ALTZAR – TRAILER

ALTZAR: A JOURNEY FROM LEFT TO RIGHT BRAIN

I set out this evening to create a 7-second video for the header of my ALTZAR website. And this is what I ended up with – a 1-minute trailer about my journey from the left to the right brain:


 

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I QUIT!

Feb 3, 2018

Facebook quit 2I quit! J’arrête! Lo dejo! Уходить в отставку!

So that’s it. I am quitting Facebook. Ironically, it’s happening a few hours after they had released me from my latest stint in the FB jail. Oh well, at least now more people will find out that I quit and why.

Nine (9) years and three (3) months has been a good ride. I learned a lot. But now it’s time to forget and move on.

NOT ALL “FRIENDS” ARE EQUAL

One thing I learned is that a Facebook “friend” is not necessarily the same as a real life friend. Here’s why not…

As of right now, Feb 3, 2018, I supposedly have 4,630 FB “friends.”  Guess how many bother to reply to my yesterday’s “QUIT FACEBOOK?” post as of this morning?

Three (3) directly. And three (3) through various groups I had founded for a total of six (6). Six out of 4,630! That’s 0.13%. In other words, only one (1) out of 772 of my DB “friends” cares whether or not I stay or go.

And I am not even counting here the 25,656 “friends” I have in the three groups I manage who also had a chance to see my yesterday’s post.

APATHY AND INDIFFERENCE REIGN

So what does that say? To me, it says, that APATHY and INDIFFERENCE reign supreme on Facebook as they do elsewhere in America (see my Nov 2014 election column – DISGUST & APATHY: BIG WINNERS IN 2014 ELECTIONS).

none-of-the-above

Freedom, including the freedom of speech, is disappearing in America faster than a piece of cheese in a rat’s mouth. The US Constitution has become a dead letter, something that both our government and large corporations can trample at will.

FB cover freedom of speech

Yet, most people just shrug and carry on. Hoping for miracles? Or just that “crocodile would eat them last?” as Winston Churchill put it in reference to Hitler appeasers in 1938.

IF ALL OF US QUIT, FACEBOOK WOULD STARVE

As you saw from my yesterday’s post, I have been teeter-tottering on the decision to leave FB for over 4 years now. I was hoping things might get better. Instead, they’ve gotten worse. FB is abusing the trust of its customers. No wonder 60% of Facebook users are spending LESS time now “socializing” on it.

There is one absolute right every customer has: LEAVE. The right to QUIT. And the only thing businesses like FB react to is a loss of user base. Trust me on that. When I ran my own business, I used to consult for top executives of major multinational computer companies.

I am not frustrated or angry. Just pragmatic in how and where I want to spend my time. FB is not the only game in town. So why should I waste my time and emotional and intellectual capital on a platform which will eventually self-destruct and collapse?

FOR THOSE WHO CARE ABOUT FREEDOM AND TRUTH, LET’S STAY IN TOUCH… VIA OTHER UNFILTERED AND UNCENSORED CHANNELS

To those of you who care about FREEDOM and TRUTH, I say, THANK YOU for your support over the years. Let’s stay in touch. FB is not the only game in town. There are other channels available for me to broadcast the truth. Just as I had been doing for decades before FB was even around.So here are my websites to which you can subscribe.

Just click on the FOLLOW button at the bottom right corner of each home page:

ALTZAR – music, film, arts and spirituality: http://altzar.net

TRUTH IN MEDIA – geopolitical news and analysis: http://truthinmedia.net

YINYANGBOB – personal blog and travelogues: http://yinyangbob.net

STEWARDS OF THE EARTH – https://gaiasteward.wordpress.com/

Hope to hear from you again at one or all of my above websites. You can submit your comments there just as you could on FB. But WITHOUT CENSORSHIP.

Bye, bye… and good luck!

Bob

I-love-you-all


FEB 2, 2018

QUIT FACEBOOK? Is it time to hang it up after almost 10 years?

Four signs I have received in last 3 days that it may be time to jump off his bad habit called Facebook: What do you think?

I have been a Facebook user since Nov 2008. But I never really used it until July 2012, when my spirit guides suggested I give it a try. Now I feel I am getting signs from them that I need to get off this bad habit that Facebook has become.

1. The first hints came from Facebook itself. Since late November, I seem to be spending more time in the FB jail for no good reason that I know. Except that someone somewhere in Facebookland doesn’t like my posts and opinions.

And willy-nilly, without any explanation, this PUBLIC (!) company decides to violate my right of free speech under the First Amendment. I find that unacceptable in the US of A.

2. Second, on Jan 31, I was guided by my spirit guides to post this commentary – about the declining business at Twitter and Facebook. Evidently, many other people are starting to feel the same way. https://www.facebook.com/bob.djurdjevic/posts/10212790825020362

3. Third, just today, Feb 2, a post came up from four years ago when I finished my month of voluntary silence. It was the second time in just over a year that I had done something like that: Turned off most of my man-made technology.

BREAKING THE SILENCE: MAN-MADE TECHNOLOGY SUCKS… …SUCKING OUT OUR FREEDOM AND PRIVACY – For more, see… https://wp.me/p1jFeo-uO.

“Will you join me in this “silent revolution”? – I asked at the end of that 2014 editorial.

Alas, I did not heed my own recommendation. The US-engineered coup in Ukraine later that month in 2014 suck me back into geopolitical reporting and analysis. Just like when I worked as a war correspondent for over a decade in the 1990s.

And starting with that coup, things went from bad to worse… in this country and around the world. So I hung in there with developing news.

4. Fourth, I just saw this guest post by Mary about what happened when she quit Facebook in 2015. In word, NOTHING BAD. She can only cite GOOD experiences as a result.

FB cover freedom of speech

Check out what she said:

“Last month, I made the decision to say goodbye to my personal Facebook account. It was a decision that was in the back of my mind for a while. I took the plunge on May 6, 2015.

Since then, I’ve learned five important lessons.

1. I Don’t Have As Many Friends As I Thought

One my personal Facebook page, I had hundreds of “friends”. Once I said goodbye to my account, only a handful of them stayed in contact with me.

My birthday was less than two weeks after I made the decision to quit Facebook. In the previous years, most everyone on my friends list posted “happy birthday” to me.

Guess how many thought to call or text me? FIVE.

Most of them were family… which leads me to the next lesson.

2. I Don’t Care

Learning lesson one taught me lesson two. I don’t care about the lack of communication from my former Facebook “friends”.

The true friendships that I have are even more precious to me before. I value the few close friends I have more than I ever valued the fake ones I thought I had.

3. I Have More Free Time

I am amazed at how much time I really do have in a day. I knew I spent a good bit of time on Facebook, but I had no clue exactly how much.

I no longer feel the need to check my feed because I’m bored or out of habit. Instead, I use that time to do something productive or something I really enjoy.

4. I Am Happier

Let’s face it. Facebook is FULL of negativity… and I don’t want that in my life.

I am not the type of person who can just forget about something. So, when I would see a troubling post/picture, it would stay with me for days. I don’t want to focus on negativity in my life. I want to embrace the positive.

Since quitting Facebook, I am happier.

5. I Don’t Feel “Left Out”

I honestly thought that I would feel left out of the loop since quitting Facebook. I’ve found that I don’t. My friends and family inform me of any pertinent information I need to know.

Bonus Lesson #6: My Phone Battery Lasts Longer

It’s amazing how long a phone battery lasts when you are not constantly checking for updates and messages!  – http://moneysavingmom.com/2015/06/5-lessons-i-learned-after-quitting-facebook.html


UPDATE APRIL 11, 2018

Zuckerberg 4-11-18.png

Facebook / Zuckerberg tells Senate hearing ‘we will fight election meddling’

Isn’t that also “election meddling?”

I thought the social media have duty to stay out of the political fray and defend everyone’s right to free speech.

But maybe that was in another America, in another century.

For more on FB’s own meddling, check out my “I QUIT” editorial (Feb 3, 2018)


UPDATE 2 – APR 11, 2018

FIX FAKEBOOK – 100 ZUCKERBERG CUTOUTS ON CAPITOL HILL

As Facebook boss Mark Zuckerberg testified on Capitol Hill for the first time, an unnerving sight greeted visitors outside: an “army” of 100 life-sized cutouts of the CEO.

The display was meant to protest “disinformation” ahead of the tech giant’s congressional hearing. The campaign organized by Avaaz, a global activist group, featured 100 cutouts of Zuckerberg wearing a t-shirt that said “fix Fakebook.”

For more, see… ‘Army’ of 100 Zuckerberg cutouts protests Facebook CEO on Capitol Hill https://fxn.ws/2qnQx97

THE ‘YIN’ AND THE ‘YANG’ SIDES OF BEETHOVEN

BEETHOVEN’S MOONLIGHT SONATA – 3rd MOVEMENT

THE “YANG” SIDE OF BEETHOVEN

Beethoven Yang

Over five months ago, in dreamtime on Aug 29, 2017, I received my next musical assignment for 2017. It was Beethoven’s hellishly difficult 3rd movement of the otherwise serene Moonlight Sonata.

Elizabeth and I were about to leave on our planned road trip to Canada. Which turned out to be a Tour of the SIerra Nevada because of all the forest fires up north.

So I really did not get started on this piece until late September.

And it was like hell. My arthritic hands hurt. My music sounded like sh**t. Some of the notes in the lowest register I could not even read. I played them purely by ear.

I can’t tell you how many times I decided to give it up – only to be drawn back to this amazing Beethoven piano composition by some magical force. Probably the author himself.

And so this evening, almost five months later, I decided to record my “work-in-progress” audio version of this piece.

Here it is. It is far from perfect. Or even close to perfection. But it is what it is as of this Sunday, Jan 21, 2018.

Beethoven’s Moonlight Sonata, 3rd Movement – YANG – recorded on Jan 21, 2018 in Scottsdale, Arizona – a film by Bob Altzar Djurdjevic\

 


THE “YIN” SIDE OF BEETHOVEN – 1st MOVEMENT

Beethoven Yin

The 3rd movement of the Moonlight Sonata, which I recorded and posted last night, shows us the YANG-side of Beethoven. It is fast and furious, burning with passion like an inferno.

By contrast, here’s now the 1st movement of Beethoven’s “Moonlight Sonata” – which gives us his YIN aspect, mellow and serene, line moonlight.

Beethoven’s Moonlight Sonata, 1st Movement – YIN – recorded on Oct 12, 2017 in Scottsdale, Arizona – a film by Bob Altzar Djurdjevic

 

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BEETHOVEN KNEW HE WAS GOING DEAF WHEN HE WROTE THIS MASTERPIECE – IT WAS HIS EXPRESSION OF DEFIANCE

My greatest satisfaction comes in that forte section at about 1:50 mins of the piece where both hands are playing simultaneously partly dissonant staccato chords. It is that section that made me try to play this 3rd movement in the first place. I feel Beethoven’s RAGE in it over his loss of hearing. He wrote this Sonata in 1801 when he became first aware that he would be going deaf. He was only 31 at the time.

Can you imagine the pain such a realization would cause to a composer and pianist of his talent and skill? And yet, he never gave up. Even when he was almost completely deaf, he created his greatest masterpiece – the Ninth. I did not realize this until this moment, but perhaps that’s what is also keeping me coming back to this piece even after giving up on it. What’s a little arthritic pain compared to something as terrible as deafness for a composer?

So maybe subconsciously, I am doing this as a tribute to good old Ludwig. Hm… And maybe, he has been the one nudging me to do it.

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CHRISTMAS MESSAGE 2017

From Bob and Elizabeth

Here’s our Christmas Message 2017 video which we made on Saint Nicholas Day – Dec 19, 2017 – at our Scottsdale home.


PHOTO ALBUM

Here are also some still shots from that recording session.

 

 

 

Christmas Message 2015: Merry Christmas! Mele Kalikimaka!

 * * *

UPDATE DEC 24, 2017

MERRY CHRISTMAS!

These photos were taken right after our tonight’s Christmas Eve dinner with her family.

 

 

“NABUCCO” AT LA OPERA AND IN SCOTTSDALE

NABUCCO: VA PENSIERO BY ALTZAR

On our drive back home from Los Angeles via Palm Springs, Elizabeth and I kept humming the entire time the famous Va Pensiero aria from Nabucco.

This music even played in my third ear in dreamtime the night of Nov 10-11.

So when I woke up on Nov 11 (two days ago), I knew I had to record my own version of it. So I downloaded the sheet music – to be sure I played it in the same key as written by Verdi (F major).

Here’s now my second recording of the famous Nabucco aria without the imperfections of the first (Nov 13) impromptu version.

NABUCCO: VA PENSIERO – recorded by Bob Altzar Djurdjevic on a Clavinova in Scottsdale, Arizona – Nov 16, 2017 – a film by ALTZAR, edited Nov 17, 2017

I had worked on it on and off during the last two days, and On Nov 13, on a spur of a moment, I decided to record it “as is” in one fell swoop. And this is a result:

NABUCCO: VA PENSIERO – recorded by Bob Altzar Djurdjevic on a Clavinova in Scottsdale, Arizona – Nov 13, 2017


Here are now some still shots from this impromptu recording:


“VA, PENCIERO:” VERDI’S ARIA THAT HELPED UNITE ITALY IN 19th CENTURY

When the last sounds of the “Va, penciero” encore died down on the LA Opera stage at the end of the three-hour “Nabucco” opera on Nov 8, 2017, I had tears in my eyes. I am sure many others in the audience did, too. There was a momentary pause, a second or two of silence. And then thunderous applause and ovation broke out anew.

After several minutes of a standing ovation, the ensemble of the LA opera, lead by Placido Domingo (tenor), Liudmyla Monastyrska (soprano) and James Conlon (conductor) performed “Va, Pensiero” again as an encore to Verdi’s “Nabucco.”

Monastyrska, the soprano, started singing first, appearing to do so spontaneously. Then Domingo joined her in a duet. Then the chorus also pitched in, followed by the orchestra. It was a musical cascade with the conductor doing his work on the stage rather than in the pit.


At the end, the audience also joined in and sang the last bars with the opera cast and chorus. That was about 3,500 people singing together as one. The encore was followed by another standing ovation by everybody, including the cast and the orchestra.

The same thing happened in January 1901, when Giuseppe Verdi died. At his funeral, Italy wept an sang as one. Almost a quarter of a million people took to the streets, marching to “Va, Pensiero” from Nabucco – sung by a massed choir under the baton of celebrated maestro Arturo Toscanini.

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PRE-SHOW LECTURE BY THE CONDUCTOR

Elizabeth and I learned about that and many other interesting facts about Verdi’s life at the one-hour pre-show lecture we attended by the conductor, James Conlan.

It was only on Wednesday that I began to understand the patriotic significance of this opera to the Italians. The opera is ostensibly about the Hebrew slaves in Babylon in the 6th century BC. But when it premiered in 1842, there was no such thing as the country of Italy.  Unlike the Jews in Babylon, the Italians were exiles in their own land, divided by rivalries between the various city states and principalities.

With “Va, pensiero,” Verdi helped create a united Italy – without trying to do so. This aria has become an unofficial Italian anthem. It is something that every kid in Italy can sing, according to the conductor.

Which is not necessarily true of the official national anthem. They come and go with the change in the winds of history and various kings, rulers and dictators. But Verdi’s Nabucco stayed, like an anchor forever grounding the Italian people to their country.

Here’s an excerpt from a BBC story published on the 200th anniversary of Verdi’s birth.

“Can you imagine any country today in national mourning over the death of a classical composer? When Giuseppe Verdi, born 200 years ago next week, died in January 1901, Italy wept as one. Almost a quarter of a million people took to the streets, marching to Va, Pensiero from Nabucco – better known as the Chorus of Hebrew Slaves – sung by a massed choir under the baton of celebrated maestro Arturo Toscanini.”

The reason the Italians took to the streets that wintry day at the dawn of the last century was about much more than just music. Verdi’s operas had provided the soundtrack to the politically tempestuous half-century that preceded his death, and his most famous arias had become quasi-anthems for a nation recently unified. When Nabucco had its premiere at La Scala in 1842, ‘Italy’ was  simply a cluster of geographically contiguous kingdoms and principalities with little more to unite them than a common language.

So when Italians sang the Chorus of the Hebrew Slaves at Verdi’s funeral procession, it wasn’t just because it was a catchy tune they knew the words to. Its subject – the Israelites giving poignant voice to their longing for the promised land – had become a powerful analogue for the long-frustrated desires of the Italian people. When they cried  “Viva Verdi!” during the funeral procession, they were still acutely conscious of the slogan’s double meaning and its clandestine resonance for the agitators of ‘the Risorgimento’, as the cause of Italian nationalism was known.

The letters VERDI also spelled out the name of the King of Sardinia who, in 1861, finally took the throne of a unified nation for the first time since the 6th Century – Victor Emmanuele Re D’Italia.” (for more, see http://www.bbc.com/ culture/story/20131002-verdi- when-music-meets-politics).”

HERE’S OUR PHOTO ALBUM FROM LA OPERA’S “NABUCCO”

All these photos were taken before the opera started.

Verdi’s aria was inspired by the biblical Psalm 137, one of the best known psalms. Its opening lines, “By the rivers of Babylon…”  express the yearnings of the Hebrew people in exile following the Babylonian conquest of Jerusalem in 607 BCE. The rivers of Babylon are the Euphrates river, its tributaries, and the Tigris river. The psalm reflects the yearning for Jerusalem, the Hebrews’ home.

Gebhard_Fugel_An_den_Wassern_Babylons.jpgScreen Shot 2017-11-13 at 7.32.13 PM

MY STEINWAY’S ASCENSION AND REINCARNATION

A 10-hour surgery gives my piano the feel and voice of angels

When my Steinway concert grand and I were reunited back in April, I thought it sounded great at its new desert home in Scottsdale.  It was a vast improvement over its sound in the damp and humid Hawaii climate (see REUNITED: MY STEINWAY AND I – http://wp.me/p1jFeo-2fs).

In fact, my 7-foot grand ($81,000 list price) sounded better than even some of the 9-foot top-of-the-line Steinway Model D pianos ($156,000 list price) which I played side-by-side in the Steinway dealer’s showroom. But I knew it wasn’t perfect. The action (touch and feel of the keys) was still harder than that of a Model D. And there were some other minor issues with a couple of individual keys that needed adjustment.

In other words, nothing that a listener would necessarily notice. So Tony Smith, the Steinway tech, and I agreed to tackle these issues in the fall, after the piano has had a chance to “settle down” and acclimatize to the desert dryness.

Yesterday, Oct 11, was the D-day. It was the day Tony was to perform a major surgery on my Steinway, akin to a heart transplant in a human body, but also including the entire vascular system’s overhaul. As in complex medical procedures, there were no guarantees that the operation would be successful. I just had to pray and hope that the skilled “surgeon’s” hands produce the desired result

And what was that?

“I want to retain the beautiful sound of my piano,” I said to Tony before the start of the surgery. “But I also want to have the feathery keyboard feel of a Steinway Model D ($156,000 list price) or of a 9′ 6″-ft Bösendorfer concert grand ($250,000 list price).”

In other words, it was a tall order.

 

STEINWAY’S SURGERY LASTED 10 HOURS

The surgery started a little after 11AM. It ended around 9PM. Tony, who is also an accomplished pianist and thus understood the finer points of my request, spent nearly 10 hours practicing his art and magic.

Here’s the gist of the surgery in technical piano terminology:

Full prep and regulation. 
File hammers, lubricate                                         
action centers, key pins,                                        
capstans, regulate and                                           
adjust all points, tune,                                         
voice. Full tuning.

Tony was finished just as Elizabeth and I arrived back home after a dinner function. Tony looked dead tired with bags under his eyes. But his eyes were sparkling,

“You will be amazed,” he said. “This is not the same piano anymore. It’s night and day difference in sound quality as well as the feel. This piano now sounds like the new ones I tune in showrooms or for major concert events.”

At first, I wasn’t going to play it right away. It was getting late at night and I wanted to be fresh when I did it. But with a statement like that from the Steinway tech who is usually a master of understatement, I could not resist.

I sat down and played a few segments of Chopin’s “Grand Valse Brillante” and the Etude “Tristesse.”  I was totally blown away.  It did indeed feel like a new and different piano.

“This is effortless,” I said when playing some particularly difficult passages of the Grand Valse. The keyboard felt feathery, just that of 9-foot Steinway.

Tony just grinned in self-satisfaction.

And the sound was not only the same as before, it was out of this world… crystal clear, sheer perfection. It does not get better than that.

“This was an exceptional experience,” Tony said. “I can sometimes spend hours on an instrument but I don’t often get this kind of a result. This was amazing for me, too.”

So Tony left around 9:30 last night a tired but a happy man.

STEINWAY’S ASCENSION AND REINCARNATION

This morning, I spent an hour or so playing the various piece of Chopin, Mozart, Beethoven and Rachmaninoff.  Some soft and slow. Other fast and furious.  The piano responded as it it were on autopilot.

“My old Steinway died and ascended yesterday,” I told Elizabeth yesterday. “And then reincarnated as a Model D.”

Here’s a collage of some my new recordings on this reborn Steinway.  Any imperfections in this recording are that of the pianist not the piano.

PART 1: CHOPIN’S GRANDE VALSE BRILLANTE

MY STEINWAY’S ASCENSION, REINCARNATION – Part 1 – Chopin’s Grand Valse Brillante – recorded on Oct 12, 2017 – a film by Bob Altzar Djurdjevic – camera work by Elizabeth Fuentes


PART 2: CHOPIN’S ETUDE “TRISTESSE”

In this part two, you can see and hear me play Chopin’s Etude “Tristesse” (Sadness).  Chopin supposedly said this was his favorite piece of all he had composed.  His music is full of melancholic feelings. So no wonder he felt that way about this slow and mournful etude.

MY STEINWAY’S ASCENSION, REINCARNATION – Part 2 – Chopin’s Etude “Tristesse” (an excerpt) – recorded on Oct 12, 2017 – a film by Bob Altzar Djurdjevic – camera work by Elizabeth Fuentes


PART 3: SCHUBERT’S IMPROMPTU

Next came Schubert’s Impromptu in A major. It is the last piece I played when I thought I might become a professional pianist. By contrast to this recording, the impromptu sounded nearly perfect back then. 

At 15, I was then attending simultaneously the Belgrade Music Conservatory (piano) and the freshman year of high school. And then I quit my music to pursue other interests, partly under my father’s influence (“how are you going to support your family as a musician?”).

So I became an engineer, like my father. Except that I never really practiced this left brain profession. And now I have returned a full circle back to music and to my right brain. C’est la vie…. (“such is life”). 

Anyway, back to Schubert…

MY STEINWAY’S ASCENSION, REINCARNATION – Part 3 – Schubert’s Impromptuin A major (1st movement) – recorded on Oct 12, 2017 – a film by Bob Altzar Djurdjevic – camera work by Elizabeth Fuentes


PART 4: BEETHOVEN’S “MOONLIGHT SONATA”

I didn’t plan this, but it seems fitting that the next piece I recorded was the first one I learned to play when I started my return to classical music in 2005. About 45 years after Schubert’s Impromptu, I tried playing Beethoven’s Moonlight Sonata.

And it was a struggle even though the first movement is technically relatively easy for a pianist. My fingers felt like led soldiers. It took several months to get to an acceptable level of performance.

Yet unlike back when I was 15, and playing technically much more masterfully, back in 2005 time I found myself playing with my heart, too. Tears would roll down my cheeks brought about by the beauty of Beethoven’s music even if I occasionally hit a wrong note or a chord. I didn’t care.

I also improvised, not always sticking exactly to the written music. At first I did it with apologies to great Ludwig. Later I felt Beethoven (and Mozart) were guiding me to do so, to build upon what they had created. In recognition of that, back in 2010, I even produced a visual blending of our faces.

And now, with that as a preamble, here’s my latest recording of the Moonlight Sonata on my newly incarnated Steinway.

MY STEINWAY’S ASCENSION, REINCARNATION – Part 4 – Beethoven’s “Moonlight Sonata” (1st movement) – recorded on Oct 12, 2017 – a film by Bob Altzar Djurdjevic – camera work by Elizabeth Fuentes


 

FIVE MONTHS AGO…

May 2, 2017

MOZART & RACHMANINOFF PUT MY NEWLY-TUNED STEINWAY THROUGH ITS PACES

I could not be happier with the sound of my Steinway concert grand, now that it has been tuned for the first time in Arizona by the best local tuner, according to the Steinway dealer.  It actually sounds much better than in Hawaii.  And it is definitely richer than the sound of Steinway’s largest concert grand – Model D – which I have played both here and in Hawaii.

Tony, the piano tech agreed who did the tuning, agreed.   He is also an excellent pianist. So he knows the instrument both as an engineer and artist – from the left and the right brain.

“It’s the dry air,” both Tony and I agreed. But that also poses new challenges. We will need to try to increase the humidity inside the house to prevent the wood from shrinking too much. And the piano will have to be tuned a couple of more times before the end of year before it gets fully acclimated to the desert.

After Tony had left, I sat down to put my Steinway through its paces. I did not plan the pieces I ended up planning. I just played. And Mozart and Rachmaninoff took over and did the rest. So now you can judge the quality of its sound for yourself.

Enjoy!

MOZART & RACHMANINOFF PUT MY NEWLY-TUNED STEINWAY THROUGH ITS PACES – recorded by Bob Altzar Djurdjevic on May 1, 2017


 

 


 

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UPDATE MAY 3, 2017

BEETHOVEN’S MOONLIGHT SONATA RETURNS TO THE DESERT

 * * *

It’s interesting how life evolves in cycles,. Like a spiral staircase to heaven. With some detours here and there are we generate karma that blocks our upward thrust.

This evening, I was compelled to record Beethoven’s Moonlight Sonata on my Steinway, newly reunited with me here in the Arizona desert.

Why?

I don’t know exactly. I have recorded this piece of music many times before, including some rather unorthodox orchestrations. Such as with the Tibetan bowls and the wind and the bird calls in Maui (on Feb 24m 2011, for example. Which connected the East and the West – http://altzar.org/Music/Concert34_Beethoven_TibetanBowls.html).

With tonight’s recording, however, I think it was going back to my roots. Or at least my roots here in the Arizona desert.

 * * *

RETURN TO MY SOUND OF MUSIC (2005)

When I bought this Scottsdale home in 2005 after a painful divorce, I also acquired an antique piano. Mostly as a piece of furniture. Its mahogany finish looked beautiful in my living room (http://yinyangbob.com/Photos/Grayhawk/Chapter_2_Piano.html​).

 

In December 2007, however, had the innards of my antique piano completely replaced. It cost more than I had paid for for the whole piano originally. But I figured, if I am going to play again, I had better do it on an instrument that at least sounds relatively good.

That was the start of my musical renaissance. When I got my restored piano back, circa early Feb 2008, I started to play again. ​This is what it sounded like in Apr 2008, for example, when I recorded the “Autumn Leaves:”

https://youtu.be/NRxtmQoOqBY [music video]

Beethoven’s Moonlight Sonata was the first “serious” piece of classical music I learned to play.  And as easy as it now seems, I struggled with it.

I remember flying from Phoenix to New York in Feb 2008, for example, for one of my frequent business meetings in the Shitty. I was seated in first class next to a man who was flying to Kiev, Ukraine, for a premiere of his new composition. He was going to conduct there the Kiev Symphony orchestra.

I confided in him about my difficulties in playing Beethoven’s Moonlight Sonata. He tried to comfort me that it’s really not that hard. He must have had a good laugh inwardly.

Now in hindsight, when I think about that conversation, I have to chuckle. Because the Moonlight Sonata is probably the simplest and the easiest pice of music I have recorded since back then. A piece of cake compare to some other Mozart, Rachmaninoff or Schubert pieces. And yet it is still also one of the most beautiful.

That antique piano was the one I had eventually shipped to Maui, and later traded it in for my Steinway (in 2010), along with my Mercedes “rocket ship” – the SL 600. Not literally. I used the money I got for my Mercedes to buy the Steinway.

And with that as a preamble, here is now…

BEETHOVEN’S MOONLIGHT SONATA RETURNS TO THE DESERT – a film by Bob Altzar Djurdjevic – May 3, 2017

https://youtu.be/FkS2aLDrPxc

 * * *

APRIL 24, 2017

FIRST STEINWAY SOUNDS AT OUR SCOTTSDALE HOME: MOZART’S “RONDO ALLA TURCA”

This morning, after traveling more than 3,000 miles across the Pacific and overland from California, my Steinway concert grand piano arrived at its final destination – our Scottsdale home.

The first music I played on it was Mozart’s “Rondo alla Turca” (Turkish March). Elizabeth was there to record this short excerpt – just so you can hear its sound in addition to seeing what it looks like.

Mozart’s “Rondo alla Turca” excerpt on my Steinway in Arizona – Apr 26, 2017 – a video clip by Bob Altzar Djurdjevic – filmed by Elizabeth – [VIDEO CLIP, 42 secs]

* * *

The piano is a bit out of tune, but it is still a superior sound to any other instrument I have played, including the bigger and more expensive Steinway Model D’s. On Monday, I am having it tuned by a Steinway piano tuner. And then it will be perfect in its pitch as well the richness of the sound.

YEAH! Welcome to the desert, you “jungle kid.” 🙂 Great to have you back.

Here are some still shots Elizabeth also took this morning:

 

(For those of you who are new to this Steinway adventure, I have had it shipped from Hawaii to Arizona – see the story below)

 * * *

APRIL 24, 2017

REUNITED: MY STEINWAY CONCERT GRAND PIANO ARRIVES AT ITS NEW DESERT HOME

‘My Steinway concert grand and I are reunited after a 5-month separation. And it FEELS GREAT! Yeah!

When I decided to put my Maui property, the Rainbow Shower, back on the market in early December 2016, I had shipped my grand piano to the Steinway dealer in Honolulu on consignment. We were both hoping for a quick and mutually profitable sale.

When that did not happen by the end of March, I invoked the Plan B: Have my piano shipped to Arizona.

 

Shipping a Steinway grand piano is complicated affair even for a local move. But doing it across the Pacific ocean for 3,000 miles is an experience onto itself. In the process of doing, I learned so much that I feel I can now qualify for a piano dealer. 🙂

Anyway, my grand piano arrived at the Scottsdale Steinway dealer’s warehouse last week while Elizabeth and I were in New York. Today, the dealer and his crew of 3 uncrated it and reassembled it.

 

They were amazingly efficient. In less than an hour, I was sitting at my Steinway playing Mozart’s “Rondo alla Turca” (Turkish March). It’s my favorite piece to run a piano through its paces.

When Kevin, the dealer heard it, he asked me to play the same piece on his Model D – the biggest concert grand Steinway makes. Which was conveniently sitting right next to mine.

 

After I did it about four times, moving from one piano to the other, we both concluded that my piano had a better,, brighter sound. Yet the Model D is a more expensive instrument.

So now that my Steinway is out of the box, literally, they will deliver it to, and reassemble it at, my Scottsdale home on Wednesday. Then we will be finally and irrevocably reunited.

“THE PROFESSIONAL” LIVES ON… IN COLORADO

More than a quarter century since I thought I was finished with my theatrical experiences, THE PROFESSIONAl, a play I translated and adapted for American and English stages in June 1990, has come back to life. This time, in Steamboat Springs, Colorado, courtesy of Michael Staley, the play’s director, and a group of Colorado theater enthusiasts.

Here’s a message I just received from Michael:

“Hi Bob! I hope that your trip is going nicely? Thank you so much for adapting “The Professional” and sharing your experiences with us! We had great fun and really gave our audiences something to think about! Best, Michael”

The “trip” to which Michael is referring was our recent Tour of the Sierra Nevadas. It was during our stay in Mammoth Lakes 12 days ago that I first heard from Michael. At the time, he wrote:

“I am currently enjoying your adaptation and translation of “The Professional.” We first staged it in college in 1996 and now I’m bringing it back to the Chief Theater in Steamboat Springs, CO (we are putting it on again later this month).”

Michael asked me if I could offer him some “words of wisdom” or comments about my work on this drama so he could share them with the cast and the audience. I sent him the link to the story about my FIRST SIX BRUSHES WITH THE THEATER WORLD.

SERENDIPITY ON STEROIDS

I was amazed. Earlier the same day I had mentioned my work in the theater world and THE PROFESSIONAL to Elizabeth. It was serendipity on steroids! I had not thought or talked about this play for years. Maybe decades. The last premiere I attended was in New York in 1995.

And I thought that was it. I had moved on to other endeavors in my life.

Evidently it was not to be the end. Because this weekend (Sep 21-23, 2017), THE PROFESSIONAL was revived again in Colorado.

Here are some more pictures Michael has sent me from that performance.

An excerpt from…

MY SIX (NOW SEVEN) BRUSHES WITH THE THEATER WORLD

My first brush with the theater world took place in January 1990, on my second visit to Yugoslavia, after a voluntary exile from its communist government for nearly 20 years. Getting involved in theater was the last thing on my mind when I agreed to attend a premiere of a new play, THE PROFESSIONAL, in Belgrade, Yugoslavia. on January 10, 1990.

Back then, Yugoslavia was still a communist country.  So the theater was full of important government officials on the opening night.  I had just met the playwright the day before, who invited me to attend and said he would make sure I get a ticket even if he “had to take it out of the hands of a politician.”

The play moved me to tears.  Here’s what I wrote about that unforgettable experience six months later, on July 4, 1990:

“It was a typical cold January (10th) night in Belgrade.  At 19:30, Miodrag Perisic, editor of “Literary News,” his wife Zhanetta, a teacher of world literature, and I met for a prearranged cab ride from Studentski Trg (the Students’ Square) to the Zvezdara Theater.  Earlier that day, Perisic had given me a message from Dusan Kovacevic, the author and director of the play Professional.”  He said he’d get me a ticket to tonight’s opening performance “even if he’d have to lift it from the pocket of some high-ranking politician.”

At the time, I had no idea who this “Kovacevic” was, what the play was about, or why I — an American and a Yugoslav emigre who had not been back to his country of birth for nearly 20 years — should rank higher than a local politician.  I agreed to go to the premier basically for two reasons.  Because I’ve always liked theater, and because I felt a sense of allegiance with Perisic, the person who invited me and who, as I had just found out, like myself, faced Tito’s Communist police and the army during the 1968 student uprising at the Belgrade University.

For more, see… http://altzar.org/Drama-professional.html

STEAMBOAT SPRINGS PRODUCTION CREDITS

“The Professional” (A “Tragi-Comedy”)

Written by DUSAN KOVACEVIC

Translated/Adapted by BOB DJURDJEVIC

       Chief Players’ Cast:

Teya – KIRK AIGNER

Luke – CHAD McGOWN

Marta – SARAH LAPING-GARLAND

Lunatic – HOWARD BASHINSKI

Gypsies – AVERY CAVENDER, CHRISTIAN NIEVES

Chief Players’ Crew:

Director/Producer – MICHAEL EDWARD STALEY

Stage Manager – ROBIN DAVID

Production Designers – DANNY DAVID, A.J. JENNINGS

Scenic Artist – ANNA BAGLEY

Technical Wizardry – LOCK McSHANE

Carpentry – KYLE NOBLETT, CHAD McGOWN, & CHRISTOPHER WADOPIAN

Artistic Executives – SABRINA STEWART, BETH BLASKOVICH

Additional Costuming by – SANDY PUGH

Make-Up Artistry by – CAROLINE WILSON

Properties  – AMANDA MARQUART, AVERY CAVENDER, HOWARD BASHINSKI, MAGGIE WHITTUM, MICHAEL EDWARD STALEY, PEGGY AIGNER, ROBIN DAVID, THOMAS MILLER, RYAN FLEMING, SABRINA STEWART, HARWIGS, & CHAD MCGOWN

Poster – TORI NICKLES

Program – SHANNON PARKER

Theatrical Producer – SCOTT PARKER

*”The Professional” (complete with didascalias) opened in San Francisco, CA in July 1992, in London, England in November 1992, and at the Off-Broadway Circle Repertory Theater in Manhattan, New York in May 1995.

CHOPIN’S GRANDE VALSE BRILLANTE

SECOND RECORDING, AUG 14, 2017

CHOPIN’S GRANDE VALSE BRILLANTE – A “NEW AND IMPROVED” RECORDING AND MUSIC VIDEO

Ever since my first recording on Aug 3, I have been working on perfecting this brilliant Chopin waltz, It was not easy, because a bone in my right hand which I broke in 1981 doing Tae-Kwan-Do has been hampering my playing of some particularly difficult cords. But I kept at it trying to strengthen the tiny muscles around it. I even had a Chinese hand massage the other day, just on that hand.

The upshot is that my broken hand bone, and the damaged muscles and ligaments around it, have started to give way and become more supple (after the “therapy” of playing this piece twice a day). So you might say that Chopin is helping me heal arthritis, something even the medical doctors cannot do. 🙂

Anyway, this second recording is still not the perfection I am hoping to achieve one day. But it is now approaching the professional pianist level, especially as I did it playing by heart, from memory, without any sheet music. So it is an improvement from the first one which I posted 11 days ago. Enjoy!

CHOPIN GRAND VALSE BRILLANTE, 2nd Recording – a video by Bob Altzar Djurdjevic – played, recorded and directed by ALTZAR – Aug 14, 2017 – recorded on a Steinway in Scottsdale, Arizona

 [SECOND RECORDING, AUG 14, 2017]

https://youtu.be/1faph6M1DVc – [Youtube video – SECOND RECORDING, AUG 14, 2017]


 

AUGUST 3, 2017 – by Bob Altzar Djurdjevic

A BRILLIANT PIANO PIECE, NOT JUST A “WALTZ”

This recording is dedicated to Sabrina Sanchez who first identified it for me.

A little over two weeks ago, I received a download from my spirit guides in the ether. I did not know what the music was except that it felt like Chopin to me and I knew it was a waltz

The first person to identify it for me from a short excerpt I had recorded was  Sabrina Sanchez of Phoenix, Arizona. I was very impressed that a young woman from Arizona was so well versed in musicology,  My nephew Stasa Jovanovic from Serbia, a proven musicologist from my past similar experiences, came second.

During the last 2 weeks, I have been working on this piece, on and off. And today, I recorded my own version of it, at least the first one.

[FIRST RECORDING, AUG 3, 2017]

https://youtu.be/MQhqxiIaaUw [Youtube video – FIRST RECORDING, AUG 3, 2017]


AUDIO VERSION OF GRAND VALSE BRILLANTE – by Bob Altzar Djurdjevic (recorded Aug 2, 2107)

https://yinyangbob.files.wordpress.com/2017/07/chopin-grande-valse-brillante-8-02-17.mp3 [AUDIO FILE]

 

 

BACKGROUND

This first recording is far from perfect. But considering that it has been only a little over two weeks since I received this download without knowing what it was, and that I have never played it before, nor really used sheet music in recent years for my new pieces, this rendition will have to do. For now. Let me know what you think.

By the way, in order to play this piece, which uses so many black keys (in E-flat and D-flat), I had first had to (re)develop and strengthen the tiny muscles that operate the 3rd, 4th, and 5th finger of my right hand. Which was actually quite painful. I had broken my right hand practicing Tae Kwan Do in 1981. And as a result, also have some arthritis there. Not bad. Just enough to be annoying when I play difficult pieces.

I said to Elizabeth last night that editing this recording was like her making a quilt. This piece has at least 8 major themes, and a myriad of minor ones. Plus I made mistakes which I had to edit out of the recording.

In the end, I hope the effort was worth it. I have generally considered Chopin’s music kind of fluffy compared to other composers whose music I play, especially his waltzes. But this is not “just” a waltz. It is a complex musical piece with seven themes and a fast and furious grand finale.

Interestingly, the Grande valse brillante in E-flat majorOp. 18, was composed by Chopin in 1833 and published in 1834. This was his first published waltz composition for solo piano. It does not get better than that.

Here’s what critics have said about this piece:

“The Waltz in E flat major, published as opus 18, is of a profoundly Parisian character, not of the sentimental Viennese variety. It shimmers with the gaiety of elegant society. It was written – ostensibly – in a form consisting of a succession of dance themes – now alike, now incongruous. In essence, however, it is an integral whole, in which one theme passes imperceptibly into another, ends, then returns, building up the drama in grand style. ‘It is a true ballroom picture,’ notes Huneker, ‘spirited and infectious in rhythms.’

Each of the dance themes (there are seven in all) brings a different melodic character and dance motion.” (see http://en.chopin.nifc.pl/chopin/composition/detail/id/63)

Which is why I just love this piece and will keep working on it until I perfect it some more. Not because of others. Because me. And Chopin.

PS: Here’s my original July 17 FB post asking for help – WHAT IS THIS TUNE? – https://www.facebook.com/photo.php?fbid=10211293497188102&set=a.3389169562924.144492.1080144732

Screen Shot 2017-07-26 at 7.34.59 PM

STORIES FROM VIENNA WOODS

STORIES FROM VIENNA WOODS

I don’t know when in my youth I must have first heard Johann Strauss’ “Geschichte aus dem Wiener Wald” (Stories from Vienna Woods). But the music came alive again during our stay in Vienna, especially in the neighborhood of Neustift am Walde.

As Elizabeth is my witness, ever since we got to Vienna on June 5, and settled in our wonderful country inn in Vienna woods and vineyards, I just could not stop hearing practically Johann Strauss’ wonderful waltz “Stories from Vienna Woods.” It has been with me practically 24/7. Even when I wake up at night, I find myself creating my new arrangement on a Clavinova.

The same thing happened with Strauss music four years ago, during my Arizona Desert Quest 2013. That’s when Strauss’ “Blue Danube” waltz took over all of my senses, and would not leave me until I finally recorded in after we got back to Maui (see “BLUE DANUBE” III: AN ANCIENT SHAMANIC DREAM – https://youtu.be/-MY8KSBcd2Y).

So for the last several weeks, I have been trying to reconstruct this waltz from memory, without using any sheet music. And last night (July 5), I recorded my own version of it, including a new orchestration which is a little different from that originally ascribed to Johann Strauss. But the core and the spirit of the piece is the same.

Here’s now a new music video in which I am combining some recent scenes from Vienna with Elizabeth and me dancing a waltz in Maui in June 2013.
Stories from Vienna Woods – by Altzar – a film by Bob Altzar Djurdjevic – music and orchestral arrangements by ALTZAR, performed and recorded on a Clavinova on July 5, 2017 in Scottsdale, Arizona – original score by Johann Strauss II

 * * *

Here’s now also a “hybrid” recording I made on July 1, in which I played the overture and the first theme, while a professional symphony orchestra performed the rest of the piece:

Stories from Vienna Woods – a waltz by Johann Strauss — a film by Bob Altzar Djurdjevic – based on Johann Strauss II waltz – recorded on July 1, 2017 in Scottsdale, Arizona – with Bob and Elizabeth and Victoria and Albert dancing the waltz – A film by Bob Altzar Djurdjevic – July 2, 2017

 

 * * *

MY BIRTHDAY SONG FOR 2017: “CAPRICCIO ITALIEN”

MY BIRTHDAY SONG FOR 2017

“CAPRICCIO ITALIEN” BY TCHAIKOVSKY: A musical phantasy born in the Arizona desert

For the last seven years, my spirit guides have been giving me musical assignments before my birthday. They came to me both in dreamtime and daytime. I was to learn to play them and record them as my birthday gifts from the Spirit realm.

I was never aware of this gift until after I had already started to play the music. And it always arrived in May (my birthday is June 3 – Saint Constantine Day).  I suppose my guides wanted to give me a chance to learn and record the music before my birthday.

This year, it was Tchaikovsky’s “Capriccio Italien”, which came to me on May 12 during a desert hike for my late friend Michael. Last year, it was the “Garland Waltz” from the “Sleeping Beauty” ballet, also by Tchaikovsky.

Tchaikovsky – two years in a row?

Hm…. Wonder what’a the meaning of that?

Anyway, as is always the case when I receive a musical download, the “Capriccio Italien” has been playing in my Third Ear day and hight since May 12. Even when I do my laps in the pool every morning.  Or go shopping.  Or on bike rides.

“Capriccio Italien” is a beautiful but complex piece of orchestral music. If my Clavinova rendition were ever to come close to sounding like the 50+-piece symphony orchestra, it will take a lot of work. And time. And time, I do not have.

Elizabeth and I are leaving next week on a monthlong trio to Europe and maybe also Africa. I am not sure if I will get a chance to do a proper recording of my birthday song before we leave.

So for now, here’s a musical phantasy I saw and heard during my desert hike on May 12 while listening to this Tchaikovsky music.

“CAPRICCIO ITALIEN” ALLA “AIDA:” TCHAIKOVSKY’S MUSIC, VERDI’S OPERA

A video by Bob Altzar Djurdjevic – May 13, 2017 – dedicated to my late friend Michael Morrison

WARNING: To the more prudish among my viewers and listeners, some of the ballet dancers in the Italian production of AIDA are topless. I am sure that Tchaikovsky would have approved of it. 🙂

—-

UPDATE JUNE 3, 2017

From Granada, Spain

MY BIRTHDAY SONG OF 2017

Here’s my musical birthday song of 2017. When we left Arizona 10 days ago, it was still a work-in-progress. It is a 17-minute complex symphonic orchestral piece as most of Tchaikovsky’s work is. So it will take me a little while after we return home in late June to polish it enough into my own recording.

Meanwhile, here’s also the song that brought us here to Granada — It came to me in dreamtime in Dec 2016 and I recorded it using a mandolin instead of a guitar.

RECUERDOS DE LA ALHAMBRA (Memories of the Alhambra) –

https://youtu.be/N6-Eb-ed3Lc

 * * *

MY EARLIER BIRTHDAY SONGS

 My earlier musical challenges from the Divine , or gifts if you prefer, came from Brahms and Liszt (Gypsy Suite: Dance of the Planets, 2010),  Ghost Riders in the Sky (2011), Liszt again (La Campanella, 2012), Strauss (Blue Danube, 2013), Rachmaninoff (Rhapsody on a Paganini Theme, 2014), Mozart (Symphony #40, The “Roo Symphony”, 2015), and now – Tchaikovsky (Garland Waltz from “Sleeping Beauty, 2016) .

 * * *

MY MUSICAL BIRTHDAY GIFTS IN LAST FIVE YEARS

2013 – STRAUSS

SOUNDS FROM THE DESERT QUEST (Blue Danube, May 27, 2013) – http://www.altzar.org/Music/96_Sounds%20from%20Desert.html#Sounds_from_Desert_II:Blue_Danube

Also see… “BLUE DANUBE”: AN ANCIENT SHAMANIC DREAM ABOUT TRANSFORMATIONAL POWER OF WATER

“‘Blue Danube’ – is actually an ancient shamanic dream or transept” (Ancient Egyptian spirit, June 5, 2013) “You are coaxing more out –Continue reading – http://wp.me/p1jFeo-jV

2014 – RACHMANINOFF

RACHMANINOFF’S RHAPSODY ON PAGANINI THEME

Evolution of My Birthday Song of 2014 – Variations 1 and 18 – a film by Bob Altzar Djurdjevic – http://wp.me/p1jFeo-HQ

2015 – MOZART

TURNING 70… IN ARIZONA HIGH COUNTRY, LEAVING HOME ON A MOZART HIGH

MOZART SYMPHONY #40 (“ROO SYMPHONY”) – RETURNS AS MY BIRTHDAY SONG THIS YEAR A few days ago, a birthday card … Continue reading… – http://wp.me/p1jFeo-1bi

2016 – TCHAIKOVSKY

GARLAND WALTZ FROM “SLEEPING BEAUTY”  – by Bob Altzar Djurdjevic – recorded in its entirety on a Clavinova on May 17, 2016


 

2017 – TCHAIKOVSKY

“CAPRICCIO ITALIEN” – by Bob Altzar Djurdjevic – recorded in its entirety on a Clavinova on May 13, 2017 – https://youtu.be/QqkW85_eRgI

 

 

 

REUNITED: MY STEINWAY AND I

UPDATE MAY 2, 2017

MOZART & RACHMANINOFF PUT MY NEWLY-TUNED STEINWAY THROUGH ITS PACES

I could not be happier with the sound of my Steinway concert grand, now that it has been tuned for the first time in Arizona by the best local tuner, according to the Steinway dealer.  It actually sounds much better than in Hawaii.  And it is definitely richer than the sound of Steinway’s largest concert grand – Model D – which I have played both here and in Hawaii.

Tony, the piano tech agreed who did the tuning, agreed.   He is also an excellent pianist. So he knows the instrument both as an engineer and artist – from the left and the right brain.

“It’s the dry air,” both Tony and I agreed. But that also poses new challenges. We will need to try to increase the humidity inside the house to prevent the wood from shrinking too much. And the piano will have to be tuned a couple of more times before the end of year before it gets fully acclimated to the desert.

After Tony had left, I sat down to put my Steinway through its paces. I did not plan the pieces I ended up planning. I just played. And Mozart and Rachmaninoff took over and did the rest. So now you can judge the quality of its sound for yourself.

Enjoy!

MOZART & RACHMANINOFF PUT MY NEWLY-TUNED STEINWAY THROUGH ITS PACES – recorded by Bob Altzar Djurdjevic on May 1, 2017


* * *

 

Screen Shot 2017-05-04 at 10.01.57 AM

UPDATE MAY 3, 2017

BEETHOVEN’S MOONLIGHT SONATA RETURNS TO THE DESERT

 * * *

It’s interesting how life evolves in cycles,. Like a spiral staircase to heaven. With some detours here and there are we generate karma that blocks our upward thrust.

This evening, I was compelled to record Beethoven’s Moonlight Sonata on my Steinway, newly reunited with me here in the Arizona desert.

Why?

I don’t know exactly. I have recorded this piece of music many times before, including some rather unorthodox orchestrations. Such as with the Tibetan bowls and the wind and the bird calls in Maui (on Feb 24m 2011, for example. Which connected the East and the West – http://altzar.org/Music/Concert34_Beethoven_TibetanBowls.html).

With tonight’s recording, however, I think it was going back to my roots. Or at least my roots here in the Arizona desert.

* * *

UPDATE MAY 13, 2017

A comment that made my day

MUSIC FOR THE HEART AND SOUL FINDS ITS TARGET ON I-95

My Beethoven’s “Moonlight Sonata” recording helps break up monotony of a friend’s long drive from PA to FL

A friend: “I’m driving down 95 from Pennsylvania to Florida and I got you plugged right into the truck stereo with eight speakers and it sounds beautiful.”

WHY DOES ONE MAKE MUSIC?

When someone asked me a while ago why I play and make music, my answer was the same as that Sir Edmund Hillary gave a reporter who asked him why he felt he had to climb Mount Everest (the highest mountain in the world).

“Because it’s there,” Sir Hillary replied, the first man to climb to the “roof of the world.”

“Because it’s there,” I also replied to my friend who inquired about my music. It’s there, somewhere in my heart or soul or brain — or all three. Or in my ethereal (luminous) body. I know not exactly where. I just know it’s there, inside of me.

What I do know is that it is my way of communicating with the spirit realm from whence my inspirations arrive – both in dreamtime and daytime. And with the old masters whom I have either known in my earlier incarnations (Mozart, for example), or had actually been one of (Liszt).

“But why do you feel you have to record and share your music?” my friend persisted.

“Aha,” I thought. “What a great question.”

It made me do some soul-searching.

“Because my mission in this lifetime replied as in the past where I was a musician or artist,”I replied, “is to touch other people’s hearts with my music and enlighten their souls.”

Well, that’s what happened today. And my heart was filled with joy as a result.

COMMENT OF THE DAY

Michael Kretmar, a Truth in Media group member, wrote to me this morning:

“Honestly I looked at what you posted but it had no actual videos to watch this the names of songs then I look some of them up and none of them would show up.”

To which I replied: Songs? For my music, you need to visit my https://djurdjevic.wordpress.com/ website or my FB page https://www.facebook.com/BobAltzar or my Youtube site: https://www.youtube.com/user/yinyangbob/

To which Michael replied:

“Oh shit, you ain’t good at playing, you’re excellent. who knew? that’s amazing stuff.”

Michael Kretmar: “Hey thanks for turning me on to that I got it plugged in and cranked up right now as I speak.”

Bob Altzar Djurdjevicc: “Thank you, Michael. And thank you for your question. Because I discovered a missing video at my altzar website. So I have now corrected that error. Here it is… https://youtu.be/RWZdpGwAjDs.”

Michael Kretmar: “And that is really you just you making those heavenly sounds on the Beethoven piece. I’m listening to now if you had a blast girl singing along, with no words, just harmonizing along, I would fall out completely.

“Some people just regurgitate what they hear without feeling it I see that ain’t you. I’m driving down 95 from Pennsylvania to Florida and I got you plugged right into the truck stereo with eight speakers and it sounds beautiful.”

So that’s why I record and share my music. And in return, get to have my heart filled with joy when I see comments like this.

Screw the applause in concert halls. THIS is what music is all about. It’s about connecting the heart and the soul – mine, as well as other people’s.

Everywhere. Even on southbound I-95.

 * * *

RETURN TO MY SOUND OF MUSIC (2005)

When I bought this Scottsdale home in 2005 after a painful divorce, I also acquired an antique piano. Mostly as a piece of furniture. Its mahogany finish looked beautiful in my living room (http://yinyangbob.com/Photos/Grayhawk/Chapter_2_Piano.html​).

In December 2007, however, had the innards of my antique piano completely replaced. It cost more than I had paid for for the whole piano originally. But I figured, if I am going to play again, I had better do it on an instrument that at least sounds relatively good.

That was the start of my musical renaissance. When I got my restored piano back, circa early Feb 2008, I started to play again. ​This is what it sounded like in Apr 2008, for example, when I recorded the “Autumn Leaves:”

https://youtu.be/NRxtmQoOqBY [music video]

Beethoven’s Moonlight Sonata was the first “serious” piece of classical music I learned to play.  And as easy as it now seems, I struggled with it.

I remember flying from Phoenix to New York in Feb 2008, for example, for one of my frequent business meetings in the Shitty. I was seated in first class next to a man who was flying to Kiev, Ukraine, for a premiere of his new composition. He was going to conduct there the Kiev Symphony orchestra.

I confided in him about my difficulties in playing Beethoven’s Moonlight Sonata. He tried to comfort me that it’s really not that hard. He must have had a good laugh inwardly.

Now in hindsight, when I think about that conversation, I have to chuckle. Because the Moonlight Sonata is probably the simplest and the easiest pice of music I have recorded since back then. A piece of cake compare to some other Mozart, Rachmaninoff or Schubert pieces. And yet it is still also one of the most beautiful.

That antique piano was the one I had eventually shipped to Maui, and later traded it in for my Steinway (in 2010), along with my Mercedes “rocket ship” – the SL 600. Not literally. I used the money I got for my Mercedes to buy the Steinway.

And with that as a preamble, here is now…

BEETHOVEN’S MOONLIGHT SONATA RETURNS TO THE DESERT – a film by Bob Altzar Djurdjevic – May 3, 2017

https://youtu.be/FkS2aLDrPxc

 * * *

APRIL 24, 2017

FIRST STEINWAY SOUNDS AT OUR SCOTTSDALE HOME: MOZART’S “RONDO ALLA TURCA”

This morning, after traveling more than 3,000 miles across the Pacific and overland from California, my Steinway concert grand piano arrived at its final destination – our Scottsdale home.

The first music I played on it was Mozart’s “Rondo alla Turca” (Turkish March). Elizabeth was there to record this short excerpt – just so you can hear its sound in addition to seeing what it looks like.

Mozart’s “Rondo alla Turca” excerpt on my Steinway in Arizona – Apr 26, 2017 – a video clip by Bob Altzar Djurdjevic – filmed by Elizabeth – [VIDEO CLIP, 42 secs]

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The piano is a bit out of tune, but it is still a superior sound to any other instrument I have played, including the bigger and more expensive Steinway Model D’s. On Monday, I am having it tuned by a Steinway piano tuner. And then it will be perfect in its pitch as well the richness of the sound.

YEAH! Welcome to the desert, you “jungle kid.” 🙂 Great to have you back.

Here are some still shots Elizabeth also took this morning:

(For those of you who are new to this Steinway adventure, I have had it shipped from Hawaii to Arizona – see the story below)

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APRIL 24, 2017

REUNITED: MY STEINWAY CONCERT GRAND PIANO ARRIVES AT ITS NEW DESERT HOME

‘My Steinway concert grand and I are reunited after a 5-month separation. And it FEELS GREAT! Yeah!

When I decided to put my Maui property, the Rainbow Shower, back on the market in early December 2016, I had shipped my grand piano to the Steinway dealer in Honolulu on consignment. We were both hoping for a quick and mutually profitable sale.

When that did not happen by the end of March, I invoked the Plan B: Have my piano shipped to Arizona.

Shipping a Steinway grand piano is complicated affair even for a local move. But doing it across the Pacific ocean for 3,000 miles is an experience onto itself. In the process of doing, I learned so much that I feel I can now qualify for a piano dealer. 🙂

Anyway, my grand piano arrived at the Scottsdale Steinway dealer’s warehouse last week while Elizabeth and I were in New York. Today, the dealer and his crew of 3 uncrated it and reassembled it.

They were amazingly efficient. In less than an hour, I was sitting at my Steinway playing Mozart’s “Rondo alla Turca” (Turkish March). It’s my favorite piece to run a piano through its paces.

When Kevin, the dealer heard it, he asked me to play the same piece on his Model D – the biggest concert grand Steinway makes. Which was conveniently sitting right next to mine.

After I did it about four times, moving from one piano to the other, we both concluded that my piano had a better,, brighter sound. Yet the Model D is a more expensive instrument.

So now that my Steinway is out of the box, literally, they will deliver it to, and reassemble it at, my Scottsdale home on Wednesday. Then we will be finally and irrevocably reunited.

“AMAZING GRACE” AT SUNSET FIRE CEREMONY

UPDATE JAN 15, 2017

“AMAZING GRACE” AT SUNSET FIRE CEREMONY [music video]

HONORING FULL MOON, VENUS’ ZENITH AND ORTHODOX NEW YEAR’S EVE – a film by Bob Altzar Djurdjevic – Jan 13, 2017 – with aerial views of the Rainbow Shower and the Anahata sacred place

Direct Youtube link: https://youtu.be/A-BatJjC6GA
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AMAZING “AMAZING GRACE” REINCARNATION ON MY WAY BACK FROM SUNDAY “CHURCH SERVICE”

At the Pukalani swimming pool

You how this morning I posted a video of my latest recording of Amazing Grace? (see http://wp.me/p1jFeo-2cg).

And you also realize that there are no coincidences, right? If you think there are, don’t bother with the rest of this story.

Well, what happened today on my way back from my Sunday “church service” at the beautiful Pukalani swimming pool is nothing short of amazing.

I was savoring the good feeling after a strenuous exercise and sipping on my frappuccino – my liquid breakfast today – when I suddenly realized that the Jeep ahead of me on Makawao Rd had an unusual license plate: AMZGRC.

“What the heck does that mean?” I wondered.

And then, like a lightning strike, I heard the music that goes with it – AMAZING GRACE!

“Wow,” I said out loud shaking my head in disbelief, “how much more amazing can my Spirit guides get?”

I was thinking, of course, about the tune I had just posted. And then my guides got a little more amazing.

I noticed a small sticker in the right corner of the car in front of me. It read: I ❤️ANGELS.

I felt as if my Spirit guides were teasing me and testing to see if I paid attention.

So you see, you never know what can happen when you attend a Sunday “church service” at an Olympic size swimming pool with arguable the best view in the world. 🙂

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UPDATE FEB 10, 2017

PLANTING A LIVING DESPACHO, SUNSET FIRE CEREMONY OF GRATITUDE

Yesterday, I was guided to plant these 6 sugar cane sticks on the north side of the house as a sweet THANK YOU to the Santa Tierras and a housewarming gift for the new caretakers of the Rainbow Shower.
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Also, I was guided to plant these six red and green T-plants and money plants atop the berm that lines the creek, right next to where I had buried my Music Crystal Transceivers back in December. This is a Living Despacho of Gratitude to the Santa Tierras – right where they “live.”

I will water and care for all these new saplings until the closing date as if I were to stay here “forever.”

DEER BONES: BAD OMEN?

By the way, a few days ago, I discovered what I think was the real reason I kept getting all these injuries in this area during the last two years. It was the bones of a dead deer!

My landscaper in 2013 found a deer carcass in this area. Presumably died of natural causes. I was in AZ at the time. As I asked him, he was supposed to bury far away in the jungle. Well, about two years ago, I recall finding three of the bones in this area. They were completely dry and cleaned white by ants. So I just tucked them between that big rock and the Christmas bury tree (just off the lower right corner of the picture)
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It was only Feb 8, when I was planting the first 3 of these 6 Despacho saplings, that I thought of the bones. So I dug up the three of them, which were by now overgrown by grass, and threw them into the river away from my property.

This is also the general area in which I found a ram horn which the last flash flood had brought down and deposited on the far bank of the creek.

Interesting, huh?

SUNSET FIRE CEREMONY OF GRATITUDE

In the evening, I also did sunset gratitude fire ceremony at the Anahata, the sacred place of the Rainbow Shower.

It was a happy fire. The flames were probably as high and as hot as I have ever seen them. The Santa Tierras, the land spirits or fairies if you like, slurped up my prayers from the fire like liquid ice cream. And at the end, they released again the sacred blue smoke – their sign of gratitude.

Sunset Fire Ceremony of Gratitude – Feb 9, 2017 – a film by Bob Altzar Djurdjevic – with Ravel’s “Bolero” recorded in Aug 2014 – a Musical Despacho for the Santa Tierras (land spirits – fairies) of the Rainbow Shower

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Also, take a look also at these shots of the nearly full moon that was rising over my house when I came back up from the gulch, especially the second one full of orbs!

 

EINE KLEINE NACHTMUSIK WITH ROMANZE ANDANTE AS MUSICAL “DESPACHO”

A Musical Despacho for Santa Tierras (land fairies) of Rainbow Shower

MOZART’S ROMANZE ANDANTE, SECOND MOVEMENT FROM “EINE KLEINE NACHTMUSIK”

Eight days ago, while washing some new dishes I had bought, I received a download of divine-sounding music. I figured it was Mozart. But I wasn’t sure what piece it was.

So I recorded some opening bars and sent them out to the universe for someone to identify them for me.

Not long afterward, I got my answer. It came from Belgrade, Serbia. My nephew Staša Jovanović identified it as Romanze Andante, the 2nd movement of Mozart’s famous “Eine Kleine Nachtmusik.”

As it turns out, that’s the piece whose 1st movement (better known and more often performed) I received as a download from Mozart at Christmas in 2008. And I recorded it at the time on my antique piano. It now feels like a slow motion film.  (Mozart at Christmas in 2008 – https://youtu.be/sElFgMic4Pw).

Elizabeth and I also heard Eine Kleine Nachtmusik when we attended a Mozart concert with my 8-year old grandson, a cello player, in Vienna in May 2014. Now, that was super fast. I am not sure that even today I could play that fast.

But back to Andante, which means slow in Italian, the second movement of Eine Kleine Nachtmusik has been playing in my head or wherever music resides in our souls practically non-stop during the last week. I would wake up in the night and hear it. I would also visualize fingering. And the various instruments.

Anyway, today (Nov 20, 2016) was the day my spirit guides have told me I was ready to record it. I was not sure about that. But who am I to argue with them. So here it is, just the audio for now, in my own rendition:

https://yinyangbob.files.wordpress.com/…/mozart-eine-kleine…

Keep in mind that I only used the violin score to create this full orchestral version. So all harmonies and instrumentation are my interpretations. As a result, the piece may not fully correspond to the way Mozart (and his subsequent scribes) have written it. But it is the way I heard when I received that Nov 12 download.

And now, here’s full musical video of that piece. Enjoy!

Mozart Romanze Andante, 2nd movement, Eine Kleine Nachtmusik – in Bob Altzar Djurdjevic’s arrangement and interpretation – recorded on a Clavinova in Scottsdale, Arizona on Nov 20, 2016

Direct link to Youtube: https://youtu.be/wJ-kjy3UMCk

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While I was at it this afternoon, I also (re)recorded the entire Eine Kleine Nachtmusik, including some of my own variations and improvisations that have come to me over the years. In due course, I will edit and post that as well as one complete work, a sort of composite Mozart-Altzar piece, probably 90% Mozart and 10% Altzar.

Mozart at Christmas in 2008 recorded it at the time on my antique piano (https://youtu.be/sElFgMic4Pw).

UPDATE 2 – NOV 21, 2016
 For the full story, including some still shots from the recording session, click on…

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UPDATE 3 – NOV 21, 2016

EINE KLEINE NACHTMUSIK – 1st and 3rd MOVEMENT – MY OWN VARIATIONS

And now, here’s the rest of the recording I made on Sunday evening, Nov 20, 2016. This is the first movement of Eine Kleine Nachtmusik and my own variations inspired by the Twinkle, Twinkle Little Star tune and others. Let’s call them the 3rd movement of this famous Mozart piece.

I do believe this may be the first time that I have recorded these variations, even though I have been playing them for years, since at least 2009.

You will also see in this music video images I shot during a May 17, 2014 Mozart concert Elizabeth and I and my grandson Nikolai (then 8, now 10 – a cellist) attended at Vienna’s famous Musikverein. But the audio is all mine, from the Nov 20 recording. You might even notice a 21st century guy in striped shirt who snuck up behind the Mozart 18th century ensemble with his Yamaha Clavinova keyboard. 🙂

EINE KLEINE NACHTMUSIK – 1st and 3rd MOVEMENTS – MY OWN VARIATIONS – a film by Bob Altzar Djurdjevic – recorded on Nov 20, 2016 in Scottsdale, Arizona

Direct link to Youtube: https://youtu.be/sgSR3T4buGA

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Scenes from my Nov 20 recording…

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UPDATE NOVEMBER 30, 2016

Last night, in dreamtime or during semi awake time in the middle of the night, I received some new bars for the fourth variation of the second movement – Romanze Andante – of Mozart’s Eine Kleine Nachtmusik. And after working on it for a bit in the morning, I recorded this new version of it.

This is also my “Love Despacho” for the Santa TIerras – land spirits or fairies, if you prefer – of the Rainbow Shower, my Maui property. They have been anxiously awaiting something like this since I left Maui two months ago.

Mozart Romanze Andante, 2nd movement, Eine Kleine Nachtmusik – in Bob Altzar Djurdjevic’s arrangement and interpretation – recorded on a Clavinova in Scottsdale, Arizona on Nov 30, 2016

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EINE KLEINE NACHTMUSIK – FULL SCORE

And then I just kept going till I had recorded all four movements of Eine Kleine Nachtmusik.  They are not exactly as Mozart had written them. The third movement, for example, featuring the flute as the lead instrument, are mostly my own variations on the Twinkle, Twinkle Little Star-theme.

Enjoy!

Eine Kleine Nachtmusik – all four movements – in Bob Altzar Djurdjevic’s arrangement and interpretation – recorded on a Clavinova in Scottsdale, Arizona on Nov 30, 2016

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GYPSIES, LISZT, ALBERT AND I – REVELATIONS

ON THIS DAY IN HISTORY… 205 YEARS AGO – OCT 22: A MOMENTOUS DATE IN MY PERSONAL HISTORY – PART 3 of 3

1811

Franz Liszt was born on this day in 1811, revelations at Royal Albert Hall about Victoria and Albert (Oct 22, 2011), our first concert at Albert Hall Oct 22, 2010)

GYPSIES, LISZT, ALBERT AND I – REVELATIONS

What you saw in an earlier post (Part 2 of 3 – see below) was the “official” History.com description of Franz Liszt’s interesting life. But if you click on the link below, you will find out about a story behind the official story. For, five years ago, exactly 200 years since Liszt’s birth, I had a stunning revelation: I was Franz Liszt. This was one of my past incarnations. Here’s an excerpt:

“This is a story about the Gypsies and I. And about Liszt and I. It is also a tale about a Gypsy in you… in all of us. It may take a little shaking up, creating a little anarchy in your body, before you awaken the Gypsy in you. But when you do, you his/her cosmic spirits will make your soul dance with joy. Because happiness will not source from earthly realms.”

You can read about that momentous day and how the Spirit realm confirmed my intuition if you click here: GYPSIES, LISZT AND I – http://www.altzar.org/2011/Gypsies.htm

And now here’s something even more fascinating which I realized only today – Oct 22, 2016. This is also the day I had a revelation in London about my lifetime as Prince Albert, Queen Victoria’s husband and consort. In other words, Liszt and Albert were my PARALLEL LIFETIMES (just like Constantine and Theodosius 1,500 years earlier).

In fact, the two have met. More than once.

Right after Victoria’s marriage to Albert (in Feb 1840), Liszt gave a concert for the newlyweds at the Windsor Castle. And after Albert and Victoria’s firstborn daughter Victoria married Frederick III, the German Emperor (in 1858), Liszt also performed for both the British and German royalties at the court in Berlin. And he was received by Queen Victoria in April 1886, three months before his death. It was his first visit to London since 1841.

Of course, there is no indication that neither Albert nor Liszt realized that they were splits of the same soul of ALTZAR. Still, it was pretty bizarre to have one part of your soul write and perform music for the benefit of the other.

Prince Albert, by the way, was highly musically endowed. He founded the London School of Music which is still right next to Royal Albert Hall, one of the world’s greatest concert venues which Queen Victoria had built in 1871 memory of her late husband.

It is certainly no coincidence that my Albert and Victoria revelations took place on this day five years ago, as I stood right at the Royal Albert Hall, looking at the Prince Albert Memorial on one side, and the London (see the photos).

Nor is it a coincidence that on this same day six years ago – Oct 22, 2010 – Elizabeth and I attended our very first concert at the Royal Albert Hall.

Such is the power of geomancy and spirit guidance.

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ON THIS DAY IN HISTORY… OCT 22 – Part 2 of 3

1811

FRANZ LISZT WAS BORN

Born on this day in 1811 in the Hapsburg Kingdom of Hungary, Franz Liszt would go on to make a name for himself not only as an important composer in the Romantic era, but also as one of the greatest pianists who ever lived. In a career that spanned five eventful decades in classical-music history, his professional accomplishments alone would have made him a figure of historical significance, but his good looks and charisma, his effect on female audiences and his gossip-worthy romantic entanglements made him a figure somewhat larger than life. If it weren’t for the fact that rock and roll was still 140-plus years off in the future, it would be reasonable to call Franz Liszt the biggest rock star of his era.

Born to a musician father employed in the service of a Hungarian prince, Liszt learned piano by the age of seven and was recognized shortly thereafter as a budding virtuoso. His musical education, paid for by a group of Hungarian noblemen, took place in Vienna. It was in Paris during his teens and early 20s, however, that Liszt first gained widespread public attention as a performer. Though his stature as a composer continued to grow throughout his long career, his reputation as a pianist both preceded and exceeded it. Influenced most heavily not by another pianist but by the violinist Niccolò Paganini, Liszt developed a style that helped shape the future of piano technique, and he developed a following—particularly among women—that made him a massive concert draw throughout Europe at the height of his career in the 1840s and 50s. (It was no accident that director Ken Russell cast lead singer Roger Daltry of the Who in the role of Liszt in his 1975 film Lisztomania.)

Away from the piano, Liszt also conducted a number of high-profile and often controversial affairs over course of his career, beginning with a student who was also the daughter of high-ranking French government official and continuing through several famous dancers, a French countess and a Polish princess. Widely believed to have fathered many children out of wedlock, Liszt famously denied one such paternity claim by writing, “I know his mother only by correspondence, and one cannot arrange that sort of thing by correspondence.”

Franz Liszt died of pneumonia on July 31, 1886, in Bayreuth, Bavaria.

http://www.history.com/this-day-in-history/pianist-and-composer-franz-liszt-is-born

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ON THIS DAY IN HISTORY… FIVE YEARS AGO, PART 1 of 3

October 22, 2011

New revelations well up at Royal Albert Hall, Albert Memorial in London

ALBERT & VICTORIA REUNITED IN LONDON

Intricate spirit guidance signs lead to several stunning intuitive revelations,

What you are about to read is another one of those, “oh, my God, I can’t believe what’s happening”-kind of stories.

So what was it? I realized that I used to be Prince Albert in one of my past lives, and that Elizabeth was Queen Victoria. The revelation was as stunning to me when it occurred yesterday (Oct 22, 2011) as I suspect it might be to you, too. Yet just as with my first Constantine intuition in late June, I feel it “to my bones” that this one is also true.

That’s partly because of the geomancy – of where it happened. I was standing between the Royal Albert Hall and the Albert Memorial in London yesterday morning. That was the “big bang.”

It’s also partly because of other intuitions that followed. The rest of the story was like weaving a tapestry with the help from my spirit guides who provided some intricate signs to follow.

Read more… http://www.altzar.org/2011/Albert_Victoria.html

Also see, Also see… ALBERT AND VICTORIA REUNITED AT SEA (in 2013)

http://www.altzar.org/2013/Albert%20Victoria%20Reunited%20at%20Sea.html

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GYPSY MUSIC SUITE

This is a musical tapestry honoring the untamed Gypsy spirit on the day Franz Liszt was born (Oct 22, 1811). I recorded the in its entirety on my Clavinova at the Rainbow Shower in Maui. Most of this musical fabric came to me from the Spirit realm in dreamtime or daytime, mostly in early 2010.

Some of it is Liszt’s. Some of it is Brahms. Some of it is mine. I do not know which is which. I just played what came to me the way I heard it in my Third Ear.

I did not use ANY sheet music to create this musical tapestry. I just stitched the pieces together. Like a quilt. Enjoy!

http://wp.me/p1jFeo-KQ

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GARLAND WALTZ FROM “SLEEPING BEAUTY”

MY MUSICAL BIRTHDAY SONG FOR 2016

Garland Waltz from Sleeping Beauty – the latest musical challenge I received from the Spirit realm

For the last four years, my spirit guides have been giving me musical assignments which I was to turn into birthday songs. This year, it was the Garland Waltz from the “Sleeping Beauty” ballet by Tchaikovsky.

My earlier musical challenges from the Divine – which I was to turn into my birthday musical gifts – came from Brahms and Liszt (Gypsy Suite: Dance of the Planets, 2010),  Ghost Riders in the Sky (2011), Liszt again (La Campanella, 2012), Strauss (Blue Danube, 2013), Rachmaninoff (Rhapsody on a Paganini Theme, 2014), Mozart (Symphony #40, The “Roo Symphony”, 2015), and now – Tchaikovsky (Garland Waltz from “Sleeping Beauty, 2016) .

The recording I am about to share with you, made last night with Elizabeth working one of the cameras, has been over four months in gestation. There is a story to follow in which I will explain what happened during that time. For now, here’s a preview…

GARLAND WALTZ FROM “SLEEPING BEAUTY” (Tchaikovsky) – by Bob Altzar Djurdjevic – recorded in its entirety on a Clavinova on May 17, 2016

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Garland Waltz from Sleeping Beauty – Birthing the Birthday Song of 2016

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This year’s birthday song – Garland Waltz – had a gestation period of over four months. Unusually long for me, but only half the time Pyotr Ilyich Tchaikovsky took to write the score for the entire Sleeping Beauty ballet (see Creation and Premiere in 1890 below).

The inspiration for this music came on February 12 in Phoenix. That’s the night Elizabeth and I saw a performance of Tchaikovsky’s ballet “Sleeping Beauty” at the Phoenix Symphony Hall. Of course, I’d heard the music before. But this was the first time I got to see the “Sleeping Beauty” live.

The famous line from the Chorus Line – “everything is beautiful at the ballet” – might as well have originated from the Garland Waltz of the Sleeping Beauty.

Everything was beautiful at the ballet that evening of Feb 12. It was a night of magic and enchantment. I savored it for several days. And then I forgot all about it. Until two months later.

The Sleeping Beauty came to me in dreamtime on April 10. More specifically, the Garland Waltz did. I was just about to return to Maui from Arizona and did not have time to do much about it except to research various scores. But I knew I had to study the score, learn it, and record my own version of it.

Working on the Music at the Rainbow Shower

Back at the Rainbow Shower, I started working on this piece a little bit at a time. The Sleeping Beauty score is a work of overwhelming beauty and depth. Tchaikovsky himself thought it some of his best work. Its complexity and richness challenged the dancers and the musicians to greater heights, wrote one reviewer.

I quickly started to understand why. Nearly every bar represents a change of key.  And I had to discern them all by ear. As for the orchestration… wow, that was one of the most challenging things I have ever worked on.

That’s when I understood why I got this assignment from the spirit realm for this year’s birthday song.  They are guiding me up the musical ascension scale, evolving from technically challenging pieces (e.g. Rachmaninoff) to harmonically more sophisticated ones (Mozart, Tchaikovsky).

By the time Elizabeth returned home a month later, the Sleeping Beauty Garland Waltz was still sort of “raw.” But I kept at it every day. And then it all jelled in the last week or so. I stopped using the sheet music except for the most complex passages and playing it all by heart. And then not at all in the last three to four days.

“I feel pretty close to being able to record it,” I told Elizabeth three days ago.

And then last night, right after sunset, I did it, with Elizabeth working one of the cameras.

 

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INTERPRETATION: WHY THIS PARTICULAR MUSIC?

Escape to a World of Dreams and Magic: “Everything Is Beautiful at the Ballet”

Apart from the harmonic and orchestration complexity, I wondered WHY did my spirit guides give me this particular piece of music as my 2016 birthday song assignment?

I think it was because the Sleeping Beauty storyline, and the Garland Waltz in particular, offer a way out of the ugliness and harshness of everyday life. With so much greed, deception and bloodshed in the world, we need a safe place to escape to, a place of beauty, magic and unlimited imagination. And that’s what the Sleeping Beauty is.

If “everything is beautiful at the ballet,” it does not get much more beautiful than the Garland Waltz of the Sleeping Beauty. And flower dances are universal, practiced in many cultures around the world.

Here in Hawaii, for example, we call a garland a “haku lei” (a head lei). You can even see yours truly wearing one as a “Hawaiian Kokopelli” – part of my 2011 Halloween costume.

To me, the Garland Waltz is a flight from harsh reality to flowering fancy. Both the dance and the music are as poetic as can be. A young princess is coming of age. She is in the spring of her life.

The Garland Waltz from the Sleeping Beauty is a reminder that there is a better world available to all of us. All we need to do is unleash our imagination and dream the way we used to when we were children. Which in and of itself is liberating.

That, I think, was the key spirit message woven into my birthday song of 2016. And why they wanted me to share this music with you all.

As is the case with all of my music, this interpretation of the Garland Waltz from the Sleeping Beauty does not exactly match up with what Tchaikovsky wrote. I have made little changes here and there to make the music come out the way I hear it in my Third Ear.

GARLAND WALTZ FROM “SLEEPING BEAUTY” (Tchaikovsky) – by Bob Altzar Djurdjevic – recorded in its entirety on a Clavinova on May 17, 2016

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CREATION AND PREMIERE OF “SLEEPING BEAUTY” IN 1890

In Act I of The Sleeping Beauty the Garland Waltz takes place as part of the celebrations of Princess Aurora’s birthday. The corps de ballet dance with hoops and garlands of flowers to create elegant, evolving shapes, and also bring a bucolic and charmingly youthful quality to the party. 

The famous line from the Chorus Line – “everything is beautiful at the ballet” – might as well have originated from the Garland Waltz of the Sleeping Beauty.

Tchaikovsky composed The Sleeping Beauty, his second of three ballets, over the course of about eight months, but devoted only 49 days in all to the work. He was busy with other projects as well: during this time he composed his Fifth Symphony, the overture for Hamlet, and Six French Songs (Opus 65), and he also conducted numerous concerts. 

When he finished the orchestration for the ballet in August 1889 he wrote, “a whole mountain has fallen off my shoulders.”

In a note to a benefactor he wrote, “. . .the subject is so poetic, so inspirational to composition, that I am captivated by it.” The composer and choreographer collaborated closely, with Petipa (choreographer) supplying detailed instructions about what style and tempo of music were needed where. 

Tchaikovsky was famous for over-doing it: for the “Garland Waltz” in the Prologue, Petipa requested 166 bars and Tchaikovsky gave him 297! 

The Sleeping Beauty score is a work of overwhelming beauty and depth. Tchaikovsky himself thought it some of his best work. Its complexity and richness challenged the dancers—and Petipa (French-born choreographer) himself—to greater heights. 

Ballet historian Jennifer Homans credits Tchaikovsky with the ballet’s enduring appeal, a result of the way his music “works on the human body and spirit.”*

Tchaikovsky had the overture, prologue and outlines of Acts 1 and 2 completed in three weeks. Rehearsals began in August of 1889 and the ballet premiered on January 15, 1890. 

The Sleeping Beauty captivated the hearts and minds of its audiences. By 1892, it had been performed an astonishing 50 times. The dancers marked the occasion by presenting Tchaikovsky with a crown on stage.

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MY MUSICAL BIRTHDAY GIFTS IN LAST FOUR YEARS

2013 – STRAUSS

SOUNDS FROM THE DESERT QUEST (Blue Danube, May 27, 2013) – http://www.altzar.org/Music/96_Sounds%20from%20Desert.html#Sounds_from_Desert_II:Blue_Danube

Also see…

“BLUE DANUBE”: AN ANCIENT SHAMANIC DREAM ABOUT TRANSFORMATIONAL POWER OF WATER

“‘Blue Danube’ – is actually an ancient shamanic dream or transept” (Ancient Egyptian spirit, June 5, 2013) “You are coaxing more out … Continue reading… – http://wp.me/p1jFeo-jV

2014 – RACHMANINOFF

RACHMANINOFF’S RHAPSODY ON PAGANINI THEME

Evolution of My Birthday Song of 2014 – Variations 1 and 18 – a film by Bob Altzar Djurdjevic – http://wp.me/p1jFeo-HQ

2015 – MOZART

TURNING 70… IN ARIZONA HIGH COUNTRY, LEAVING HOME ON A MOZART HIGH

MOZART SYMPHONY #40 (“ROO SYMPHONY”) – RETURNS AS MY BIRTHDAY SONG THIS YEAR A few days ago, a birthday card … Continue reading… – http://wp.me/p1jFeo-1bi

2016 – TCHAIKOVSKY

GARLAND WALTZ FROM “SLEEPING BEAUTY” (Tchaikovsky) – by Bob Altzar Djurdjevic – recorded in its entirety on a Clavinova on May 17, 2016

https://youtu.be/xHXuf7NH_lo

 

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Lunar Rainbow voice recording: 

SUCCESS! LIFELONG DREAM REALIZED AFTER A 6-MONTH QUEST

My first Serbian passport!

Today, May 16, at 1:30 PM, I received my first-ever Serbian passport and the Personal ID card. After a few nail-biting moments in the last three days, my lifelong dream was realized.

It took six months to get here. I took the first step on Nov 20, 2017. The passport and my new ID card rolled off the MUP Serbia production line yesterday – May 15, 2018, also the 40th anniversary of the founding of my business – Annex. In between of those two dates, things happened that might be worth a separate story in and of itself. Maybe one day I will write it.

Meanwhile, I need to take a bow and thank many of my Serbian friends without whose help and dedication this could not have happened. Three people among deserve a special honorable mention – Stasa, Milan and Sandra.

But most of all I have to thank my spirit guides. For, without their help, this would have been merely “an impossible dream.”

When Sandra, the lady in charge passport processing at MUP Serbia-Belgrade (MUP – Ministry of Internal Affairs), handed me my passport in her tiny office this afternoon, I shook her hand and said in front of four other people who witnessed the event:

“You probably have no idea, Sandra, how much this means to me,” I said. “This is a fulfillment of a lifelong dream. My first Serbian passport! You are my hero today.”

And with that, I handed her a nicely designed bouquet of red roses. She looked so touched that she blushed a little.

“It matches my shirt,” she said shyly.

Other witnesses to this (for me) momentous event were all smiles. A lady-policeman said to Sandra, “that is so sweet. I think you should go home now.”

Everybody laughed.

IMG_4331And so we’ve done it! Thank you one and all who have helped achieve this, including the Divine aids.

PS: For those who may be wondering why I never held a Serbian passport since I was born in Belgrade, here’s a brief explanation. The country I was born in was called Yugoslavia. That country no longer exists. So this is the first legal document which affirms my citizenship of a country that has always been the homeland in my heart.


For the full story of what had preceded this achievement, check out this YinYangBob.net post:


UPDATE MAY 17, 2018

A WHOLE NEW WORLD OPENS UP FOR ME NOW

As I was waking up this morning, the day after my “big day” – obtaining the Serbian passport for the first time – the magnitude of this achievement slowly began to sink it. I had assumed viscerally that, considering the vicious US-instigated sanctions against Serbia in the 1990, capped by 78 days of NATO bombing in 1999 (see NATO WAR ON SERBIA: GANG RAPE OF A SMALL COUNTRY, Mar 24, 2014), the two of my countries have different friends and enemies.

You also know the old saying, “the enemy of my enemy if my friend.”

So this morning, as I was still in a semi-conscious state, my guides fed me an idea how to illustrate that visually. “A picture is worth a thousand words.”

So here are now three images for you that graphically demonstrate that new world that opened up for me on May 15, 2018, the date Serbia issued my new passport to me.


Epilogue and Prologue to a Six-month Quest

My six-month quest to try and get a Serbian passport started with an idea that came to me on Nov 20, 2017. In early December, I contacted the Serbian embassy in Washington and the Consulate in Chicago. I was hoping my old (now expired) Yugoslav passport would ease the way for an automatic renewal.

Boy, was I ever wrong. I hit a bureaucratic wall at both places who treated me as someone who had to prove his existence. They wanted my birth and citizenship certificates, neither of which I ever had, and neither of which was required in the past to have my Yugoslav passport renewed.

“My goodness,” I said to my nephew. “You would think they would make me an honorary citizen even if I never had passport, in recognition of what I had done for Serbia in the 1990s.”

“That’s typical,” he replied. “Nikola Tesla also died as poor as a mouse. You have to do first before they would appreciate you.”

I then changed the tack and contacted some of my friends and family in Belgrade. I was hoping they might know of a bypass around this wall of bureacracy.

It all started mid-April when a former client of mine invited me to come to their company’s 25th anniversary ball in Moscow. Yes, a ball, like in the old imperial days of Russia.

You know how bad the political relationships are now between the US and Russia, and that they have closed all Russian consulates in the US. So rather than go through a hassle of getting the Russian visa here, I thought I might try to kill two birds with one stone – get a Serbian passport, which does not require a visa to Russia, and fly to Moscow from Belgrade.

I then ran into snags trying to obtain my Birth and Citizenship certificates in Serbia. Without them, one cannot get a passport.

What happened reads like a plot from a Sherlock Holmes or Dan Brown novels. The story has both mysterious and archeological elements, going all the way back to the 4th century – the era of Constantine the Great, the first Roman emperor to accept Christianity.

The problems seemed insurmountable as of Friday, May 4. My nephew Stasa, who was helping me with all this was in despair. According to the officials in Belgrade, I did not exist, he said.

That weekend, I did some shamanic work during which I asked my spirit guides for help. On Monday, May 7, an elated Stasa emailed me to say that he had “found me.” The next day, he received my Birth and Citizenship certificates. We were on our way…


UPDATE MAY 17, 2018

WOW! I GOT A TICKET TO WAGNER’S MASTERPIECE Götterdämmerung AT THE BOLSHOI

I can’t believe my luck. Or I should say, the benevolence of my spirit guides. First they performed miracles for me to get the Serbian passport. With which I can now travel to Russia. And tonight, I was able to get the last single ticket for Wagner’s masterpiece Götterdämmerung (Twilight of the Gods)) in one of the world’s most famous theaters. Probably the only one among those to which I had not been before.

That’s the last out of 2,200 seats at this grand venue! Plus it is the 8th row of orchestra. These are the best seats in the house which normally cost 15,000 rubles. But for some reason, I was able to buy it tonight for only 4,000.

THANK YOU, THANK YOU, THANK YOU… MY MASTERS, GUIDES AND TEACHERS! AND THE CREATOR, OF COURSE!

I had actually checked out the Bolshoi schedule several weeks ago and saw that Götterdämmerung (Twilight of the Gods) had been sold out. So I don’t know what made me check again tonight. But I am sure glad I did.

This brought back memories of Elizabeth and I getting the two seats for a concert at the Royal Albert Hall in London last year. And of our seeing the two of Wagner’s four operas which constitute the Ring of the Nibelungen, probably the most massive undertaking in the history of music.

We saw the Valkyries, the #2 of the Ring, in Honolulu in Feb 2010. And we saw Das Rheingold, the #1, only last month in Phoenix. And now I will get a chance to see the six-hour grand daddy of the Ring – Götterdämmerung (Twilight of the Gods). Which I had also tried to book in San Francisco this year, but the schedule didn’t work out for me.

Wow, I get goosebumps just thinking about all these “coincidences” and serendipities..

 

GRIEG’S PETER GYNT aka PER GYNT COMES TO ME AGAIN IN DREAMTIME

Coming out of a dream this Sunday morning (May 6), I heard some music that I thought at first was Tchaikovsky’s. It sounded like a dance, like the Nutcracker ballet. But I knew it was not the Nutcracker.

On my drive to Prescott and Sedona, just as I was comping up to the Sunset Point on the I-17 north, I heard the same music being played on KBAQ classical music radio station in Phoenix.

I was stunned. Such serendipity!

Unfortunately, I wasn’t paying attention to what the announcer said the piece was before it started.

So I pulled right off the highway and on my iPhone looked up the KBAQ play list for this day.

And here it is:

1:22 PM – Edvard Grieg – Peer Gynt Suite #1 Op 46
Gothenburg Symphony Orchestra
Neeme Jarvi, conductor
Pro Musica Chamber Choir
Deutsche Grammophon 427 807-2
(This is the full Peter Gynt suite – Anita’s Dance starts at 9:00 min)

https://youtu.be/dyM2AnA96yE

Wow! The last time I received a download of Grieg’s music was on Aug 9, 2011 in Hawaii as part of my Constantine revelations: “In the Hall of the Mountain King,” also from Peter Gynt.

Here’s how it came to me on Aug 9, 2011:

https://youtu.be/6OqayEnySCI

AUG 9, 2011
 
I remember two dreams as I wake up.
 
In the first one, I am either on a boat or swimming, but I am definitely in the ocean and observing the action.  Looks like there are boats and sailboats coming out of the harbor, sailing around a little island which partially blocks my view until they emerge again on the other end.  They are all heading to some well known tourist destination.
 
Very close to me, there is also a floating dock for people who want to catch a bigger boat to go to the same destination.  There is a line of the people waiting to get on the deck of the dock.  Some are even standing on the stairs that go from the water level to the deck. What’s odd about it is that all these people had to come to the dock in little boats.  They look like inflatable rafts that seat one or two people.  Then they drop anchor before climving the stairs to go up to the deck.
 
INTERPRETATION:
 
In the second dream, I am sitting in the back of an office which looks like a store or a bar with a good friend. I am the owner of the place. My wife is working behind the counter.  She is in front of us.  I am not sure what kind of work she is doing as her back is turned to us.  Then a man walks in and starts to talk to her.  I do not like him.  I suspect that he is on a fishing expedition trying to get some information from my wife. So I move up into the area where she is and sit at a table behind her. Then I say to the man, “so you’re chatting up my employees, huh?” He seems a little embarrassed when he sees me and realizes that I have heard what he had been saying to my wife.
 
INTEPRETATION
 
Also, as I wake up I am aware of the name Siddiqi Ray and the face of that young woman. I am also hearing oriental music.  I think it’s Khachaturian. I will have to research youtube to see what it is.
{LATER IN THE DAY… I learned that the music was actually “In the Hall of the Mountain King” by Edward Grieg, from his “Peter Gynt” suite.]
AUG 12, 2011
 
When I woke up this morning around 4AM, the Song of My Soul was playing  (Bedřich Smetana: Má Vlast Moldau (Vltava) 
 – https://youtu.be/kdtLuyWuPDs).  I had a feeling of being in nature.  Everything was green and happy.  What came to me as I became conscious was that “this is the Song of Creation.”
When I woke up again and got up at 7AM, Grieg’s “In the Hall of the Mountain King” was playing again.  I know now that it meant. It was time to go to the Hall of God and create again.  And the first thing that my guides co-created with me, is the full meaning of my upcoming Constantine Journey.  They added two new parts to it since last night: York and Nicomedia.  And now I understand: 
The journey is both a funeral procession and a victory march. At each stop, the emperor is being buried, and the shaman arising.

Per Gynt Norwegian Fairy Tale

So I resolved to do more research on Peter Gynt when I get back home from this trip. And here’s what I found:

“Per Gynt was a hunter from Kvam in Norway. He rescues three dairy-maids from trolls and shoots the Bøyg, a troll which takes the form of a gigantic serpent and stands as a hindrance to travelers.” (https://en.wikipedia.org/wiki/Per_Gynt)

“Sounds like Saint George, doesn’t it?” I thought immediately.

And today is Saint George Day, Djurdjev-day in Serbian, one of my family’s patron saints. 🙂

So is that why I received this Grieg musical download? It all adds up, doesn’t it? Perfect synchronicity!

ANITA’S DANCE

Here’s the ballet version of Anita’s Dance by famous Russian ballerina Kulagina:

https://youtu.be/iTxYxupxeAM

So it was a dance, after all, though not by Tchaikovsky. And it did have a Russian connection.

You can see the Peer Gynt full ballet performance here (2 hrs)

Ballet and the orchestra of Teatro Municipal de Santiago.  Choreography- Marcia Haydée. Conductor – Konstantin Chudovsky


images.duckduckgo

FALL OF TROY

On this day in history… 1184 BC

On April 24, 1184 BCE, the city of Troy fell to invading Greek armies, ending the Trojan War. The Trojan War is an important story in Geek mythology and literature. The ancient Greek poet Homer wrote about the final days of the Trojan War in his epic The Iliad. (Troy’s ancient name was Ilion or Wilion.)

The Trojan War began when a Trojan prince ran off with the wife of a Greek king. The woman, Helen of Troy, became “the face that launched a thousand ships,” when her husband, Menelaus, assembled a fleet of ships to retrieve her from Troy. The war between the Greeks (who actually called themselves Achaeans) and the Trojans lasted ten years.

The Trojan War ended when the Greek commander Odysseus devised a plan to invade the walled city. The Greeks pretended to give up. Before leaving the Trojan beaches, they gave the Trojans a present—a giant wooden horse. The Trojans opened the gates to accept the horse. Inside the hollow horse were armed Greek troops, who sacked the city.

How do we know that?

Well, check out this story in the National Geographic, for example. It includes an image of this Mykonos Vase which dates back to 670 BC. Which puts it more than a century before the “official” (History.com) founding of Rome.  The vase contains the earliest depiction of the Trojan horse, an event that had preceded it by about 500 years.

I WAS ONCE A TROJAN

I also know it because I was there (The “I” as in ALTZAR, the immortal soul, not as Bob Djurdjevic).

I was one of the survivors of the siege of Troy, according to an ancient Egyptian spirit who ascended over 3,500 years ago.  In a fascinating channeling session on Dec 16, 2011, this sage who has access to Akashic Records told me that I was back then incarnated as Heranus, a warrior-priest in Troy, who fought Achilles to a draw. But the main purpose of the duel was to find out what Achilles’ weakness was (his heel).

I had previously learned that I had been a Troy warrior who fought with Hector, the son of King Priam. And then when Hector was killed by Achilles, I had snuck out of Troy secretly, during the night, with King Priam to retrieve Hector’s body and bring it back to Troy for a proper burial.

Let’s pick up now that Dec 16, 2011 conversation with the Egyptian spirit (let’s call him AR – reverse from Egyptian God RA) from this point on:

AR: I believe the Roman poet Virgil wrote the history of Troy. And he spoke of that, amid some of the Trojans who entered… some of the priestly cast did not want to take in the… the Trojan Horse into the walls. So some members of Troy had forebodings. Do you understand?

BOB: Yes.

AR: Now, under the walls of Troy, there were a number of passages that lead to a system of caverns. Do you understand?

BOB: Yes.

AR: Some of them had made preparations that, as the Greeks began to burn the city, they were able to leave. And the Roman poet said that they later became some of the founders of Rome.Heranus warrior-priest of Troy

BOB: Huh. I didn’t know that. Interesting.

AR: You were among some those who escaped through those caverns. You were a member of the priestly cast.

BOB: I was a member of the priestly cast? 

AR: A warrior-priest. There had been an attempt to find out the source of Achilles’ power of recovery. As a member of the priestly cast, by engaging him, was an attempt to find out the source of his vulnerabilities.

BOB: So did I fight Achilles?

AR: Yes.

BOB: And what happened?

AR: You were wounded, but you survived. But you were one of those who noticed the vulnerability of his heel.

BOB: Oh, really. Aha… Hm. And what did we do about that?

AR: Eventually, that is how he fell.

BOB: I understand that. But eventually, did I share that information with others?

AR: You did.

BOB: Aha. How interesting… And then what happened after we escaped from Troy? We went to where today’s Rome is?

AR: Eventually, you were taken in by the so-called Tuscans. The Tuscans were trading partners with Troy.

BOB: Oh, that’s what you mean. Yes, yes. I see.

AR: However, hm… the Trojans always kept their own culture and identity even among the Tuscans. Eventually, they became the tribe known as the Romans.

BOB: So THAT then what connects me to Florence! Oh, my God… Florence is one of the favorite places I have ever been to.

AR: That is interesting, isn’t it?

RESEARCH NOTE: The Aeneid /əˈniːɪd/; Latin: Aeneis [ajˈneːis]—the title is Greek in form: genitive case Aeneidos) is a Latin epic poem, written by Virgil between 29 and 19 BC, that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. The hero Aeneas was already known to Greco-Roman legend and myth, having been a character in the Iliad, composed in the 8th century BC. Virgil took the disconnected tales of Aeneas’ wanderings, his vague association with the foundation of Rome and a personage of no fixed characteristics other than a scrupulous piety, and fashioned this into a compelling founding myth or nationalist epic that at once tied Rome to the legends of Troy, glorified traditional Roman virtues and legitimized the Julio-Claudian dynasty as descendants of the founders, heroes and gods of Rome and Troy.

aeneid-19-728

NATIVE JUSTICE

A Canadian allegedly “lynched” after being sought for murder of a popular 81-year old Amazon shaman and native rights activist

Native justice can be swift and final. You kill someone. You get killed. The natives act as prosecutors, judge, jury and executioners.

In the West, people call it lynching. The liberal media certainly do. But in the Wild West, it was also a form of native justice. You kill someone. You get killed.

Sebastian Woodroffe, 41, a Canadian whom the local witnesses accused of murdering a popular 81-year old Peruvian shaman, just found that out.

Ricardo Franco, Arévalo’s nephew, described her to a Peruvian TV station as “the mother that protects the Earth in the jungle” and “the most beloved woman” in the tribe.

Here’s an excerpt from a Washington Post account of what happened:

Late last week, his name and face appeared on a wanted poster that accused him of killing a beloved shaman and indigenous activist in a remote rain forest in northeastern Peru.

Enraged members of the indigenous community appear to have taken matters into their own hands. Peruvian authorities say a mob of locals in the Amazonian region of Ucayali killed Woodroffe before burying him in a makeshift grave. 

A gruesome cellphone video that emerged in local news outlets shows a man — later identified by officials as Woodroffe — being dragged through the mud by a cord wrapped around his neck. He moans and pleads for mercy before lying motionless in the dirt.

Police found the buried body and identified it as Woodroffe’s, Peru’s interior ministry said in a statement Saturday, vowing to aggressively investigate his killing and that of the shaman, Olivia Arévalo Lomas, a respected member of the Shipibo-Konibo tribe who was in her 80s.

The Ayahuasca Connection

Ayahuasca, a powerful hallucinogen ic drug that is legal in Peru, has become immensely popular among foreign tourists. Each year, thousands of people travel to the Peruvian Amazon to experiment with the hallucinogenic brew, also known as “yage,” a potion that contains dimethyltryptamine, to which some locals refer as “the sacred vine of the soul.”

Tourists from the United States, Australia, Canada and beyond flock to these jungle villages to participate in ayahuasca rituals in the hopes that the treatment might heal anything from depression to childhood trauma. These ayahuasca “retreats” have created a booming tourism industry in the region.

But as always, drugs bring money, and money ushers crime into the once peaceful indigenous Amazon communities.

Woodroffe was one of a growing number of tourists in the town who added to mounting frustrations that a double standard exists in the way indigenous people are treated in the criminal justice system, local residents told Peruvian news broadcasters.

“There is justice for those with money,” one local resident, Alder Rengifo Torres, told TV Peru.

“A foreigner can come and kill us, day after day, like dogs or cats, and nothing happens. The state does nothing,” one local woman was captured on television telling a Peruvian vice minister who visited the indigenous community over the weekend.

My personal connection to Peru, ayahuasca

The story was brought to my attention this morning by a longtime business friend from Texas. My friend wrote, tongue-in-cheek:

On this very beautiful day in Frisco, Texas, I want you to know that if some “Devil-like man” kills you like the article indicates happened to another shaman, I will be joining the mob to hunt them down Have a super day!

At first, I chuckled at my friend’s sense of humor. But after reading several media reports on what happened this weekend, I realize it is yet another example of tragedies that befall the indigenous people when they get in touch with western “culture.” \

Specifically, I was thinking of how the natives of Hawaii have been virtually exterminated – by disease and bullets – after the Americans arrived there in the 19th century, Today, native Hawaiians account for less than 10% of the population of these beautiful Pacific isles that were home to Elizabeth and me until not that long ago.

Back to Peru, here’s what I replied to my Texan friend:

Thanks for that interesting story and for your concern about my well being as a shaman.
You don’t need to worry nor organize a posse. I never touch that shit – Ayahuasca – which has become a recreational drug for western tourists in Peru. The one time I was planning to try it with the help of a local Amazon shaman, I got slapped around by my spirit guides. They literally brought down a mountain to stop me.  Of course, the thought of using the ayahuasca never crossed my mind since then. 
You can read about how they stopped me in this story: Day 4: Vilcabamba, Part 2: Morning at Rosaspata & Nusta Hispana, Harrowing Return from Vilcabamba, Trip to Ancient Past  – Turning the clock back 500 years was easier than coming back from the past; Spirit lays roadblocks and detours enroute to Quillabamba-Santa Teresa (2nd Spirit message, Dec 16, 2012)

Enjoy the rest of your day.
Bob
PS: By the way, I have met people in Peru like this Canadian from British Columbia, who are about as spiritual as were the hippies in the 1960s. But I have never met one who had turned violent like this Woodroffe character. Under the influence of drugs, however, anything is possible. I am thinking of your namesake Manson, for example. Thank God he is off this planet finally. 
IMG_1736

And thank God, for saving me from Ayahuasca in 2012!

ROME FOUNDED… OR ALREADY THERE?

On this day in history… 753 BC

According to HISTORY.COM, on April 21, 753 B.C., Romulus and his twin brother, Remus, founded Rome on the site where they were suckled by a she-wolf as orphaned infants. Actually, the Romulus and Remus myth originated sometime in the fourth century B.C., and the exact date of Rome’s founding was set by the Roman scholar Marcus Terentius Varro in the first century B.C.

That’s one of the myths about the founding of Rome. The truth is far more elusive, however, and much more interesting.  Rome was actually founded at least four centures earlier by the survivors of the siege of Troy.

How do I know that?

Because I was there. I was one of the survivors of the siege of Troy, according to an ancient Egyptian spirit who ascended over 3,500 years ago.  In a fascinating channeling session on Dec 16, 2011, this sage who has access to Akashic Records told me that I was back then incarnated as Heranus, a warrior-priest in Troy, who fought Achilles to a draw. But the main purpose of the duel was to find out what Achilles’ weakness was (his heel).

I had previously learned that I had been a Troy warrior who fought with Hector, the son of King Priam. And then when Hector was killed by Achilles, I had snuck out of Troy secretly, during the night, with King Priam to retrieve Hector’s body and bring it back to Troy for a proper burial.

Let’s pick up now that Dec 16, 2011 conversation with the Egyptian spirit (let’s call him AR – reverse from Egyptian God RA) from this point on:

AR: I believe the Roman poet Virgil wrote the history of Troy. And he spoke of that, amid some of the Trojans who entered… some of the priestly cast did not want to take in the… the Trojan Horse into the walls. So some members of Troy had forebodings. Do you understand?

BOB: Yes.

AR: Now, under the walls of Troy, there were a number of passages that lead to a system of caverns. Do you understand?

BOB: Yes.

AR: Some of them had made preparations that, as the Greeks began to burn the city, they were able to leave. And the Roman poet said that they later became some of the founders of Rome.Heranus warrior-priest of Troy

BOB: Huh. I didn’t know that. Interesting.

AR: You were among some those who escaped through those caverns. You were a member of the priestly cast.

BOB: I was a member of the priestly cast? 

AR: A warrior-priest. There had been an attempt to find out the source of Achilles’ power of recovery. As a member of the priestly cast, by engaging him, was an attempt to find out the source of his vulnerabilities.

BOB: So did I fight Achilles?

AR: Yes.

BOB: And what happened?

AR: You were wounded, but you survived. But you were one of those who noticed the vulnerability of his heel.

BOB: Oh, really. Aha… Hm. And what did we do about that?

AR: Eventually, that is how he fell.

BOB: I understand that. But eventually, did I share that information with others?

AR: You did.

BOB: Aha. How interesting… And then what happened after we escaped from Troy? We went to where today’s Rome is?

AR: Eventually, you were taken in by the so-called Tuscans. The Tuscans were trading partners with Troy.

BOB: Oh, that’s what you mean. Yes, yes. I see.

AR: However, hm… the Trojans always kept their own culture and identity even among the Tuscans. Eventually, they became the tribe known as the Romans.

BOB: So THAT then what connects me to Florence! Oh, my God… Florence is one of the favorite places I have ever been to.

AR: That is interesting, isn’t it?

RESEARCH NOTE: The Aeneid /əˈniːɪd/; Latin: Aeneis [ajˈneːis]—the title is Greek in form: genitive case Aeneidos) is a Latin epic poem, written by Virgil between 29 and 19 BC, that tells the legendary story of Aeneas, a Trojan who travelled to Italy, where he became the ancestor of the Romans. The hero Aeneas was already known to Greco-Roman legend and myth, having been a character in the Iliad, composed in the 8th century BC. Virgil took the disconnected tales of Aeneas’ wanderings, his vague association with the foundation of Rome and a personage of no fixed characteristics other than a scrupulous piety, and fashioned this into a compelling founding myth or nationalist epic that at once tied Rome to the legends of Troy, glorified traditional Roman virtues and legitimized the Julio-Claudian dynasty as descendants of the founders, heroes and gods of Rome and Troy.

aeneid-19-728

As it turns out, HISTORY.COM also refers to this, but calls Trojan Aeneas a “mythical” figure:

Another Roman foundation legend, which has its origins in ancient Greece, tells of how the mythical Trojan Aeneas founded Lavinium and started a dynasty that would lead to the birth of Romulus and Remus several centuries later. In the Iliad, an epic Greek poem probably composed by Homer in the eighth century B.C., Aeneas was the only major Trojan hero to survive the Greek destruction of Troy. A passage told of how he and his descendants would rule the Trojans, but since there was no record of any such dynasty in Troy, Greek scholars proposed that Aeneas and his followers relocated.

In the fifth century B.C., a few Greek historians speculated that Aeneas settled at Rome, which was then still a small city-state. In the fourth century B.C., Rome began to expand within the Italian peninsula, and Romans, coming into greater contact with the Greeks, embraced the suggestion that Aeneas had a role in the foundation of their great city. In the first century B.C., the Roman poet Virgil developed the Aeneas myth in his epic poem the Aeneid, which told of Aeneas’ journey to Rome. Augustus, the first Roman emperor and emperor during Virgil’s time, and Julius Caesar, his great-uncle and predecessor as Roman ruler, were said to be descended from Aeneas.

So there you have it. Take your pick of history. Was Rome founded on this day in 753 BC? Or perhaps four centuries earlier, in the 12th century BC?

 

CHOPIN: REAWAKENING 55+ YEAR-OLD MUSIC & MUSCLE MEMORY

Well, if I did not experience it myself, I would have had a hard time believing it. In just 4 days, I learned to play one of Chopin’s masterpieces – the Waltz op 64 No. 2 in C# minor. The last time I played it, if I had played it before at all, would have been in the late 1950s. So more than 55 years ago.

This waltz is the No. 6 element of the famous Chopiniana – Ballet Blanc, or Les Sylphides – adapted to orchestra, and first introduced to public by the Russian composer Alexander Glazunov in 1893 – 44 years after Chopin’s death.

This music came to me in a dream on Feb 11 of this year, along with several other Chopin pieces, some of which I have also already recorded. But Elizabeth and I have been busy with a multitude of activities since then. So it was not until last week that I started to play this particular waltz. And it took off like wild fire. Even the fingering (and my old mistakes – I now remember) returned effortlessly. 🙂

It was like being 13 all over again. Except that now I wanted to get it right. Or at least as perfectly as my arthritic right hand would allow it. Hope Monsieur Chopin approves, wherever he may be today.

So here’s my first recording of this walt on my Steinway. Later on, I will also post the Clavinova (orchestral) version of it, along with the Les Sylphides ballet as a video background.

Chopin Waltz in C# minor Op 64 No 2: Steinway rendition – music and film by Bob Altzar Djurdjevic – recorded in Scottsdale, Arizona on Apr 16, 2018

Here are also some more still shots from today’s recording session:

Chopin Waltz in C# minor Op 64 No 2: Clavinova rendition – music and film by Bob Altzar Djurdjevic – recorded in Scottsdale, Arizona on April 16, 2018


UPDATE APRIL 18, 2018

CHOPIN WALTZ IN c# MINOR: THE MAYERLING RENDITION

While (re)learning to play Chopin’s Waltz op 64 No. 2 in C# minor after a 55 -year+ hiatus, I had imaged of a love story unfolding before me.

My childhood friend from Yugoslavia, Dr Mira Pavlovic, a professor at a Medical School in Florida, who also played piano at the time we were both teenagers, wrote back to me and said that Chopin told his teacher after he composed this waltz that it was a story about an older gentleman courting and proposing to a young beauty.

I had no idea about that until yesterday. Yet when I was considering what visual images to use for my own recording of the piece, I thought of Mayerling.

The Mayeling tragedy was a series of events leading to the murder–suicide of Rudolf, Crown Prince of Austria (21 August 1858 – 30 January 1889) and his lover, Baroness Mary Vetsera (19 March 1871 – 30 January 1889). Rudolf was the only son of Emperor Franz Joseph I of Austria and Empress Elisabeth.

Since Chopin’s waltz does not end on a tragic note, I thought that perhaps my music video might be misunderstood by the viewing public. But after hearing what Mira had to say about it, quoting Chopin himself, I decided to create a Mayerling rendition of this wonderful waltz

 


 

Feb 2018

CHOPINIADA

Chopin was never one of my favorite composers. I played his pieces mostly to please others who reveled in his melancholy music.

What did I say last summer about Chopin when his Grand Valse Brillante came to me in a dream – that I thought some of his music was fluffy and maudlin? (too sentimental). And yet here he is, late my life, knocking on my doors and moving into my life again (see From my Dreams Journal: IBM AND CHOPIN, Feb 12, 2018).

Which inspired me to work on a “Chopiniada” music video.  It will be a”ballet blanc” (white ballet), a shorter version of Les Sylphides, also known as “Chopiniana.”

Alexander Glazunov had already set some of the music in 1892 as a purely orchestral suite, under the title Chopiniana, Op. 46. In that form, it was introduced to the public in December 1893, conducted by Nikolai Rimsky-Korsakov. I have also done the same, recording some of it on my Clavinova, some on my Steinway.

Once I have mastered the five new Chopin waltzes, including the two from my dream, I may produce the full version of Les Sylphides. Meanwhile, here’s an introduction to the project:

And now, h ere’s my abbreviated, 16-minute version of Les Sylphides ballet, which runs for about 30 minutes with a full Chopiniana suite.

“CHOPINIADA 2018”, MY PRELUDE TO “CHOPINIANA” – a film by Bob Altzar Djurdjevic – recorded in Scottsdale, Arizona – Feb 19, 2018 on a Steinway and a Clavinova – with Mariinsky Imperial ballet Les Sylphides dance (video only)


By the way, the term Les Sylphides fits perfectly Chopin’s music. Its a French expression that comes from the “Sylphs” – mythological air spirits, like air elementals akin to Santa Tierras (female earth spirits. Maybe that’s why I used a sort of derogatory term “fluffy” to describe Chopin’s music, without realizing that at higher levels that actually means ethereal – divine – heavenly.

 

MOVE OVER CHOPIN, MOZART IS BACK

Piano Concerto #21: Music of Rainbows and of Elvira Madigan

Even after all these years of having my plans shattered and scattered like grains of sand in a dust storm, I am still amazed  how little we (humans) matter.

Here I thought after my Feb 11 dream, in which I received several waltzes by the famous Polish composer (Chopin), that I had my work cut out for myself for the next several months. But no, Mozart would have none of it.

So for the last week or so, Wolfgang has been hounding me day and night with this Piano Concerto #21.

Now, it’s not like this is something new to me. In fact, it’s probably one of the most important pieces of music I had ever played and recorded. For one thing, it guided me to move from Arizona to Maui in early 2009 (see Maui Calling…, Dec 2008).  And that’s no small feat.

I cannot think of many musical creations that can have that kind of a monumental effect on one’s life.  I had also recorded this piano concerto several times before. But, I cheated. I played it by ear. And I only recorded the easy parts.

Evidently, Herr Mozart thought this was not good enough. So he pushed Chopin our of the way until I did justice to his magnificent 1785 creation, six years before his death. The music was also the theme song of the 1967 Swedish film Elvira Madigan about the two star-crossed lovers who took their lives in July 1889.

As for me, this concerto has always the music of rainbows. Not only because it guided me to the Hawaiian rainbows. At times, it even called the rainbows into existence while I lived there. When I played this music on my flute, rainbows would appear.

Here’s a story about that, as told by three light beings from another galaxy (see Music of Rainbows, Dec 6, 2012).

And so now, with this as a preamble, here’s my latest creation. The hardest part was synchronizing the tempo of my Clavinova and Steinway recordings. I spent hours on it. And it is still far from perfect. But hope it pleases Herr Mozart enough to let me go and return to my Chopin projects.

Mozart Piano Concerto #21 : Music of Rainbows and of Elvira Madigan – music and film by Bob Altzar Djurdjevic – recorded at Scottsdale, Arizona on a Clavinova and a Steinway on Apr 8, 2018

Second posting to Youtube (Apr 9, 2018)

First posting to Youtube (Apr 8, 2018):

MAGICAL MUSIC OF RAINBOWS – BRIDGE BETWEEN HEAVEN AND EARTH

– PER 3 LIGHT BEINGS (starting at 1:00 min of the video)

As for me, this concerto has always the music of rainbows. Not only because it guided me to the Hawaiian rainbows. At times, it even called the rainbows into existence while I lived there. When I played this music on my flute, rainbows would appear.

Here’s a story about that, as told by three light beings from another galaxy.

Magical Music of Rainbows – based on Mozart Piano Concerto #21 – Sept 13, 2015 – a film by Bob Altzar Djurdjevic – including a commentary about the spiritual meaning of rainbows by Three Light Beings from another galaxy channeled by Earl Backman in 2012

Also see Music of Rainbows, Dec 6, 2012.


UPDATE APR 9, 2018

A left brain view of rainbows

WHY ARE RAINBOWS CURVED?

They don’t really exist, at least not the way we see them

I hate to break up the idyllic mood Mozart may have put you in with his music of rainbows (Piano Concerto #21), but God gave us the left brain. So we might as well use it for something, Like a scientific view of rainbows.

Here’s a story about it from today’s Earth and Sky edition:

“When making the rainbow – sunlight is emerging from many raindrops at once. A rainbow isn’t a flat two-dimensional image on the dome of sky. It’s more like a mosaic, composed of many separate bits … in three dimensions.

Also, rainbows are more than half circles. They’re really whole circles. You’ll never see a circle rainbow from Earth’s surface because your horizon gets in the way. But, up high, people in airplanes sometimes do see them. Check out the photo below.

rainbow-full-circle-Colin-Leonhardt-Birdseye-View-Photography-e1417539326816
Full circle rainbow was captured over Cottesloe Beach near Perth, Australia, in 2013 by Colin Leonhardt of Birdseye View Photography. He was in a helicopter flying between a setting sun and a downpour.

Ready for some rainbow physics? When making a rainbow, sunlight shining into each individual raindrop is refracted, or split into its component colors. And the light is also reflected, so that those various colors come bouncing back.

One key to rainbows is that the light leaves the collection of raindrops in front of you at an angle. In making a rainbow, the angle is between 40 and 42 degrees, depending on the color (wavelength) of the light. Physicsclassroom.com explained it this way:

The circle (or half-circle) results because there are a collection of suspended droplets in the atmosphere that are capable of concentrating the dispersed light at angles of deviation of 40-42 degrees relative to the original path of light from the sun.

These droplets actually form a circular arc, with each droplet within the arc dispersing light and reflecting it back towards the observer.

So why are rainbows curved? To understand the curvature of rainbows, you’ll need to switch your mind to its three-dimensional-thinking mode. Cecil Adams of the newspaper column The Straight Dope explained it this way:

We’re used to thinking of rainbows as basically two-dimensional, but that’s an illusion caused by a lack of distance cues. The cloud of water droplets that produces the rainbow is obviously spread out in three dimensions.

The geometry of reflection, however, is such that all the droplets that reflect the rainbow’s light toward you lie in a cone with your eyes at the tip.


RAINBOWS DON’T REALLY EXIST

Okay, have you had enough of rainbow science? Ready to go back to Mozart?

I am. The only thing I can add to the above scientific explanation is that I can second from many firsthand experiences that the rainbows are a three-dimensional illusion. They don’t really exist. They are a projection. Like a hologram. And science agrees with me:

Rainbows don’t exist! They are nowhere in space. You cannot touch them or drive around them. They are a collection of rays from glinting raindrops that happen to reach our eyes. Raindrops glint rainbow rays at an angle of 42 degrees from the point directly opposite the sun. All the drops glinting the rainbow are on the surface of a cone with its point at your eye. They can be near and far. Other drops not on the cone also glint sunlight into rainbow colours but their rays do not reach our eyes. We only see those on the cone. When you look down the cone you see a circle. So rainbows are circles!

For more, see… https://goo.gl/ex4P7C

 

 

 

 

DANCE OF WATER

DANCE OF WATER

What I do know about this Chopin waltz, published posthumously, is that when I was playing it on March 10, I was suddenly seeing quite vivid images of Dance on Water. Or more accurately, Dance OF Water.  Like an ocean or a lake.

So I decided to make this film.  Enjoy!

Chopin Waltz in E minor  – DANCE ON WATER – a film and music by Bob Altzar Djurdjevic – April 2, 2018


From my Dreams Journal

CHOPIN AND I

Last night (Feb 11), I had another very detailed dream about my work as a consultant for IBM. I even still remember the visuals I used in a presentation I was making to a group of executives.

But what I recall most vividly was the Chopin music that accompanied or followed that dream. It was one of his waltzes.

Later on when I awoke, it listened to about 19 Chopin waltzes and figured out that it was actually two waltzes:

Waltz in E-minor, which was published posthumously –

(Arthur Rubinstein)

…and in another part of the dream…

Waltz Op. 64 No. 2 in C# minor –

(Yuji Wang)

—–

INTERPRETATION: During my research into this dream, I also downloaded the music for five (for me) new Chopin waltzes which I will try to learn to play. Some of them sound very familiar, so I may have played them as a teenager.

Looks like Chopin and Beethoven are becoming dominant music guides for me in the last 12 months. I am actually getting ready to work on a Chopin-inspired ballet video.

Sorry, Her Mozart. You and Master Tchaikovsky have had your run for quite a few years. Or maybe you guys are all working together and taking turns in bringing me up a notch or three on my music ladder?   That’s most likely what’s happening.

​And what do IBM and Chopin have in common? Beats me. Maybe they were two separate dreams that I fused into one after I woke up?​

Jerry-WatsonStressLeave-fixed


UPDATE MARCH 10, 2018

CHOPIN: FROM A DREAM TO DANCE ON WATER

A month ago I had a dream in which Chopin’s Waltz in E minor figured prominently (see From My Dream Journal, Feb 11, 2018). So I decided to try to play it. It is not yet ready for recording but it has been with me every day in the last month since that dream.

Meanwhile, I have found out that Chopin’s Waltz in E minor was probably composed circa 1830, but was not published until 1851, two years after the famous composer’s death. Nobody knows why not. It was the first of Chopin’s posthumously published waltzes not to be given an opus number.

I have no idea why that particular mysterious waltz came to me in a dream. Perhaps it was because in 1830, the year he is believed to have composed it, Chopin left his native Poland forever as I left my native Yugoslavia in 1970.

 

But unlike me, Chopin did not realize at the time that he was leaving for good. For, by the time he had reached Vienna, news reached him of the Polish uprising against Russian rule. This event, added to the disturbed state of Europe, caused him to remain in Vienna until the following July, when he decided to make his way to Paris. Which is where his creativity blossomed.

DANCE OF WATER

What I do know about this waltz is that when I was playing it today, I was suddenly seeing quite vivid images of Dance on Water. Or more accurately, Dance OF Water.  Like an ocean or a lake. So I decided to make this film using Arthur Rubinstein’s soundtrack until my own version of the waltz is good enough for a recording.

Enjoy!

Chopin Waltz in E minor (with Arthur Rubinstein soundtrack) – DANCE ON WATER – a film by Bob Altzar Djurdjevic – March 10, 2018

 

HIGH COST SPYING AND BETRAYAL: FACEBOOK DOWN $60 BILLION!

Facebook, Twitter shares tank in light of Cambridge Analytica exposé

Establishment duplicity: When Facebook ‘allowed’ Obama campaign to mine data in 2012, mainstream media, stock market cheered

Facebook and Twitter both took a beating on the stock market today. By early afternoon, Facebook had lost about $60 billion, or over 11% since its closing price on Friday. Twitter dropped by over 10% or $2.4 billion.

Why?

I would like to think it was because I quit Facebook on Feb 3, and Twitter in mid-2017. 🙂

“Why should I waste my time and emotional and intellectual capital on a platform which will eventually self-destruct and collapse?” – I wrote at the time {see I QUIT! – Feb 3, 2018 – https://wp.me/p1jFeo-2sd).

And now, Facebook has started doing just that – “self-destruct and collapse.”

Levity aside, the real reason both stocks are now tanking is actually the same as that which had caused me to quit them both. They sold our their users. They became  establishment whores, spying on and censoring its customers, while serving the interests of government and corporate advertisers.

In short, they killed their golden goose in pursuit of more gold. Greed 101!

This brouhaha broke out after the disclosure last week by a Facebook whistleblower that the firm Trump campaign used for data mining during the 2016 election – Cambridge Analytica – absconded with some 50 million Facebook user profiles while the social media giant looked the other way.

At first, Facebook lamely denied that it had any knowledge of it. But subsequent firsthand testimony by an ex-Facebook insider proved the company was lying and being dishonest in addition to greedy.

Sandy Parakilis, the platform operations manager at Facebook responsible for policing data breaches by third-party software developers between 2011 and 2012, confirmed that such covert data harvesting was routine at the social networking giant.

Parakilis told the Guardian he had warned senior Facebook executives that its lax approach to data protection risked a major breach says numerous companies deployed these techniques – likely affecting hundreds of millions of users – and that Facebook executives told him to look the other way.

“They felt that it was better not to know, Parakilis said. “I found that utterly shocking and horrifying.” (for more, see… https://goo.gl/jixJKi).

WHAT’S GOOD FOR THE GOOSE ISN’T GOOD FOR THE GANDER

‘They were on our side’: Facebook ‘allowed’ Obama campaign to mine data

The Facebook-Twitter debacle also exposed the hypocrisy and duplicity of the liberal mainstream media. As you saw, Parakilis said that harvesting of user data for profit and political gain was common practice at Facebook as far back as 2011-2012.

It turns out that the social media giant had allowed Barack Obama campaign to do the same thing in 2012 as what the Trump campaign is being vilified for.

Carol Davidsen, former director for media analytics for Obama’s 2012 campaign, has poured oil onto the fire by reveling in a series of tweets that Facebook allowed them to do “things they wouldn’t have allowed someone else to do.”

That reportedly included “suck[ing] out the entire social graph” – an individual’s network of friends on Facebook – in a bid to target more and more potential voters through friends’ friends on social media.

For more, see… https://on.rt.com/91gw

 


Feb 3, 2018

I quit! J’arrête! Lo dejo! Уходить в отставку!

So that’s it. I am quitting Facebook. Ironically, it’s happening a few hours after they had released me from my latest stint in the FB jail. Oh well, at least now more people will find out that I quit and why.

Nine (9) years and three (3) months has been a good ride. I learned a lot. But now it’s time to forget and move on.

NOT ALL “FRIENDS” ARE EQUAL

One thing I learned is that a Facebook “friend” is not necessarily the same as a real life friend. Here’s why not…

As of right now, Feb 3, 2018, I supposedly have 4,630 FB “friends.”  Guess how many bother to reply to my yesterday’s “QUIT FACEBOOK?” post as of this morning?

Three (3) directly. And three (3) through various groups I had founded for a total of six (6). Six out of 4,630! That’s 0.13%. In other words, only one (1) out of 772 of my DB “friends” cares whether or not I stay or go.

And I am not even counting here the 25,656 “friends” I have in the three groups I manage who also had a chance to see my yesterday’s post.

APATHY AND INDIFFERENCE REIGN

So what does that say? To me, it says, that APATHY and INDIFFERENCE reign supreme on Facebook as they do elsewhere in America (see my Nov 2014 election column – DISGUST & APATHY: BIG WINNERS IN 2014 ELECTIONS).

none-of-the-above

Freedom, including the freedom of speech, is disappearing in America faster than a piece of cheese in a rat’s mouth. The US Constitution has become a dead letter, something that both our government and large corporations can trample at will.

FB cover freedom of speech

Yet, most people just shrug and carry on. Hoping for miracles? Or just that “crocodile would eat them last?” as Winston Churchill put it in reference to Hitler appeasers in 1938.

IF ALL OF US QUIT, FACEBOOK WOULD STARVE

As you saw from my yesterday’s post, I have been teeter-tottering on the decision to leave FB for over 4 years now. I was hoping things might get better. Instead, they’ve gotten worse. FB is abusing the trust of its customers. No wonder 60% of Facebook users are spending LESS time now “socializing” on it.

There is one absolute right every customer has: LEAVE. The right to QUIT. And the only thing businesses like FB react to is a loss of user base. Trust me on that. When I ran my own business, I used to consult for top executives of major multinational computer companies.

I am not frustrated or angry. Just pragmatic in how and where I want to spend my time. FB is not the only game in town. So why should I waste my time and emotional and intellectual capital on a platform which will eventually self-destruct and collapse?


UPDATE 2 – APR 11, 2018

FIX FAKEBOOK – 100 ZUCKERBERG CUTOUTS ON CAPITOL HILL

As Facebook boss Mark Zuckerberg testified on Capitol Hill for the first time, an unnerving sight greeted visitors outside: an “army” of 100 life-sized cutouts of the CEO.

The display was meant to protest “disinformation” ahead of the tech giant’s congressional hearing. The campaign organized by Avaaz, a global activist group, featured 100 cutouts of Zuckerberg wearing a t-shirt that said “fix Fakebook.”

For more, see… ‘Army’ of 100 Zuckerberg cutouts protests Facebook CEO on Capitol Hill https://fxn.ws/2qnQx97