IN: Charles Edward "Charlie" Haden (August 6, 1937 - July 11, 2014) was an American jazz double bass player, bandleader, composer and educator known for his deep, warm sound, and whose career spanned more than fifty years. In the late 1950s, Haden was an original member of the ground-breaking Ornette Coleman Quartet. Haden revolutionized the harmonic concept of bass playing in jazz. About him, German musicologist Joachim-Ernst Berendt commented, "His ability to create serendipitous harmonies by improvising melodic responses to Coleman's free-form solos (rather than sticking to predetermined harmonies) was both radical and mesmerizing.

In addition to his lyrical playing, Haden was known for his warm tone and subtle vibrato on the double bass. His approach to the bass stemmed from his belief that the bassist should move from an accompanying role to a more direct role in group improvisation. This is particularly clear in his work with the Ornette Coleman Quartet where he frequently improvised melodic responses to Coleman's free-form solos instead of playing previously written lines. He frequently closed his eyes while performing, and assumed a posture in which he bent himself around the bass until his head was almost at the bottom of the bridge of the bass.  In an interview with Haden, pianist Ethan Iverson noted that Haden's "combination of folk song, avant-garde sensibility, and Bach-like classical harmony is a stream in this music just as distinctive as Thelonious Monk or Elvin Jones."  Haden owned one three-quarter-sized bass, and one seven-eighth-sized bass. The larger bass is one of a small number of basses made by Jean-Baptiste Vuillaume, a French luthier, in the mid-nineteenth century. He greatly valued this bass, playing it only at recording sessions and jobs in close proximity to his home so as not to risk damaging it in transit. He attributed the bass's special and valuable nature to the varnish used by Vuillaume, which is similar to Italian varnish.  Haden suffered from tinnitus, a ringing in both ears that he believed he acquired from constant exposure to playing in proximity to drums, and possibly from an extremely loud concert in which he played during the late 1960s. He also suffered from hyperacousis, or sensitivity to loud noises. As a result, when he played with a drummer, he had to play behind a Plexiglass divider.  "American Quartet" pianist, Keith Jarrett, said of Charlie's way of playing, "He wanted to relate to the material in a very personal style all the time. He wasn't somebody to get into a groove and just enjoy it simply because it was a groove".

Who or what is his style influence by?

OUT: 


IN: Thomas Stephen Szasz ( SAHSS; Hungarian: Szasz Tamas Istvan [sa:s]; 15 April 1920 - 8 September 2012) was a Hungarian-American academic, psychiatrist and psychoanalyst. He served for most of his career as professor of psychiatry at the State University of New York Upstate Medical University in Syracuse, New York.

If we accept that "mental illness" is a euphemism for behaviors that are disapproved of, then the state has no right to force psychiatric "treatment" on these individuals. Similarly, the state should not be able to interfere in mental health practices between consenting adults (for example, by legally controlling the supply of psychotropic drugs or psychiatric medication). The medicalization of government produces a "therapeutic state", designating someone as, for example, "insane" or as a "drug addict".  In Ceremonial Chemistry (1973), he argued that the same persecution that targeted witches, Jews, gypsies, and homosexuals now targets "drug addicts" and "insane" people. Szasz argued that all these categories of people were taken as scapegoats of the community in ritual ceremonies. To underscore this continuation of religion through medicine, he even takes as example obesity: instead of concentrating on junk food (ill-nutrition), physicians denounced hypernutrition. According to Szasz, despite their scientific appearance, the diets imposed were a moral substitute to the former fasts, and the social injunction not to be overweight is to be considered as a moral order, not as a scientific advice as it claims to be. As with those thought bad (insane people), and those who took the wrong drugs (drug addicts), medicine created a category for those who had the wrong weight (obesity).  Szasz argued that psychiatrics were created in the 17th century to study and control those who erred from the medical norms of social behavior; a new specialization, drogophobia, was created in the 20th century to study and control those who erred from the medical norms of drug consumption; and then, in the 1960s, another specialization, bariatrics, was created to deal with those who erred from the medical norms concerning the weight the body should have. Thus, he underscores that in 1970, the American Society of Bariatric Physicians (from the Greek baros baros, for "weight") had 30 members, and already 450 two years later.

What is separation of psychiatry and the state?

OUT:
The medicalization of government produces a "therapeutic state", designating someone as, for example, "insane" or as a "drug addict".