A Rauschenberg Remix...

Robert Rauschenberg was born on October 22, 1925 in Port Arthur, Texas. He briefly studied pharmacology in Austin, but was drafted into the United States Navy, where he served as a neuropsychiatric technician. After his military service, Rauschenbergbegan his study of art in 1947 at the Kansas City Institute of Art. In 1948, He traveled to Paris, France to continue his studies at the Académie Julian. During the following autumn, Rauschenberg came back to the United States to study art under Josef Albers at Black Mountain College in North Carolina. It was here that he was offered his first exhibition of small monochromatic white and black paintings.

From 1952-1953, Rauschenberg began experimenting with art made of found objects, which he exhibited in Rome and Florence. In late 1953, Rauschenberg returned to New York City, where he again began to create art out of found objects on the streets, etc. In 1954, he began working on his most famous works—the Combines.The Combines melded non-traditional objects and materials with more traditional painting. These collages represent some of Rauschenberg’s most well known work. In 1962, Rauschenberg experimented with silkscreen paintings before establishing s permanent studio residence in Captiva, Florida. After traveling all over the nation exhibiting his work and receiving the National Medal of Arts in 1993, Robert Rauschenberg died on May 12, 2008, leaving behind a legacy of challenging the meaning of art.

I chose to base my final creative project on Rauschenberg’s “Estate.” “Estate” is representative of one of Rauschenberg’s Combines—a mixture of found objects and collages. “Estate” shows the business and chaos of city life, while maintaining the fluidity and organic-like qualities of a city. It is a representative work of Neo-Dadaism or Pop Art and juxtaposes many characteristic components of a modern city existence in America.
Rauschenberg’s implementation of found objects and manipulation of everyday cityscapes has greatly challenged and changed the perspective of art. Along with Duschamp and others in his artistic genre, Rauschenberg showed that non-traditional paintings and sculptures also qualify as great works of art. For some, Rauschenberg’s Combines continue to be a testament to an organic and ever-changing art genre; however, to others, Rauschenberg’s is simply another silly, incomprehensible “modern” artist.

I personally really enjoy Rauschenberg’s Combines. I likethe way each component sayssomething different, while at the same time contributing to the greater whole. I also find his incorporation of found objects to be fascinating. To me Rauschenberg’s display of everyday items casts them in a new light and causes me to think in a different way.

Making a work of art inspired by “Estate” taught me something about Rauschenberg. Having not made a collage since I was in 7th grade, I had forgotten how much time it takes to make a collage that is aestheticallypleasing and interesting. Through making my collage, I gained a greater appreciation for Rauschenberg’s Combines. Not just anyone can make what he made. It takes someone with a little more vision than scissors and a glue stick. I really enjoyed making my piece, “From the Crossroads of the West…”. Although I felt that I was able to combine a lot of aspects of BYU college life into a greater whole, I definitely realized that art is a science—one that I do not know quite as well as physics!

NPR 100

Appalachian Spring – Aaron Copland

Since the first time I heard Appalachian Spring until now it has continued to be one of my favorite pieces of symphonic music. For me, it seems to musically describe the America, from rolling plains to jagged mountains, finally settling on the simplicity and beauty of an honest, hard-working life. I always knew that this suite was adapted from Copland’s original ballet, but I knew nothing about the story of the ballet until now. To me, nothing represents the American Dream more than starting your own life with your own family, home, and path. Appalachian Spring is about exactly that—the courtship of two young people about to start anew life together. Knowing this really gave me an increased appreciation for Copland’s work as a representative piece of America.

I thought the NPR did an excellent job of presenting Appalachian Spring as an extraordinary and influential piece of music. My only qualm about NPR’s newscast was their presentation of Aaron Copland. I appreciated the humorous comments made by Copland, but I felt that NPR edited the interviews in such a way that he sounded like he was not purposeful in his composition. Perhaps it is just my romanticized ideals about composers, but I would like to think he composed with an idea and a purpose.

Score from Pscycho - Bernard Hermann

I have always loved film scores. I love how they fuse my two favorite genres of the fine arts—the symphony and the cinema. Psycho is one of my favorite horror films ever made. I have seen it several times, yet it is still chilling, creepy, and horrifying each time I watch it. Just listening to this music again made me think of how creepy the psychosis of Norman Bates really is. Although I knew that Hermann often worked with Hitchcock, I was unaware that they communicated so well and that they had such a good relationship. They understood each other and I find it really interesting that Hermann was able to use his percussive music to relate what Hitchcock wanted.

NPR claims that Psycho represents the perfect union of the audio and the visual—a claim that I completely agree with. It is the music, not the imagery that amplifies the terror in Psycho. Despite the shocking stabbing and near nudity, even the famous shower scene is most remembered for the piercing, striking music. The juxtaposition presented by NPR of this scene without

music and with music shows that it is the music that continues to make people afraid of shower curtains.

Sing, Sing, Sing

I, like many of my age group, probably associate this song most with the famous dancing Chips Ahoy! cookie of television advertising fame, but Sing, Sing, Sing was a timeless classic way before that. When I was little, my mom had a CD with Sing, Sing, Sing on it that I used to listen to a lot. I liked it for the same reason people liked it when it came out—it is exciting and invigorating. I always knew that Sing, Sing, Sing was a popular big band piece, but I was unaware that it was some of thefirst swing music played at Carnegie Hall. Thinking about that kind of music being played in such a highbrow place made me realize that this piece was influential not only in style, but also in bridging the gap between jazz, popular music, and the highbrow community. NPR states that this performance of Sing, Sing, Sing legitimized swing music in the eyes of the general public.

The part of this podcast that I liked the most was probably the

interview with the man who was present at the concert. His description of how the audience was and the effect that Sing, Sing, Sing had on them made me think about what they must have been thinking as they heard this new music. It is interesting that even though it was music uncharacteristic of the venue, the audience was extremely respectful and excited to hear them as a legitimate musical ensemble. I never knew that Sing, Sing, Sing was such an influential piece on American popular culture, but it certainly has more history than just music to accompany swing dancing. One thing is certain: it will always be a classic and a favorite of all—whether the highbrow connoisseur or the Chips Ahoy!-eating common man.

Check out NPR's top 100 most influential American songs here:

http://www.npr.org/programs/specials/vote/100list.html

To Kill a Mockingbird

On September 11, 2010, I had the opportunity to view To Kill A Mockingbird, starring Gregory Peck. As a winner of three Academy Awards and the ranking of 34 on the American Film Institute’s top 100 Films of All Time list, To Kill a Mockingbird is certainly a great classic that continues to change many viewer’s perspective on racial issues.

To Kill a Mockingbird is based on Harper Lee’s novel of the same name. Its exploration of racism set in the 1930s mirrors the issues of the Civil Rights movement that were occurring during at the time of the film’s release in 1962. It movingly shows how little had changed since the 1930s and exposed more of the deeply rooted problems of the South during the 1960s. With the Civil Rights movement in full force, African Americans began protesting inequalities through freedom rides on the bus systems in 1961. By 1962, court orders were used to admit African Americans to Universities that had previously blocked them from admission. These events and others like them led up to what could be called one of the most intense social changes of the twentieth century. The fact that To Kill a Mockingbird was released during the Civil Rights movements gives power to an already powerful story and allowed viewers to easily connect the film to aspects of their own lives.

To Kill a Mockingbird uses many techniques to convey the message of racial tolerance to the viewer. One such technique is the use of opposite archetypal characters—specifically Atticus Finch and Bob Ewell. Atticus constantly does the right thing. He has integrity and stands up for what he believes in. Even though many people in the town are against him, Atticus continues to legally represent Tom Robinson, an African American. Bob, on the other hand, constantly lies and sneaks around to protect himself. He seeks to shift his own blame onto Tom Robinson because he is an African American. The juxtaposition of these two characters and particularly how they treat the African Americans in the story places an additional dimension of emphasis on the issue of racism. This black and white relationship betweenAtticus and Bob keeps the audience true to a moral compass and gives them a person to model themselves after.

Another way To Kill a Mockingbird added completeness to the exploration of racial injustice is through symbolism. One such symbol is the mockingbird. Although not explicitly shown, Atticus and Scout often make mention the tragedy of killing a mockingbird—something that is innocent and beautiful. The mockingbird in the story is symbolic of Tom Robinson, who is innocent of the crime of rape. Killing him represents the death of innocence caused by racism in their town. This symbol underscores the more obvious themes in the film and makes them stand out on an even more poignant level.

I loved this film. I remember reading the book in 9th grade with a student teacher and having an awful experience because she was an awful teacher. However, after watching the movie I remembered how beautifully the themes in the book are treated and how important they are to everyday life. It really made me think about our own society today and the issues of racism that we still harbor. It is sad that we still show racial intolerance after so many terrible events in our history. I also loved Gregory Peck’s performance as Atticus. I have scarcely been so moved by a speech in a movie as I was during Atticus speech in the courtroom. He raises so many interesting issues that are still applicable today. Films like To Kill a Mockingbird continue to remind us of everyone’s humanity and teach us to be more racially aware.

To Kill a Mockingbird has stood the test of time as one of our nation’s all time greatest films. Its relevance to social issues during its release up until today makes it a timeless classic that has changed my perspective on how we treat others.

Jack the Dripper

About a year ago, I had a rather interesting experience with a physics professor of mine. I had recently visited the Dan Steinhilber exhibit in the MOA, which I really enjoyed and thought was really interesting. Being a promoter of the arts, I told my professor about the exhibit and suggested that it might be something that his family would like. Initially he agreed and appreciated the suggestion, but he quickly realized to which exhibit I was referring and had a change of attitude. Being an…opinionated person…he then proceeded to tell me why. This particular professor hates modern art—which is fine. I have no problem with that. I did, however, try to convince him that modern art is of value and that it is important culturally. This did not seem to go over particularly well because I then had to sit and listen for a long time about why modern art is awful and how anyone could do it. Jackson Pollock was referenced many times as being a fraud. I tried a variety of strategies to concede the disagreement, but none seemed particularly effective. During the next few days of class there were many comments and Power Point slides referencing said conversation, including a Jackson Pollock picture that he made in paint. Needless to say, I did a good job of forever branding myself as “Modern Art Kid” in his eyes. Regardless of that experience, I still like Jackson Pollock. I find his art to be interesting and dynamic. I like the disorganized organization and the deliberate chaos that he conveys.

Jackson Pollock was born in Cody, Wyoming in1912. After being expelled from high school and a California art school, Pollock moved with his brother to New York, where both studied under Thomas Hart Benton at the Art Students League of New York. Although Benton’s subject matter had only a small influence on Pollock’s work, his style, paint use, and independence was long lasting. In the 1940’s Pollock observed Native American sand paintings, which later shaped how he painted. In the early 1940’s Jackson Pollock began to develop his style of action painting. He rose to star status in 1949—the pinnacle of his “drip period”—after a spread in Life Magazine. Pollock died in a car accident in 1956 after struggling his whole life with alcoholism.

Of all the Jackson Pollock paintings I have seen, Autumn Rhythm is my favorite one. I love how Pollock has uses abstract streaks of and drops of dull-colored paint to invoke emotions about autumn. As I look at this painting I think of all of the things I love about autumn. It is reminds me of how beautiful everything looks when it is covered with leaves. Although Pollock employs a very abstract style in this painting, his perception of the serene fluidity and chaos of autumn is conveyed perfectly. There is beauty, but also movement and excitement. Autumn Rhythm makes me think of autumn not as a time when things slow down, but as a time when the dynamics of nature are in full force. Pollock’s color choices of brow, black, and white also add another dimension of depth to the painting. The sparse white paint accents the rest of the image and gives a feeling of reflected rain or light snow—another facet of what autumn is and feels like in many places.

Say what you will about Jackson Pollock, but it is undeniable that he is an influential figure in art history. As for me—I think he is awesome.

Lonesome Journey

Maynard Dixon, a notable muralist, illustrator, and landscape artist, worked throughout his life to truly capture the grandeur and majesty of the American West. After exploring Arizona, Utah, New Mexico, and Nevada, his subjects often took the form of desert landscapes and Native American scenes. Over the years, Maynard Dixon’s paintings have become iconic and representative of the raw and untouched American West. In his painting, Lonesome Journey, Maynard Dixon conveys a sense of courage in the face of the unknown through lighting and shadows, simple artistic style, and his own personal experience.

Maynard Dixon was born on a ranch near Fresno, California on January 24^th 1875. As a child he suffered from asthma and consequently took an early interest in non-physical activities like drawing and writing. By age 16, Dixon already wanted to make a career illustrating the “Old West.” Two years later, with the encouragement of Frederic Remington, Constance Dixon, Maynard’s mother, moved the family to Alameda, California, where Maynard studied art classically at the California School of Design. After three months, Dixon found the traditional European curriculum to be restrictive and soon left to learn from nature herself. After spending a short time illustrating for a local newspaper, Maynard Dixon left California to visit the “true” American West in Arizona and New Mexico. Over the next several years Dixon made many trips to the West, where, on one occasion, he was introduced to his second wife, Dorothea Lange. Dixon and Lange spent time in a variety of places, including Arizona, New Mexico, and Utah—specifically Zion National Park, where he painted over 40 canvases. In 1935, Lange and Dixon divorced after Lange had been called back to San Francisco. Two years later, Dixon married Edith Hamlin, a fellow artist, who loved and supported his work through the last years of his life. At the end of his life, Dixon and Hamlin split their time between Utah and Arizona until Maynard Dixon died in 1946 in Tucson, Arizona (Important Timeline in Maynard Dixon’s Life). According to his wishes, Maynard Dixon’s ashes were placed in a Hopi bowl and buried atop a bluff above Mount Carmel, Utah, a favorite place of Dixon throughout his life (Maynard Dixon Biography).

Maynard Dixon’s artistic style varied considerably over the course of his life. His early paintings are reminiscent of an Impressionist style while his later paintings contain elements of Social Realism and Regionalism (Maynard Dixon). Dixon’s painting, Lonesome Journey (1946), is unique in that it depicts both characteristics of Regionalism and Social Realism. Lonesome Journey portrays a man riding a small horse drawn cart through the desolate red desert of the southwest. Like many of Dixon’s other Regionalist paintings, this painting’s emphasis on country western life rather than urban life is typical of the movement. In addition, Lonesome Journey employs distilled simplistic shapes, another characteristic of Regionalism’s response to Modernism’s abstraction. Lonesome Journey also contains some elements of Social Realism in that it depicts some social issues of the West, such as loneliness and courage—something that often went unconsidered due to pressing urban social issues (Regionalism).

Although at first glance Lonesome Journey is a painting about a lonely man, further study reveals a sense of courage and bravery in the face of the unknown. One way that Maynard Dixon expresses these emotions is through his use of lighting and shadows. The mild, soft oranges used to light the scene sets this painting near sunset. This evening lighting performs two tasks for the viewer. First, it accents the long journey that the traveler has been on throughout the course of the day. It makes the viewer think of the many miles the man has journeyed alone. This emphasizes the theme of loneliness in the painting. Second, it allows the viewer to think of the many possibilities of the next day. Although one day is ending, another is about to begin, bringing with it new possibilities and opportunities as this man continues courageously on his quest. In addition to the lighting, the shadows on the cliffs serve to accent the middle third of the painting—the third where the man is traveling. This draws our eyes to the traveler and our attention away from the scenery.

Another way that Maynard Dixon conveys his message of lonely courage is through the simplification of geometrical shapes and specific details. In his painting Lonesome Journey, Dixon paints the red cliffs and vegetation in very simple forms, leaving out details like individual sagebrush leaves and deep crevasses that often exist in rocks of that type. He paints simple geometric shapes and almost completely unadorned scenery. In addition, Dixon paints the desert in an almost impressionist style, with loose brush strokes and undefined lines. All of these techniques shift the emphasis of the painting from the otherwise distracting natural beauty of the desert to a lone man’s journey. Dixon’s choice of simple scenery allows the viewer of the painting to really contemplate the past and the future of the traveler.

Finally, Maynard Dixon’s own personal experiences and position in life seriously affected the overall theme of Lonesome Journey. First, Lonesome Journey was painted in 1946, during the last year of Maynard Dixon’s life. Like the lonely traveler, Dixon himself was facing the ending of one stage of his existence and the beginning of another. He painted a subject that reflected his own courageous sojourn into unknown and unsure territory. In addition, through Dixon’s travels he was fully aware of the plight of the western man—one that was often changing and unsure. This painting, like many of his later paintings, brings to light issues of the westerner, like many social realists brought to light the issues of city life.

Initially, I did not think that this painting was anything out of the ordinary. I looked at it, saw a man traveling, and moved on to a painting of the Rocky Mountains nearby. However, as I looked for beauty in the alpine scenery that I personally love, my eyes were drawn back to the simple scene of Lonesome Journey and I began to see a deeper level of meaning to it. I came to love this painting because I realized that it describes universal themes. Everyone has times when they feel like they must press on—perhaps alone—to accomplish a goal or arrive at their destination and this Lonesome Journey with that universal truth. For me, having seen the painting in a museum gave me more of a chance to think about it and evaluate its meaning and its cultural impact at a higher level than if I were looking at it in a book.

Maynard Dixon came to be a renowned painter and illustrator throughout his life. He sought to represent the “true” west and gave us a piece of a different kind of lifestyle. Lonesome Journey, a representative piece of his regionalist painting, expresses a distinct sense of lonely courage through lighting, simple shapes, and Dixon’s own personal experiences.

Works Cited

Important Timelines in Maynard Dixon’s Life. Sublette, J. Mark. October 25, 2010.

< http://www.maynarddixon.org/timeline.php>

Maynard Dixon. October 6, 2010. Wikipedia. October 25, 2010.

< http://en.wikipedia.org/wiki/Maynard_Dixon>

Maynard Dixon Biography. Sublette, J. Mark. October 25, 2010.

< http://www.maynarddixon.org/bio.php>

Regionalism. October 6, 2010. Wikipedia. < http://en.wikipedia.org/wiki/Regionalism_(art)>

Naturalistic Nuances

Stephen Crane was born in 1871 in Newark, New Jersey to very religious parents. Crane began his career at the age of four and had already published many articles by sixteen. His naturalistic and impressionistic stories have been highly influential in American literature and have greatly affected such authors as Ernest Hemmingway. “The Open Boat” is one of Crane’s more widely known stories and was written based upon Crane’s own experience in a shipwreck. In 1897 the S.S. Commodore sank off the coast of Florida, where Crane and his shipmates sought survival in a small dinghy. After covering the Greek and Cuban conflicts, Crane died of tuberculosis at the age of twenty-eight.

The natural world is beautiful and magnificent, but it also harbors destructive power that rivals that of anything manmade. One theme of “The Open Boat” that particularly interested me was the conflict between man and nature. Throughout the story, the sailors fought to stay alive. To little avail, they attempted to make their way to a shore that seemed close enough to touch. Although neither force “wins” the conflict in the traditional sense, the experience of the sailors establishes a taciturn understanding between man and nature. The last line of the story states that the voice of the sea was brought to the shore and “[the sailors] felt as though they could be interpreters.” This experience gave them the insight to understand nature in its most raw form—a lesson that needs to be more widely learned in our own lives.

On the surface, this story appears nihilistic; however, as the story progresses it is clear that it is quite the opposite. Although in the face of extreme opposition, the four men create a sense of camaraderie that supports them in their pursuit to survive the destructive natural forces of the sea. Although there is no evidence of aid from God or a supernatural power—something that is apparent from the narrator’s many references to the “seven gods of the sea” that will let him drown—this story shows men helping each other and caring for one another in every way they can. This is first evident from the shifts taken by the men on the dinghy. Each man took his turn doing a physically taxing job and was, in turn, mercifully relieved by another. They all contributed and worked together—something that brought them a great sense of unity and love for one another. Furthermore, although the oiler dies, the end of the story does not leave the reader with a feeling of complete despair and sadness. The captain’s gesture for the rescuers to go after his crew and the citizens’ efforts to save the men at sea demonstrate brotherly love and selflessness that transcends even the destructive power that Crane so tirelessly described. In the end it is men who create compassion in a compassionless world—a theme that prevents this story from being one of hopelessness and destruction.

Click here to learn more about Stephen Crane.

Click here to learn more about "The Open Boat."

Click here to read "The Open Boat."

Please enjoy this man's awesome mustache. And his wise words about naturalism.

The Sustainability Prayer

First published in 1923, Twain's "The War Prayer" is a satirical indictment of war and blind, misplaced pride in a war machine. (Text for "The War Prayer" can be found here.) I have written my own version of "The War Prayer" that satirizes America's blind interest and love of sustainability, or "going green."

"The Sustainability Prayer"

It was a time of great and exalting excitement. For years, the citizens of Los Angeles had lived in a bowl of concentrated pollution from factories, power plants, and the most complex network of freeways in the country. Saturday, September 15^th, however, was different. On this day, all of these problems would change, as sustainability resonated through the town and themayor prepared to unveil a new wind farm, extended public transportation, and free recycling bins for all.

It was a festival to rival any other in the Los Angeles’ history. Every parking lot was full and every freeway was packed bumper to bumper as thousands migrated to the city center. Live dancers and jazz performers celebrated all afternoon and entertained spectators and passer-bys. On every street, local vendors sold only food cooked in solar ovens and drinks safely contained in recyclable bottles. A grand parade marched down the streets, celebrating the momentous occasion with floats and community bands. Citizens took tours of the new windmills and took free rides on the city’s new buses and trains. Proud parents watched as their children became vehement advocates of going green through harsh word and gloriously conspicuous example. All Angelinos were truly united and considered themselves blessed as they imagined the new clean city in which they would live.

Saturday night came and brought with it the real spectacle. At last the mayor stepped up to the pulpit to speak. His presence was silencing to thousands and anticipation flowed through the city like an electric wire as Angelinos from Pasadena to Long Beach hung upon his every word.

“Today is a red-letter day,” spoke the mayor. “For today, we finally rid ourselves of the troubles that once plagued this great city and its inhabitants. This new wind farm will stop the power plants from polluting our city! These new buses and trains will cut down on gas use and traffic! These recycle bins will take care of our bottles and cans! It is my hope that our city’s new face will be an example and a beacon of hope for Americans nationwide. Let our attitude of ‘going green’ work its magic and let our city finally be the town we want it to be!”

At the close of the mayor’s remarks, the throng of people erupted with celebratory yells. Fireworks shot off from every direction in brilliant sparkles of green, red, and blue and every light in the downtown area suddenly lit up with bright lights—an act that seemed to declare, “Welcome to Los Angeles—where sustainability counts!”

At the strike of twelve, the festival drew to a close. Angelinos from young to old slowly filed back to their cars, carrying a general air of self-satisfaction and a firm knowledge that the problems that had afflicted them for so long had finally been resolved.

One year passed. The city continued to grow as it always had and the people’s demand for energy was higher than ever. As September 15^th once again approached, preparations began for the Second Annual City of Los Angeles Goin’ Green Festival. When the day finally arrived people again drove from every part of the county to participate in the festivities. Parking lots were filled and cars backed up the streets for miles as they waited for empty train cars to traverse the asphalt and empty buses to make their scheduled stops. Once in the city center, people stopped and listened to live musicians as they played festive fanfares and expressed their green appreciation through music. Vendors again sold food in recyclable containers with biodegradable napkins and forks. Both eight year olds and octogenarians alike watched as the grand parade began and marched throughout the entire downtown area. Floats of all colors and shapes glistened in the afternoon sun and called attention to Los Angeles’ new life and recent accomplishments. All Angelinos stared proudly at the remote revitalizing windmills, standing in the still air like energetically efficient totem poles.

Sunday night came and with it the climax of the city’s second annual festival. The mayor approached the pulpit, commanding the same presence of dignity and leadership as he had one year earlier. Suddenly both young and old obeyed a taciturn commandment of silence and listened intently to the mayor’s magnificent oration.

“My dear people,” he said. “Today marks the day of the anniversary of the founding of a green Los Angeles!” The crowd exploded and shouts of joy echoed between the streets and rose above the skyscrapers. The mayor continued, “We have truly done a great thing, for in this last year we have accomplished so much. God has blessed us with a great city and a great people—people who perform their civic duty with diligence and pride. May God continue to bless us and keep us!”

It was then that the air of self-satisfaction and blithe joy began to change. As the mayor was finishing his remarks, citizens watched as one man, weathered with age and true civic concern, passed empty recycling bins and walked toward the mayor. He climbed onto the stage and staggered to the pulpit, gesturing for the mayor to step aside. The old man approached the pulpit and began to preach the most horrific sermon that had been heard in fifty years.

“My dear citizens, what is this idea that has blinded you so completely? This town reeks of hypocrisy. You have mistaken irresponsibility for ingenuity, egotism for efficiency, self-satisfaction for true sustainability. Before you think yourselves blessed, consider what the truth is. How many of you have actually helped to make L.A. a “greener” place? How many of you have lifted even your smallest finger? You live your lives relying on new programs to clean up your messes for you!” Suddenly the man pointed to a woman close by and asked, “Did you drive here today?” The woman stood silent. The old man inquired of another, “Do you take the new trains to work?” He too stood silent. “My friends,” the man continued, “faith without works is dead! Sustainability is responsibility! You all speak of ‘going green’, but what have you done to contribute? Do you not see what is happening? Your attitude of self-satisfaction will be your downfall! Verily I say unto you, those who sound a trumpet at their accomplishment will have their reward! Your lack of accountability and fake appearances will spiral you and the future of this city into a worse state than ever before. Buses and recycle bins are useless when not used. Change must start with the individual—do not wait for your neighbors! You speak of your civic pride and duty, yet it runs as empty as your city’s trains. Think of your children and grandchildren. What kind of city will they live in? Let us unite and work together to affect a change for the future of our families and the future of our city!”

With every passing moment and every uttered word, Angelinos from north to south became increasingly indignant. “Who is this man?!” exclaimed the multitude. “Drive him out of town!” they yelled. The prophetic preacher suddenly scrambled off the stage and ran into the distance where he was never heard from again.

Outraged and offended, the throngs of people quickly convinced themselves that he was a lunatic and that none of his nonsensical message was applicable to them. After the sermon, the night’s festivities came to a close with the most grandiose fireworks display ever seen. In the following years, citizens of Los Angeles, both young and old, pressed on in their cause, knowing that they were engaged in a good and righteous work.