Last week I went uptown to John Jay College of Criminal Justice to hear from former federal prosecutor, Paul Butler. He was a highly educated and well spoken man, capable of convincing anyone in the room, or at least leave one to question their initial thoughts on the matter. Paul was there to discuss the issues featured in his book, Let's Get Free: A Hip Hop Theory of Justice. He was exceptionally moving and persuading. Butler used music, specifically hip hop, to illuminate the injustices served to minority groups.

 Everyone in attendance was enticed by renowned author Joseph's O'Connor humor, wit, charisma, confidence and undoubtedly, his accent. He sounded like an older Porfessor O'Malley. He was interesting and very entertaining to listen to. His stories about dreary Ireland reminded me of the autobiography "Angela's Ashes" by another renowned Irish author, late Frank McCourt. All his talk of Patty Smith gave everyone a good laugh. All of his readings were powerful and some very funny. He read every word with conviction and clarity.

 Questions for our trip to Carnegie Hall: 

1. What was Chinese classical music like prior to the cultural revolution and how did it change thereafter? 

2. In rejecting the, "international style," how is there no distinct point of origin in the class of 78's music? 

3. Is Chinese composition determined by education, personal experiences or both? 

4. In seeking to bring music back to China, is this a collective or more individual effort? 

     Joan Acocella states in an essay about music and its importance to Mark Morris, “Structure gives us freedom,” (166). Structure and freedom, however, appear to be in opposition of one another. Acocella contents that it is with knowing and understanding structure that we can learn to break it. In Mark Morris’ choreography, he loves the clarity of structure that is afforded by working with a composition of music. Moreover, his work is a, “physical act of musical understanding,” (162).