Archive for January, 2012

The War that Never Should Have Been: One Last Look

Tuesday, January 3rd, 2012

            “Who poses the real threat to America at this moment in our history?  Is it Iraq, boxed in by inspections and the microscopic attention that the world community has fixed on it?  Not likely.  Colin Powell’s slick U.N. presentation notwithstanding, Saddam is very much a paper tiger at this point.”

-Excerpt from “Iraq: the President’s Unmagnificent Obsession” (published on February 21, 2003)

            “Bush is getting bad advice.  He needs to find bin Laden, and he needs to keep al Qaeda on the run.  Saddam ain’t no al Qaeda.  He’s just a common, ordinary dictator.  So what? There’s guys like him all over the world.  It ain’t our job to go after them.  Let his own people take care of him if they don’t like him.”

-Angry New York City street vendor on eve of invasion of Iraq in 2003

            Well, at least I wasn’t alone at the time in decrying the pending decision by then-President Bush to invade Iraq for the purpose of … um, let’s see, what exactly was the purpose? Can you recall?

            If not, you can’t be blamed for a faulty memory.  The reasons for the war were many, and they tended to morph from one to the next over the months leading up to the invasion and continuing over the first three or four years of its prosecution.

            The first was the claim that Saddam Hussein possessed weapons of mass destruction, even, perhaps, to include nuclear warheads (as implied by the President in his State of the Union address just before then-secretary of State Powell’s UN presentation that seemed to confirm the claim).  That presentation was later determined to be entirely bogus, the alleged satellite photos of warehouses of illicit weapons a complete fraud.

            And, of course, as the troops on the ground ultimately determined, Saddam had no WMDs, no lethal chemicals, no biological agents, and no nuclear arsenal (or even canisters to store them in).

            So much for the “preventative war” rationale that Bush created as the justification for the illegal action (under international law it was nothing less) that the invasion of a sovereign foreign state constituted.  But never mind; Saddam was a tyrant: he needed to go.  (And as Deputy Defense Secretary Paul Wolfowitz declared, it wouldn’t even cost anything to get rid of him: the oil that would flow from the oil fields would pay for it.)

            Of course, that reason flew in the face of the New York street vendor’s objection, and when many of his fellow citizens began to express the same thought, other justifications became necessary. 

            And, as the administration continued to prop up public support, those reasons were offered.  Saddam was a co-conspirator with al Qaeda, it was alleged.  That argument sought to tie the 9/11 attacks to the Iraqi dictator, but it was as vapid and phony as the nuclear weapon claim had been. 

            Another argument that was pressed by the President and his cohorts was that a democratic Iraq would pave the way for a move to democracy across the Middle East.  That one was insulting to students of the history of the region.  It would be hard enough to establish a true democracy in Iraq alone, they pointed out.  And, of course, with nothing resembling a well-functioning democracy in place even after almost nine years, that fact has been clearly established.

            In fact, the other Arab countries in the region are unlikely to develop anything resembling true democracies anytime soon, despite the exciting developments flowing from the Arab spring, which had nothing to do with Iraq anyway.

            One claim that the Bush administration made did ultimately have merit, but only because the invasion caused it.  Mr. Bush often stated that the Iraq war was justified because we had to fight them there so we wouldn’t have to fight them here.  It was a line he must have thought worked well, because he constantly repeated it, even as he let Osama bin Laden slip through his fingers at Tora Bora in Afghanistan.

            But only after the United States had established a semi-permanent presence in Iraq did an insurgent group that affiliated itself with al Qaeda develop.  Al Qaeda in Mesopotamia, a.k.a. al Qaeda in Iraq, did, indeed, become one of the lingering enemies the U.S. forces were fighting after the fall of Saddam, but it was non-existent while he lived.

            Simply stated, the Iraq war was a colossal mistake.  It was a mistake in its conception (more than a mistake, it was a violation of international law, notwithstanding the trumped up excuses for its prosecution), and it was a continuing mistake in its execution as the United States and its few allies (primarily the British) blundered in establishing a puppet government and in finding and creating enemies to fight.

            And now, after almost nine full years, we have finally left, declaring an end to a war that never should have been started.  Ironically, it wouldn’t have even ended when it did had it not been for the insistence of the new government now in place in Baghdad.  Get out, they told us, and, pursuant to the agreement forged in the last year of the Bush administration, we have finally left.

            The obvious costs to the country for this folly are the four thousand plus Americans who are dead and the tens of thousands who are wounded and scarred for life along with the hundreds of billions of dollars spent. 

            Less obvious, but probably more noteworthy, is the risk to American interests in the aftermath of our occupation of the country.  A great likelihood exists that Iraq will blow up in an ethnic and religious civil war.  The Kurds will demand their independence, and the Sunni minority will seek to avoid Shiite control of the country.  Meanwhile Shia-dominated Iran looms large with a likely new ally/puppet regime in Iraq.

            Let’s be clear: Saddam was a bad guy.  No one is mourning his demise.  But his regime was not a threat to the United States.  The Iraq that now exists is America’s child, and it is not likely to be a loving one.

 

The Best Performances of 2011

Tuesday, January 3rd, 2012

            With the end of another year, we are again called upon to provide our ranking of the best artistic performances of the last twelve months.  It is a task to be undertaken cautiously and with great humility, as all critical impressions are completely subjective.  One person’s music may well be another’s noise.

            That said, we are reasonably confident that none of the performances that made our final list would ever be called noise or anything close to disagreeable.  Rather, these are the best of the many excellent displays of artistry that commanded our attention last year.

            In keeping with tradition, we’ll offer a top ten list and note them in ascending order (from tenth to first).  And, because ten is never enough, we’ll note another five honorable mentions at the end.

10.  Hilary Hahn’s recital at the Mondavi Center (on the campus of U.C. Davis) in October – Ms. Hahn offered a mix of old and new in a strong display of virtuosity and grace.  Highlights included selections from her latest recording (all new compositions) and Brahms’ Scherzo for Violin and Piano in C Minor.

9.  Mark O’Connor’s “Hot Swing” concert with his quartet at Mondavi in January – The brilliant violin player joined forces with a young guitar phenom (Julian Lage) in a concert that ranged from jazz to blue grass and also included some exquisite ballads that were sung by Heather Masse.  The two virtuosos each provided extended solos to complement the great ensemble playing with guitarist Matt Munisteri and bassist Kyle Kegerreis.

8.  “Anything Goes” at the Music Circus in July – The Cole Porter musical was wonderfully staged in the round with great ensemble singing and dancing under the direction of Marcia Milgrom Dodge, who also benefited from star turns from Vicki Lewis, David Elder, John Scherer, and, in a scene-stealing role, James Graee.  This show was almost as good as it gets in terms of what Sacramento’s great summer musical theater venue can provide.

7.  The Branford Marsalis Quartet and the Terence Blanchard Quintet at Mondavi in April – The Marsalis foursome offered an hour of solid jazz that served as a good warm-up for the imaginative and stimulating creativity of Mr. Blanchard’s quintet.  A highlight of the Blanchard set was a recorded conversation with Professor Cornel West that explored the interplay of justice and music; another was the title song from Mr. Blanchard’s latest CD, “Choices.”

6.  The MOMIX production of “Botanica” at Mondavi in January – A wild mix of modern dance and Cirque du Soleil theatrics (with a touch of Julie Taymor staging and costume designs) made this production a crowd pleasing show unlike few that have ever graced the Mondavi stage.  Using multi-media effects to complement the dancing by the ten skilled performers, the show is loaded with gimmicks that all work to mesmerize the audience, and they did.

5.  “Or,” by Capital Stage in July – Ending its six-year run on the stage of the Delta King Riverboat, this production of Liz Duffy Adams’ hilarious farce was one of the most enjoyable, ribald, very-adult plays produced by this cutting-edge theatrical company.  Skillfully directed by Peter Mohrmann, and with great acting by Stephanie Gularte, Jonathan Williams and Jessica Bates (the latter two playing a number of roles), the play was a laugh riot that was a delightful way to spend a summer evening in Old Town.

4.  The San Francisco Symphony at Mondavi in October – The great orchestra, this time conducted by James Conlon, gave the audience a rare treat with the 14th Symphony of Dmitri Shostakovich.  This most unique composition is the composer’s ode to death.  It features a succession of songs for solo soprano (Olga Guryakova) and baritone (Sergei Leiferkus), accompanied by a small string section and percussion.  It was a breath-taking performance, so remarkable that the highly popular Ravel arrangement of Mussorgsky’s “Pictures at an Exhibition” that followed it, while well played, was something of a letdown.

3.  The St. Petersburg Philharmonic at Mondavi in March – The return of this great orchestra (last at Mondavi in 2004), featured the brilliant young cellist Alisa Weilerstein playing the Shostakovich Concerto for Cello and Orchestra, the stirring Easter Festival Overture by Rimsky-Korsakov, Brahms’ deeply emotional fourth symphony, and as a special treat, a memorable performance of the passionate “Nimrod” movement from Elgar’s “Enigma Variations.”  As conducted by artistic director Yuri Temirkanov, it was nothing less than exquisite.

2.  “Master Class,” by Capital Stage in March – Directed by Jonathan Williams and with a bravura performance by Janis Stevens as the aging diva, Maria Callas, this production of Terrence McNally’s Tony Award-winning play was as close to perfection as live entertainment can get.  The heart of the play is contained in extended monologues that Ms. Stevens delivered with such depth of feeling that even those who knew nothing about the opera star she was portraying could not help but be moved.  It was everything great theater should be.

1.  “Miss Saigon” at the Music Circus in August – The Tony Award-winning musical was produced with great spectacle that gave tremendous power to the story of the Vietnamese woman and her American G.I. lover at the end of the Viet Nam War.  Brilliantly directed by Stafford Arima, the production included scenes that were quite literally awesome in their design and execution and with acting that was so heartfelt as to be emotionally painful.  In addition to star turns by Kevin Gray as the engineer, Eric Kunze as the G.I. and Ma-Anne Dionisio as the doomed Vietnamese girl, an ensemble cast sang and danced in the best tradition of this outstanding organization. 

            Honorable mention: The New Century Chamber Orchestra’s first-ever performance at  Mondavi in February; Yefim Bronfman’s recital at Mondavi in March; the China Philharmonic Orchestra’s concert at Mondavi (featuring a great performance of Ravel’s “Bolero”) in April; the Return to Forever reunion concert at Mondavi (with Dweezil Zappa’s band in tribute to his father as the opening act) in September; and the Sacramento Philharmonic at Three Stages at Folsom Lake College (featuring Olga Kern on Rachmaninoff’s 2nd piano concerto) in September.