A Quote by Pauline Oliveros
That was at the Michigan Womyn's Music Festival in about 1989. There were 6,000 women there, and they were out in a meadow, and I offered the tuning meditation and they did it.
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They were two and a half decades in which Brazil had no capacity to invest in infrastructure. Just to give you an idea, in 1989, we had in Brazil about 50,000 project-engineering businesses. When I took office, there were just 8,000. Universities were no longer turning out engineers.
Once when we performed at a festival there were between 50, 000 and 60, 000 people in the audience we were so shocked. It was crazy.
I remember in 1968 when we were in Cannes, in the festival, and we were supposed to be there 10 days, and the second day the festival collapsed because the French, you know, film-makers raised the red flag in the festival and ended the festival.
I did a tour down South someplace, and it was an all-day festival, and there were about 2,000 people. It was pouring down rain, and I went to grab the mic, and I got electrocuted. I felt the electricity flow through my body.
Acting is a trick word invented in the festival of Dionysus, before Christ, in Greece at a fertility festival. That's where theatre came from: a fertility festival. No women were allowed. All the men played all the parts.
According to the Bureau of Labor Statistics, before NAFTA went into effect, there were 285,000 auto workers in Michigan. Today, that number is only 160,000.
The sacrifices of our people were very great. Out of a population of one million, 28,000 were killed, 12,600 wounded, 10,000 were made political prisoners in Italy and Germany, and 35,000 made to do forced labour, of ground; all the communications, all the ports, mines and electric power installations were destroyed, our agriculture and livestock were plundered, and our entire national economy was wrecked.
If in the past, you didn't cry out when thousands of protesters were killed and injured by Turkey, Egypt and Libya, when more victims than ever were hanged by Iran, women and children in Afghanistan were bombed, whole communities were massacred in South Sudan, 1800 Palestinians were starved and murdered by Assad in Syria, hundreds in Pakistan were killed by jihadist terror attacks, 10,000 Iraqis were killed by terrorists, villagers were slaughtered in Nigeria, but you only cry out for Gaza, then you are not Pro Human Rights, you are only Anti-Israel.
So we were ecstatic and we swirled around spontaneously, the campus in Ann Harbor and about 4,000 of us landed on the steps of the president of the University of Michigan's home.
I remember the first show I had there were about 3 people, at least there was somebody. The next one was about 30. Then a couple years later there were 300 people and before I knew it there were 3,000... Then one day, I opened my eyes and there were 300,000 singing all my lyrics.
Not to get too deep, but I was brought up by these women who if you wanted to label them, maybe they were feminists, but you know what? They never asked for that or wanted it and they never got up on a soapbox and spoke about it, they just did it. They did their work, they did their jobs, they were who they were.
There were 2 million civilians in Mosul and 2,000 kidnapped girls there. There were thousands of families in Mosul that could have helped other girls, but they didn't. Women had to wear veils in Mosul. It would have been easy to smuggle Yazidi women out.
What was nice about the nineties is that it was an example of music that responded to a desire of the times. It spoke to the social conditions of the times. Women were making more money. Women were saying, "My voice counts. If we're going out on a Friday night, I don't want to see a Rambo movie. I want to go see a singer/songwriter who sings about my life".
We were really into what Cliff Martinez did with 'Drive;' we were into what Trent Reznor and Atticus Ross were doing with David Fincher. When I read about how they worked with David Fincher, they're composing hours and hours of music and then he's working and figuring it out.
We were always just a hardcore band that came out and said what we believed in, but we also talked about the streets and the stuff that we were into and the struggles and everything we were going through. Once people found out we were Christian, it was always, 'Is that Christian music?'
I first visited the Toronto fest in 1979, its fourth edition, when it was known as the Festival of Festivals and had an audience of about 40,000. I happily returned to the 10-day skein nearly every year thereafter, as attendance swelled to 400,000 and it grew into the most influential film festival in North America, perhaps the world.
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