as your business partner.
P.S.: There are more than two ways to ‘hilariously’ use Bibi’s Voodoo dolls. Don’t you think so? We can even make an archery ground inside a playground. No gun, please. At the same time, those healthy kids will learn how to distinguish good Jews from all the Kippahs.

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DECEMBER 3, 2008
Dear Palestinians,

Please check
🙂 Meier’s Interview on Aug 14, 2008
🙂 Jerusalem Quartet’s Interview on Oct 04, 2008
🙂 Mehta/Bashkirova’s Interview on Oct 21, 2008
🙂 Please check Zubin Mehta’s generous(?) involvement in renovation project in Barenboim’s Berlin Concert hall. Zubin Mehta is not the only one, of course.
🙂 Please check WEDO 2009; not their performance schedule but the repertoire.

I have a serious question to Palestinian music school.
Are you ready for this repertoire?

The most comical idea-or-happening during the past ten years of Barenboim’s Divan-project was… why Maestro Barenboim needs an audition to select his members from the Middle Eastern Music Schools? This process should be entirely up to the head of each music school, or cultural minister of each country.

This is what I wrote in Dear European Countries and how do you think I was able to think about this? “What kind of f*cking German officials know better than Egyptian negotiators to handle Schalit-plus-Alpha case in this area?”

What kind of f*cking Spanish or Berlin musicians know better than Mideastern music schools do about their own students? I usually don’t like Masterclass by foreign pigs. They always start their teaching by criticizing local teachers and therefore earning unreasonable respect from the participants. Then they bid farewell to ‘their’ students and ‘their’ music school after destroying all the local tradition. Usually, it takes months to restore its reasonable educational tradition. Then another celebrity comes for ‘his’ Masterclass to collect ‘his’ students and destroy its local tradition again and so on.

Too tired to write all the details. Anyways… If you want to learn something and real serious about it, you can learn anything from anyone around you. A three-year-old baby can be a terrific teacher to check your improvement too. There are great teachers, of course, but the real numbers are few. As a matter of fact, it is a genius student, who makes his teacher look great. It is not a genius teacher, who makes his student sound great.

For the Venezuelan kids, it took years of years or decades to master a basic repertoire. But if you listen to their recent performances, it is easy to imagine their professional future. But still, I’ve never heard more terrific string section sound than those youngsters’. There was everything; terrific grouping, imagination, their desire to step forward and so on… To be honest, do you think you can make it during this summer with this repertoire?

What I feel funny about Bashkirova and Meier’s WEDO 2008 is that those woodwind members are the most inferior musicians in the world; a brilliant collection of all the cancerous roles. Do you know why I am so sick of Eurotrashes? Woodwind solo-or-members in professional orchestra can prove their right sound in the most inferior ensemble situation. Horn section can’t, but Woodwinds can.

I’ve heard a great sound of flute from the dullest/useless/poorest British/Russian/American ensemble.
I’ve heard a great sound of oboe from the dullest/useless/poorest British/Russian/American ensemble.
I’ve heard a great sound of clarinet from the dullest/useless/poorest British/Russian/American ensemble.
I’ve heard a great sound of bassoon from the dullest/useless/poorest British/Russian/American ensemble.

That’s the power of woodwind solo-or-members in professional orchestra. Sometimes, I have to listen to their dull performance only to figure out if they have a precious member in their woodwind section. Not only WEDO 2008 proved the most hilarious performance as the most cancerous roles, but also part of them are born with NO talent to join the qualified ensemble.

Days ago, I read that Maestro Barenboim wanted his Divan project 2009 with Egypt and Palestine. I just can’t understand why I can’t find this article again from Google’s Barenboim-News.

Too tired to finish this part… I want to start my mailing to Bibi’s supporters in Facebook first.

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