Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 8056 me, why don’t I ask you first: “Where did your inspiration come from in the 3rd quarter? What really inspired you?” Farrell: In the 3rd quarter, it was music. I’m not a movie watcher, although I’ve been watching a television series and noticing interesting. The series Black List has James Spader playing an in- ternational criminal waging war against the cabal within the American government. I find that series interesting. Fitts: Yes. Farrell: If you’re not familiar with the series, you can watch it from the start to catch up. More and more memes are coming out in the popular media, and I have to wonder if someone is trying to send messages, or is someone trying to expose Mr. Global in the guise of fiction? It’s hard to tell. Fitts: I think the media try to hold onto market share, and this is their only way. Farrell: That may be true. They play to what people are thinking. Who knows? In terms of inspiration, it’s usually music. I’ve been listening recently to organ pieces that I used to play – organ symphonies of Evita and Vierne and of course J.S. Bach. I get inspiration from music – much more than from visual media. In terms of reading, I’ve come across an interest- ing book about the Medicis in Florence and how banking and arts have been connected since the Renaissance. This is fascinating, how the arts can drive certain memes into society. Fitts: Absolutely. Farrell: They use art to remold it, and that just got me thinking about music again. The CIA is well known for sponsoring modern art, music, and the rock phenomenon in this country. I’m not saying that rock music is bad; far from it. But it’s an indicator of why our modern Ameri- can culture looks so barbaric. So much of our art is ultimately inhumane art. Fitts: I’m going to use my words, not theirs. What the financiers told me on Wall Street was that we couldn’t build a market until the art and culture had come together. For example if we want to glo- balize the economy, you needed to develop world music and get the different artists together. One of my favorite music videos is Sting with Branford Marsalis. He assembled musicians from different traditions and parts of the world to do his fragile tour. His vision was that their music and his yelling and screaming would come finally together, and the differing musicians would un- derstand his vision and beautiful, differing tradi- tions would come together. As the tour evolves, something happens. They reinvent what they’re doing and take it to a whole new level that he had never planned. They created a something whole and new. It was quite remarkable. We say, “Oh, they’re trying to build the global field so the global money can run.” Farrell: Let me propose a question here, and I don’t even want to suggest an answer. I don’t even want you to try to answer it. I propose this question for the listeners. The question is: Why is the music of J.S. Bach so universal? I have a recording of his orchestral suite recorded in Japan in the 1980s, played by a Japanese Kodo orchestra. We can go online and find Korean, Japanese, Chinese, and Malaysian children learn- ing to play the violin and learning his pieces? Why is his music so universal and so adaptable to almost any instrument? There are reasons for it. I’m asking for a specific philosophical, esthetic reason. Why is that? Fitts: That’s a great question. Can I add to it? Farrell: Sure. Fitts: I told you that during the litigation I was dealing with chaotic forces trying to push mas- sive incoherence and to drive me crazy. Bach was the one thing I had, no matter where or what I was doing, that could bring me back to coher- ence. I consumed a huge amount of Bach, just coming back to coherence. No matter what and no matter how bad it was, I could come back to coherence with Bach. Farrell: Why is it that way, and why did that II. News Trends & Stories “ The series Black List has James Spader playing an inter- national criminal waging war against the cabal within the American govern- ment. I find that series interesting. ”