45th Parallel non-review: Much unfamiliar, little new

Chamber music concert presents less familiar names, but stays in traditional aesthetic territory


What do concert reviews review? The music?

Excluding Kenji Bunch’s premiered work for solo cello, the music in 45th Parallel’s November 14th concert at Portland’s Old Church doesn’t need reviewing: it’s already been premiered, reviewed, reviewed again, mentioned in scholarly columns and in the various composers collected works published shortly after their obituaries. In short, what new is there to say about Schulhoff, Kreisler, Cowell, or Shostakovich? Am I to seek out that one obscure fact about their lives still not published that some poor doctoral student is going to try and turn into a thesis?

Editor’s Note: The comment thread for this post is no longer live, but you can still comment here and read why we closed the thread.

Now to be fair: this certainly wasn’t just another concert of Bach, Beethoven, and Mozart or their 20th century equivalents Stravinsky, Schoenberg, and Cage. Without having committed relatively large portions of time to the exploration of 20th century music, Schulhoff and Kreisler might not be familiar. However their aesthetic surely is not foreign, nor is it new.

Cellist Jeffrey Zeigler (r) appeared with 45th Parallel at Portland's Old Church.

Cellist Jeffrey Zeigler (r) appeared with 45th Parallel at Portland’s Old Church.

Schulhoff’s In Futurum predated John Cage’s famous so-called silent piece 4’33” by several decades, but both are old news. Programming obscure names is not the equivalent of programming an obscure or new aestheticism. Aesthetics are time sensitive. That is not to say older aesthetics cannot fill every emotional aspect we expect from art, but older works were written for a different time with different societal concerns and vogues; there’s a reason I like Hank Williams III, my father Hank Williams Jr., and my grandfather just ol’ Hank Williams. So, perhaps you haven’t heard of Schulhoff and Kreisler by name, but their late Romantic aesthetic sensibilities can be heard in a large swath of early twentieth century music.

Schulhoff’s Concertino for flute, viola and double-bass, Kreisler’s Caprice Viennois for violin and piano, and Shostakovich’s Piano Trio No. 2 can be reviewed in one fell swoop: late Romanticism. Well-executed late Romanticism, but by this point our (or perhaps just my) ears are so desensitized to the aesthetic that it falls flat. 45th Parallel’s concert themed around the performance of forbidden (late Romantic) music itself partook in passive oppression-of-omission. Music aesthetics outside of Baroque, Classical, and Romantic are still drastically underrepresented and effectively repressed by omission from the repertoire.

The farthest-reaching composition of the dead Western composers on this program was Henry Cowell’s Homage to Iran, but past the instrumentation of violin, piano and Persian drum, its diversion from late Romanticism is rather narrow. Long luscious violin melodies backed by a Persian drum ostinato is the dominating texture of the first and third movements while a piano and violin toccata comprise the second and dance variations in shifting compound/asymmetrical meters the fifth. The Persian modes employed as pitch material and drum are the overt homage to Iran, although clearly handled within the context of a Western concert hall work.

What do you want me to review? The performers: Kenji Bunch (viola), Gregory Ewer (violin), Zachariah Galatis (piccolo/flute), Matt Hannafin (Persian Drum), Monica Ohuchi (piano), Bobak Salehi (kamancheh/voice), Maestro Hossein Salehi (santoor), Jason Schooler (bass), and Jeffrey Zeigler (cello)?

They’ve already reviewed themselves. Seriously, read their bios. I know they’re good, you know they’re good, and they certainly know they’re good. We’re already at your show, guys. We know you’re professional musicians and we know in all likelihood you wrote that third-person bio yourself, so maybe lighten up on the sales pitch? Music and its presentation should always be about the emotional connection. It’s like a first date: you don’t want to sit down and start prattling on about yourself; it’s alienating. Converse with the audience through the program; don’t present them with a resume.

Kenji Bunch's "Hambone" premiered at 45h Parallel's concert.

Kenji Bunch’s “Hambone” premiered at 45h Parallel’s concert.

So what do we have new to write a review about? Well, we have the debut from Kenji Bunch, the traditional Persian selections, and the fact that yet another concert of predominantly (87%) dead composers music was thrown under the clever guise of a trendy Forbidden Music concert theme.

Bunch’s premiere of Hambone for solo cello, based on the evolution of body percussion as communication among slaves in the southern United States, was fun. Audience participation of clapping and thigh slaps kept the underlying rhythm of the work constant while Zeigler used the cello body as a percussion instrument representative of the slave body percussion interspersed with predictable pentatonic renderings of folk influenced melodies, almost as predictable as Kenji Bunch being the composer-in-residence of 45th Parallel. His Oregon homecoming concert in 2013 where the emcee made grandiose comparisons between the man-of-the-hour and Mozart introduced me to Kenji’s work. At the time I didn’t think much of the comparison except that it was the standard excessive bullshit to say at such a time. But two years later I finally understand. Presiding as the Artistic Director of Fear No Music and as the composer-in-residence for 45th Parallel, Bunch, much like Mozart, represents the music establishment.

The music establishment has a lot to offer – I’m not denying that – from experience to funding, and pedagogical traditions and more. However, it does not offer an excitement or interest in change. Why would those institutions change a system they’re benefiting from? Why would they stop throwing concerts of dead composers’ music when they can sell the same stodgy audience members tickets season after season? I don’t know, but I have an answer for why they should: they’re killing the tradition they claim to love.

Guest cellist Jeffrey Zeigler performed with 45th Parallel. Photo: Jill Steinberg.

Guest cellist Jeffrey Zeigler performed with 45th Parallel. Photo: Jill Steinberg.

Concert after concert, season after season and it’s the same old shit. As an avid classical music audience member, except for occasional smatterings of small children, I’ve consistently been one of the youngest – the other ones usually brought by me – audience members and this show was no exception. Soooo. . . clearly it’s not attracting new audience members and the current ones are slowly, but surely, dying off and so shall the music.

It’s time to act. It’s time to set a new precedent for concerts. Not every audience member is going to enjoy every composition performed at every concert and that’s okay. That’s art. Music expresses its own creator’s walk of life, so of course there’s going to be disagreement! There are over seven billion different lives currently on this planet, and if we can’t even figure out how to appreciate (not necessarily enjoy) different expressions of life within the silly confines of the concert hall, well, we’re fucked. It’s time to not only believe in today’s composers, but also in the audience.

You may not believe the audience of today is out there, but they are: they’re the kids at metal shows making their own quarter-tone fretboards, post-rock rock shows getting lost in waves of texture, math-core shows pounding out the collapsing time-signature breakdown, and underground hip-hop shows where the rate of sampling puts Berio to shame. These kids are obviously seeking more from music than simple entertainment; they’re in pursuit of the aesthetic experience that can alter world perceptions and that’s the role of the modern composer: to take modern aestheticism and process it through our hundreds of years worth of study towards how to fully develop sonic ideas.

There was at least one interesting programming choice: the traditional Persian songs. Although certainly not new music or really a new audience draw, I did enjoy them. It was a break from dead Europeans for dead Persians. I’m sure the Persian equivalent of me would think differently, but for me it was something new(ish) and interesting. But, if you hope to ever attract the audience of today, the days of safe programming need to end, and with such local talents as Aron Bernstein, Alexander Lafollet, Nicholas Yandell, or historical talents like Ivan Wyschnegradsky, there’s not an excuse for the current programming trends.

What do concert reviews review? Is that what you wanted reviewed? Well, that’s what I saw to review. So I’m begging you: please give me more and consistent new music to review so I can stop all this pontificating.

Tristan Bliss is a music composer currently living in Salem, Oregon. Engaging in all sorts of shenanigans ranging from motorcycle dirtbaggery to navigating his way through the bullshit bureaucracy of earning a Bachelor’s of Music with a focus on modern composition; trust me, it’s not as fancy as it sounds. Also, apparently he is now reviewing concerts he goes to.

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49 Responses.

  1. Jeff Winslow says:

    Tristan, you appear to be taking the word “review” too literally.

    Just go to the concert and write about what interested you there, with the intent of interesting readers too. This isn’t Wikipedia, no one’s going to attach a notice “this article is a stub”. 🙂

    But my real comment here is… Shostakovich late Romantic??? I’m not going to defend the man, but the only way he’s late Romantic is the same way pretty much the entire 20th century was late Romantic up until the 70’s or so. Which is really just a way of saying we all have threads attaching us to the past. Music changed in a big way about a century ago, and Shosty’s definitely on the near side of it. Besides, that trio is a knockout, one of his very best works IMHO. It broke through my well-fortified resistance; I gotta believe it could do the same for some kids.

    • Jack Gabel says:

      RE”… pretty much the entire 20th century was late Romantic up until the 70’s or so…” – well, yeah, “pretty much”, but then you’ve got Vrèse. Parch, Stockhausen, Boulez, Cage, Zapa and other outliers

      the problem with the review is that it reads more like the whining of a garage band musician, unhappy with the tunes the band is working up – garage bands notoriously waste more time fighting over song selection than actually rehearsing

  2. Marty Hébert says:

    I’m glad this was called a non-review. An opinion piece, surely. With the exception of one parapgraph about Mr. Bunch’s piece, there was no attempt to actually write about the performance itself.
    It could otherwise have been written entirely from the comfort of Mr. Bliss’ couch.
    That’s fine, of course. Some of the world’s greatest essays were written at home. The writer of this piece clearly has strong feelings about what should have been programmed; though it did strike me as being a bit too vituperative.
    Full disclosure: I did not attend the concert in question. But even I could tell from the 45th Parallel website that the concert did not bill itself as “New Music”, rather as “Forbidden Music…music that was banned for political, religious, or other cultural reasons”.
    I’m guessing that the programming fulfilled it’s intent.

  3. Natalie says:

    This Is So Stupid. The author’s naiveté is laughable, except that there are people out there reading this BS who don’t recognize it as such. Ooh, lots of big words he probably just learned in school! Grrr. OrArtsWatch: Really?!?! This reads like a pompous term paper whipped up by a narcissistic kid. Why not hire professionals who know what a PROFESSIONAL review IS out there to actually REVIEW a concert? Shameful, Oregon Arts Watch. Are you hoping to kick up some dust for the sake of… what? Attention? Well you got it, and it’s shameful. Bad business move, man.
    Like · Reply · 13 mins

  4. bob priest says:

    I have thoroughly enjoyed all 3 of Tristan’s reviews published in OAW so far & hope he keeps bringing his mixed bag of thoughts, opinions & flat-out, hell-bent for hot button passionate engagement to these cyber-pages.

    There is MUCH in TB’s decidedly non-puff piece here that would be great – and possibly instructive – fun to bat around during some sort of extended in-person discussion, methinks.

    I’m looking forward to Tristan’s next review . . .

  5. Andy Joyce says:

    I think this opinion piece is both informative about the event in question as well as the possible future of similar events in Oregon as well as nationwide.

    We have no shortage of local composers of classical music locally. I’m surprised more focus is not given to these local stars. I would personally rather hear a concert composed by someone I could discuss the music with afterward. To connect with the music and the music maker.

    As for nay sayers like Natalie, I would argue the real shameful action would be to silence opinions that we find uncomfortable or that don’t fit within our own viewpoints.

    Well written, Tristan, and don’t stop writing the truth as you see it.

  6. As the founder of a professional classical chamber orchestra (ROCO) that has commissioned and premiered 50 works in ten years, I take issue with part of this writing. Your stance is “only the good die young!” Your ageism is as bad as anything else you ‘review.’

    Our audience members who are over 50 or even over 70, are some of the most forward-thinking, thrill-seeking people I know. Yes it’s great to get all ages, but that, as a goal, is a false set of expectations, again perpetrating what is wrong with our classical culture: It is supposed to be about RELATIONSHIPS. If you know that goth teenager by name, know him or her as a person, chances are he or she will come to your concerts. Programming just to get the young is inauthenticism at its worst. Have you read the Giver?!

  7. Paola says:

    This is not a review. This is a non working composer who embittered, uses this forum to air his uninteresting observations and frustrations with our field. My advice: do good; write more, just not as a critic.

    • What is a “non-working” composer? Do you only find value in composers who have been paid to have their music performed? Take a music history class. Most composers did not make money from their music writing alone and worked hard in the performance sector or some trade. Berlioz, Mussorgsky, and Ives.

      But that is besides the point. I know Mr. Bliss personally and when he is not in school, or working slinging espresso shots, or writing music he is dedicating time to working hard for the board of directors of the northwest’s local composers association. But that being a nonpaid position and entirely volunteer, you probably find that non paid work as “non-working” and more peasant.

      The world needs critics, especially those adding to the art of the field. That is how we know that the field of music will grow and change into new fresh ideas.

  8. Miriam says:

    Your reviewer (and I’m being generous here to call it that- he would seem to agree) has been infected by the attitude that music is like technology; new is best and unknown features must be even better.

    If this is really your only approach to music of any kind, it seems you may not get (or give) much to it in the course of your lifetime.

  9. Nadia Adams says:

    How refreshing it is to experience music criticism that’s not stodgy or “academic” in its tone, and like it or not, we’re all actually thinking and talking about the arts, and that’s a good thing, so let’s keep it going!

    To Alicia: From my understanding of the review, Mr. Bliss doesn’t seem to be asking for all concert programming to be directed towards younger audience members, he’s merely asking for some of the programming to be directed at them, or perhaps more effort being spent in trying to program works that might interest them. In my experience, (and I go to at least a dozen or so classical concerts a year), current classical programming, even in an artistically-rich place like Portland, is most certainly directed towards older audiences, and rarely even makes an attempts to engage younger or different audiences. So I challenge you, as a working professional, perhaps you should look at your own views in defending such anti-young programming choices, because you’ll likely see the most “ageist” one among us in your own mirror.

    Ultimately, Mr. Bliss gives us another perspective with his (non-)review and it’s one that doesn’t conform to the formulaic drivel we’re too often accustomed to reading. To quote what Andy said: “the real shameful action would be to silence opinions that we find uncomfortable or that don’t fit within our own viewpoints”. If others of you have differing opinions you feel strongly about, then I challenge you, write your own review, and if you have the tenacity of Mr. Bliss, then perhaps you can get published too. So, carry on Mr. Bliss, whether your next piece is a review or a non-review, I will most certainly look forward to reading it!

  10. Greg Ewer says:

    Ok genius… If you’ve got the balls, write me a piece. 5-10 minutes. I’ll program it next season. You can try your hand at “saving” classical music.

  11. Nate Alexander says:

    I don’t know whether I’m entirely on board with all that Bliss says, but it is kind of amazing how many people on here are willing defend the “status quo” to the death, whether that death is their own artistic one, or maybe that of the audience who are dwindling away due to the kind of “safe” programming that Bliss is critiquing.

    It’s also pretty disgusting what kind of classist, pretentious people (like Natalie, Paola, Alicia Lawyer) come out of the woodwork if anyone dares to question their institutions. And what are their institutions bringing us? Boring, derivative concerts and pompous, juilliard-trained, egomaniacs like Kenji Bunch. I think Bliss went too easy on him…

    • Greg Ewer says:

      Nate, if you’re inclined to use populist rhetoric, at least direct it at people who have a status quo worth defending. Do not confuse classical musicians with people who actually know how to make money, unless you’re talking about the rarefied air of superstars. And even they pale in comparison to their pop-music counterparts…by far. And I’m guessing you’ve never met Kenji Bunch. If so, you would never have written what you did. Following Mr. Bliss’s lead on this only makes you look ill-informed and petty.

    • bob priest says:

      Based upon my own direct experience working with many PDX musicians over the years from quite a few different organizations, I can tell you that some of these folks have super-intense loyalty to each other & will dramatically close ranks upon anyone that dares cast even a semi-unflattering gaze upon one of their own. In other words, what you are witnessing here, Nate, is essentially business as usual.

  12. Greg Ewer says:

    Speaking of Kenji, he had some poignant advice for Bliss that he offered on another forum. Bliss would do well to heed it.
    “I would offer a word of advice to young Mr. Bliss: the only thing more depressing in the music world than a bitter old composer is a bitter young composer. We have all had failures, or have mired in obscurity, while we watch our colleagues succeed. Believe me, I know about this very well. So how do you feel better about it? Turn to generosity, not jealousy. Seriously, dude. Grow up”

    • Nate Alexander says:

      Haha, just sounds like Mr. Bunch can’t stand a little criticism. Shocking that he spent any time in New York at all.

  13. Barry Johnson says:

    Maybe it’s necessary for a discussion about what the future of classical music might or should be to begin with some good old-fashioned name calling. It’s disappointing, though. If we begin with the assumption that everyone who comments here is hoping for a more creative, more dynamic, more important presence for classical music in a culture that could use it, well, maybe that would calm things down a little. If it continues, alas, I will be forced to pull the whole thread down, which would be…sad. Just sad.

    • Greg Ewer says:

      Agreed Barry. Such a tone could easily be set by writers of the articles and reviews. That would be an editorial choice.

      • Barry Johnson says:

        Yeah, and if it doesn’t meet your specs, you can say ANYTHING, right? And THEN try to sound holier than thou? Good GRIEF!

  14. Greg Ewer says:

    Not really Barry. Plenty of reviewers have had valid criticisms of our work. The criticism has been delivered respectfully, and has proven extremely helpful. 45th Parallel is not above constructive criticism, I just won’t put up with needless shaming of individuals working hard on behalf of my organization, especially when the assertions have absolutely no basis in reality.

    More importantly, can you explain to me why an influential arts blog is seemingly ok with sending this basic message? “Your audience is old, and your art form is irrelevant and not worth reviewing.”

  15. Nate Alexander says:

    It’s ironic Greg, that you’re perfectly cool with everyone else making baseless character slams against Tristan Bliss (including Mr. Bunch), who I really doubt they know anything about, and even blatantly misreading what he says in his article (which pretty obviously didn’t say anything like the agist drivel you just wrote above), yet someone says something about your “darling” Kenji Bunch, and you’re all crying for censorship of an arts publication. An ARTS publication! Seriously dude. I guess if it doesn’t go your way, then you’re going to whine about it. Wow. Just wow.

  16. Diane Chaplin says:

    Possibly you could learn how to write a review, Tristan. It’s actually supposed to be about how the concert went, as in how the players played the music. You do not say one word about the playing. This was also not a new music concert, so it’s sort of unfair for you to bash it for not being that. I also wonder if you’ve ever read a program at one of the many concerts you’ve been to, where I can assure you there are almost always bios of the artists. And most performers tend to like to say the good things they’ve done in their lives in those bios. Your piece was really boring to read, since it seemed to be imagining a concert you weren’t at, and complaining about the one you were allegedly reviewing.

  17. Eduard Laurel says:

    Dear Mr. Johnson,

    I found Mr. Bliss’ article uninformative, unhelpful, and unintelligible. If shotgun quick to point out the morbid problems of classical music, he offers no insights, no solutions. Everyone wants more new music that will bring in the fabled audience of youth, but, who finally wants to listen to it? I do not know the crowd for which he writes, and that might excuse his hipster bullshit language as a call to arms among his colleagues, but his notice offended me by its hubris, ignorance and naivete. Entitled he is to his opinions, yet his raw efforts are unworthy of publication.

  18. Nadia Adams says:

    Dear Mr. Johnson,
    I’m taking it for granted that you’ve thoroughly read the review and understand what it says and doesn’t say. What it doesn’t do is attack the having of bios in the article. What it does not say is that we should only program music for the young. These false points appear to have been latched onto by likely 45-Parellal and Kenji Bunch fans who have had their feelings hurt. Now I do enjoy reading the traditional reviews that Ms. Chaplin speaks of, and have found many wonderful examples of this in the Oregon Arts Watch. But I also believe Mr. Bliss is providing something fresh and different, and something that will likely appeal to other audience as well as individuals like myself and that’s okay. Those who want a traditional review can easily find it from other writers on here or at other publications. But Mr. Bliss is a talented writer, who wants to say something I believe is important, and something that another, in part younger, crowd may find interest in. It would be truly sad to silence his voice merely because he upsets people by saying something different.

  19. Nick says:

    So I’m finding it completely ironic that in discussion of a review (or non-review) about a banned/forbidden music concert, there seems to be a lot of talk of censorship of ideas that we people don’t agree with or those that offend us. Haven’t we learned anything? And what’s wrong with Tristan Bliss writing a review a different way? It’s certainly something that appeals to me (as a Millennial) far more than the usual drab format. I may be from a different generation or musical tribe, and perhaps Tristan does speak to me more than other reviewers, and what’s wrong with that? Like Nadia Adams said: “Those who want a traditional review can easily find it from other writers on here or at other publications”, but many of you don’t sound content with that. You’d have it that the Millennials and those who think differently get nothing, just so you can not be offended. I’m surprised you’re not asking that he be tossed into the Gulag for his opinions at this point. Most of you are artists; you should know better…

  20. Greg Ewer says:

    I’ve been reflecting a lot about the review and some of the comments. I hope to have some time today or tomorrow to share some additional thoughts in a more measured way.
    In the meantime though, I would like to address those who are accusing others of calling for censorship. Suggesting that an editor give some thought to the tone his writers adopt is very different from asking an editor to censor ideas. I trust you understand the distinction, but feel free to discuss it if you don’t believe there’s a distinction.

    • Nick says:

      I suppose Greg, that the problem lies in the “who gets to pick what an appropriate tone is” area. Hunter S. Thompson and Lester Bangs offended loads of people, who I’m sure did not like the “tone” of their writing, just like Hector Berlioz, Eduard Hanslick, Virgil Thomson etc. I find the pretentious academic tone of most articles to be offensive, but I wouldn’t call upon them to be messed with just to satisfy my views. If I don’t like it, I’ll read someone else. So what’s wrong with letting Mr. Bliss speak to me, my generation, and my musical tribe? Why should he have to be subjugated to your standards? Bliss’s style and the traditional reviews (that I see almost everywhere else), can most certainly coexist.

      • Greg Ewer says:

        I suppose it depends what the purpose of the piece is. If that purpose is to encourage a communitywide debate about the arts, an inclusive tone would probably be a good strategy. If the purpose is, hypothetically speaking, to shame an arts organization because of its programming choices, then I’m sure the tone would be quite different. Skilled writers are capable of either. I’m guessing an editor and writer work together to determine what’s appropriate in a blog like ArtsWatch. Does anyone in the know care to shed light on this?

        • Jack says:

          Arts Watch exists for the amusement of the editors and writers, apparently. Otherwise there would be a distinction made between the portions of this piece that are reviewing the concert, and the portions expounding on very unrelated things as a kind of personal opinion essay. There seems no care given to the readers, for whom the distinction has meaning. I’m so often didsapointed by this blog. Hardly surprised to be disappointed yet again.

          • Barry Johnson says:

            And yet you come back over and over again? Despite the disappointment? Maybe you should just stop…

    • bob priest says:

      It’s molto perfecto that Shosty be part of this discussion given how often his “tone” & “ideas” fell under acute scrutiny &/or censorship.

  21. bob priest says:

    Maybe let’s consider approx. truth in labelling here:

    + TB, “a non review” – kinda accurate?
    + 45P, “forbidden music” – sorta accurate?

    Next, whaduhbout program notes? After putting on 100+ concerts with note/bio girth ranging from nada to bulbous, 50 words per now seems sufficient – i simply don’t care to know when/where/how someone stopped believing in the tooth fairy, do you?

    Finally, thanx to EVERYONE here for sharing. TB’s “non review” has provided much worthy discussion fodder, pravda?

  22. Nick says:

    After this thread, I’m so completely disappointed by the close-mindedness of the Portland arts community. Someone does something slightly different and the whole community gets up in arms about it, screaming at him to conform. Fortunately, I have no doubt that he won’t; he’s clearly interested in actually blazing a trail of his own, instead of just following along with the bullshit expectations of all you all. Dream big Tristan, don’t be the PC, conformist, tool that all these people on here want you to be…

    • Nick says:

      I’m sorry Bob,
      What I mean is people who have an expectation that media be censored as to not present anything that “offends” them (and those who present double-standards). I’m all for disagreeing opinions, in fact I say the more, the better, that’s what discussion is all about. Mostly, it’s in regard to people on this thread who are trying to coerce the editors of OAW to stop allowing Mr. Bliss to write because he’s doing something they don’t like. I’m sorry for generalizing too, it was written in a moment of passion…

      • bob priest says:

        Thanx, Nick, all is now clear.
        Like you, i appreciate Tristan’s unique contributions to OAW & thank the editors here for bringing him aboard.

      • Greg Ewer says:

        Has anyone on this comment thread actually asked the editor to do that? There are so many comments now… I probably just missed it.

        • Nick says:

          Sorry, ignore the repeat entry above. Eduard Laurel is an obvious one. Others were deleted by the editor I guess, (one of them also made outright prejudiced statements based on race, and was deleted of course). There are others that are slightly more subtle, but are asking for things to be censored in their own way all the same.

  23. Barry Johnson says:

    When you carpet bomb the comment thread, I’m going to trash your comments. In fact, I already have.

  24. Nick says:

    Eduard Laurel is an obvious one. Others were deleted by the editor I guess, (one of them also made outright prejudiced statements based on race, and was deleted of course). There are others that are slightly more subtle, but are asking for things to be censored in their own way all the same.

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