Project 65 and the war on election integrity
Tucker Carlson did a fascinating interview with Stefan Passantino, an attorney who got caught up in the Liz Cheney’s machinations as vice-chair of the January 6 Committee. This is an incredible exposé of how Washington really works. Passantino represented Cassidy Hutchinson and he claims that Hutchinson went behind Passantino’s back and communicated with Liz Cheney and J6 Committee lawyers—contrary to professional ethics. The motive was to cover up a hoax in which Cassidy used Passantino to cover up her lie about why she changed her testimony to be anti-Trump, claiming that Passantino told her to lie to the committee during her first testimony.
In the course of the interview, Passantino mentions Project 65 which is a group of Trump-hating lawyers headed by Michael Teter who have filed nearly 100 grievances against attorneys who represented Trump or questioned elections that had been ruled as having been won by Biden. Passantino is one of the attorneys Project 65 has targeted. The motive of course is to intimidate attorneys into not pursuing these cases for fear of losing their standing in the profession, and they are running ads in Pennsylvania warning attorneys of what awaits them if they pursue one of these cases. Attorneys thus have reasonable fear that their professional life will be over if they represent anyone connected to Trump. I suppose they will change course and challenge election results if Trump wins.
Project 65 presents themselves as pursuing the highest ethical standards:
Following Biden’s victory, an army of Big Lie Lawyers filed 65 lawsuits based on bogus assertions to overturn the election and give Trump a second term. While the nation’s legal institutions stood up to this attempted “coup-via-courtroom,” Trump and his “Big Lie Lawyers” have “learned lessons” from 2020 and are already working to seize control of state and local election processes and to prepare for malicious election litigation efforts.
The 65 Project is a bipartisan effort to protect democracy from these once-and-future abuses by holding accountable Big Lie Lawyers who bring fraudulent and malicious lawsuits to overturn legitimate election results, and by working with bar associations to deter future abuses by establishing clear standards for conduct that punish lies about the conduct or results of elections.
America First Legal, founded by former Trump Senior Policy Advisor and immigration patriot Stephen Miller, has sued Teter for Project 65’s lawfare against Passantino:
The complaint was submitted on behalf of Stefan Passantino and calls for the Utah State Bar to investigate. AFL claims that The 65 Project was created with the goal of disbarring attorneys aligned with Trump. Teter allegedly filed nearly 100 ethics complaints against such lawyers, including one against Passantino.
Teter’s complaint against Passantino accused him of providing poor representation to Cassidy Hutchinson during her appearance before the January 6 Committee. It alleged attempts to obstruct the committee’s inquiry into the Capitol attack. However, AFL argues that these accusations have been proven false by recent findings from a congressional subcommittee.
The subcommittee revealed that Hutchinson had been in communication with former Congresswoman Liz Cheney without Passantino’s knowledge. This new information prompted AFL to file a bar complaint against Cheney for her undisclosed interactions with Hutchinson.
AFL contends that Teter’s complaints were based on unverified sources and boilerplate language used in multiple cases. They argue that his actions aim to deter attorneys from representing Trump or his associates by creating a “culture of deterrence.”
The organization recently initiated an investigation into The 65 Project’s ties with the Biden-Harris Department of Justice. AFL emphasizes its commitment to ensuring integrity within the legal profession and protecting attorneys’ rights.
Gene Hamilton, Executive Director of America First Legal, stated: “For too long, ‘lawfare’ like that undertaken by The 65 Project and other, similarly motivated groups, has chilled attorneys across the country from representing clients or advancing certain lawful positions for those clients… We seek a return to a world in which lawyers can be lawyers… The abuses of the system must stop.”
You begin to realize the intense activism surrounding this election. One thing for certain, it won’t be over on Nov. 5.
Gustavo Adolfo Fourcade, US-based and Uruguay-born Argentinian mastering engineer and founder of Steps Ahead Sound, runs this internet radio station that focuses on various music genres including rock, alternative pop, traditional rock, electronic music, and film scores. The combination of two websites (mellotronweb.com.ar and fairfaxcitymusic.com) along with the YouTube channel seem to be part of this music project.
https://www.youtube.com/@Fairfaxcitymusic/videos
“Abyss and Machine Gun: A Transatlantic Dialogue of Dissonance”
In the latest issue of the renowned “Journal of Atonal Aesthetics and Cacophonous Art Forms,” we find a remarkable juxtaposition of two free jazz milestones: Cecil Taylor’s “Abyss” and Peter Brötzmann’s “Machine Gun.”
While Taylor’s “Abyss” descends into the depths of the African-American soul, creating soundscapes reminiscent of the prehistoric noises of the Big Bang, Brötzmann’s “Machine Gun” remains a Teutonic hell-trip for the deaf. The German saxophonist has failed to develop authentic Black African patterns, textures, and structures. Instead, he bombards the listener with an acoustic barrage more akin to a malfunctioning washing machine than a jazz ensemble.
Taylor’s pianistic escapades in “Abyss” are like a deep dive into the collective unconscious of the jazz diaspora. Each keystroke is a bubble rising from the gills of a prehistoric fish. Brötzmann, on the other hand, seems to be mimicking the soundscape of a tank column rolling over a field of rusty saxophones with “Machine Gun.”
Particularly noteworthy is the correlation between the album titles and the physical properties of the vinyl records. While “Abyss” was pressed on a concave vinyl disc to emphasize the abyssal nature of Taylor’s art, “Machine Gun” comes on a slightly convex record – presumably to simulate the ricocheting of bullets.
The rhythmic structure of “Abyss” follows the so-called “Mariana Trench Principle”: the deeper one dives into the music, the greater the pressure on the eardrums. “Machine Gun,” however, adheres to the “Swiss Cheese Model”: the holes in the composition are just as important as the notes themselves. In conclusion, Taylor has created a work with “Abyss” that distills the quintessence of free jazz, while Brötzmann’s “Machine Gun” is more reminiscent of a failed attempt to reanimate Schrödinger’s cat – using a saxophone as a defibrillator.
Next issue: “John Cage’s 4’33” – One Minute Too Long?”
https://www.youtube.com/playlist?list=OLAK5uy_n9wcdT6R0DGrlEAgdoakRJSPjpqnPub7Q
https://www.youtube.com/watch?v=aSefSafJ8W4
Editor’s Note: Recent groundbreaking research by the esteemed musicologist Dr. Quentin Quaversound has revealed a startling correlation between fluid intelligence, crystallized intelligence, and the age of peak creativity in free jazz musicians. According to his findings, the optimal age for composing avant-garde jazz masterpieces is either precisely 12 years and 78 days or 78 years and 12 days. This explains why works created between these two points, such as Hitler’s “Mein Kampf,” fail to achieve the soaring heights of prepubescent jazz odysseys or the profound depths of geriatric sonic assaults. Dr. Quaversound’s revolutionary “Free Jazz Age-Creativity Parabola” is set to revolutionize our understanding of experimental music and may finally explain why most people find it utterly incomprehensible.
https://www.youtube.com/watch?v=xxR6Zi1euvc
“The Convergence of Alpine Traditions and Poultry Warfare: A Critical Analysis of Ischi and Schmoyoho’s Contributions to Modern Music”
In the ever-evolving landscape of contemporary music, two seemingly disparate artists have emerged as unlikely pioneers: Takeo Ischi, the Japanese yodeling virtuoso, and Schmoyoho, the masterminds behind the avant-garde opus “Chicken Attack”. While both have garnered significant attention, a closer examination reveals a troubling lack of dramatic cohesion in their otherwise technically impressive works.
Ischi’s mastery of the Alpine yodel is undeniable. His ability to manipulate vocal registers with the precision of a Swiss watchmaker is nothing short of remarkable. However, his performances often suffer from an excess of competence, leaving the listener yearning for the raw, unpolished authenticity that originally characterized this pastoral art form. One cannot help but wonder if Ischi’s technical prowess has inadvertently sanitized the very essence of yodeling, transforming it from a spontaneous expression of mountain life into a clinical exercise in vocal gymnastics.
Conversely, Schmoyoho’s “Chicken Attack” presents us with a different conundrum. The track’s fusion of martial arts imagery with poultry-themed lyrics demonstrates an admirable commitment to conceptual innovation. Yet, beneath its quirky exterior lies a composition of startling complexity. The intricate layering of sounds, from the faux-traditional instrumentation to the meticulously crafted vocal harmonies, betrays a level of musical sophistication that threatens to overshadow the work’s ostensibly whimsical nature.
Both artists, in their pursuit of technical excellence, have perhaps lost sight of the fundamental dramatic elements that elevate music from mere sound to transformative art. Ischi’s yodeling, while impeccable, lacks the narrative arc one might expect from a genre rooted in storytelling traditions. Similarly, “Chicken Attack”, for all its audacious creativity, fails to provide a satisfying dramatic resolution to its central conflict between man and fowl.
In conclusion, while both Ischi and Schmoyoho have undoubtedly pushed the boundaries of their respective genres, their works ultimately suffer from a surfeit of competence and a dearth of dramatic tension. As we move forward, one can only hope that these artists will find a way to temper their technical brilliance with a renewed focus on storytelling and emotional resonance. Only then can we truly appreciate the full potential of yodeling chickens and martial arts in modern music.
https://www.youtube.com/playlist?list=PL8JttaK4Km_GBOZdL6IN2yt07rsPKiXGQ
https://www.youtube.com/watch?v=PuRgqvtUL6Y