Arts and Culture

Opinion: The Moral Injury Veterans Suffer From war Is Not Worth the Fight

Published

4 years ago

November 14, 2019

Rev. Jesse L. Jackson, Sr.

Rev. Jesse Jackson Sr.

We just celebrated Veterans Day, paying tribute to the young men and women who have served our country. Across the country, families gathered at the grave sites of those who gave their lives. Veterans drank toasts to their fellow soldiers.

In football and basketball stadiums, crowds offered a moment of silence for the fallen. The rituals are heartfelt, but far from complete.

Too often ignored is the far greater number of lives that are lost not on the battlefield but at home, not from the enemy’s guns but from our veterans’ own hands.

Now, in the sober aftermath of the celebration, there should be a reckoning.

On an average day, a staggering 20 veterans commit suicide. The deaths from suicide outnumber the losses on the battlefield in Iraq and Afghanistan.

The risk to veterans who served in combat holds true for all generations.

It doesn’t matter if the war is popular or unpopular; the veterans celebrated or controversial. Even the Greatest Generation that fought in World War II suffers current suicide rates four times that of civilians.

In a stunning essay, Matthew Hoh, an Iraqi veteran who came close to suicide himself, tries to put this in perspective.

The famous Vietnam Memorial, he writes, “is a wall that contains 58,000 names. It would have to be lengthened by some 2,000 feet to include the 100,000 to 200,000 plus Vietnam vets who are estimated to have been lost to suicide, while keeping space for those yet to come. VA data reveals that almost two Afghan and Iraq veterans die by suicide each day on average. That adds to an estimated 7,300 veterans who have killed themselves since just 2009, after coming home from Afghanistan and Iraq, a number greater than the 7,012 service members killed in those wars since 2001.”

The military is aware of the depth of this horror and has dedicated a billion dollars in trying to solve it.

The New York Times reports that the Veterans Crisis Line (VCL) is incredibly active, staffed 24/7 at 800-273-8255. This service, only available since 2007, has helped stave off hundreds of thousands of potential suicides. More than 30 times a day, VCL responders call police, fire or EMS to intervene in a suicide situation.

Thirty times a day.

There are many explanations offered for why veterans — and the families of veterans — are at greater risk of suicide: the difficulty of readjusting to civilian society; the macho military culture that keeps soldiers from seeking help; the post-traumatic stress disorders that result from combat.

Hoh, wisely in my view, offers a broader explanation: that veterans suffer from a moral injury — a shock to their own sense of themselves, their basic moral values from what they have done or have not done in combat: The killing of the enemy, the failure to save the life of a comrade, the mistaken shooting of the innocent.

‘Thou shalt not kill’ is a basic precept of all religions.

In war, the state gives soldiers the mandate to kill. The military has perfected ways of conditioning young men and women to be able to kill in combat.

Yet, Hoh argues, the conditioning does not prevent some from seeing themselves in the enemy, from feeling deeply the violation that comes from violence.

There is a lesson from this.

We should reject the easy assumption that the U.S. military should police the world, that we’ve perfected ways of fighting wars with drones and air power and with limited U.S. casualties from “boots on the ground.”

The national security managers who too often have never served in the military should be far more constrained in sending our soldiers into combat.

War is hell. It is hell for those who fall in combat — and for their families and friends suffering their loss. It is hell for those who survive it — and for their families and friends dealing with their struggles on return.

Risking lives constantly in endless wars is a moral violation and strategic failure.

If we are truly to celebrate the service of our veterans, we should demand that war not be a routine part of American policy, but a last resort used rarely and only to defend our people when attacked.

The best tribute to our combat veterans would be to create fewer of them in the future.

Rev. Jesse L. Jackson, Sr.

Posts by Rev. Jesse L. Jackson, Sr.

Related Topics:Opinion Rev. Jesse L. Jackson Sr.Veterans Day World War II

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Arts and Culture

Kedrick Armstrong: New Music Director for the Oakland Symphony

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director. In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

Published

6 days ago

April 20, 2024

Oakland Post

Kedrick Armstrong is the new music director for the Oakland Symphony. Photo credit Scott Chernis.

By Post Staff

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director.
In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

Armstrong is the successor to previous music director and Conductor Michael Morgan, who passed away in 2021 after a 30-year tenure at the Symphony.

Armstrong will open the Oakland Symphony 2024-2025 season on October 18.

Armstrong, who is 29 and hails from Georgetown, South Carolina, is currently the creative partner and principal conductor of the Knox-Galesburg Symphony.

The Chicago Tribune has praised Armstrong for his ability to “simply let the score speak for itself.” He enjoys a wide range of repertoire, spanning early music to premiering new works, using his joy and curiosity for all music to cultivate understanding and collaboration within diverse communities.
“I am deeply honored and grateful for the opportunity to serve as the new music director of the Oakland Symphony,” Armstrong said. “As a Black conductor, I find it humbling to stand on the shoulders of both Michael Morgan and Calvin Simmons,” the most recent and the first African American music directors of the Symphony, respectively.

Armstrong led three programs at the Symphony between 2022 and early 2024, which showcased his broad knowledge of the classical repertoire and enthusiasm for spotlighting diverse voices.
On his Oakland Symphony subscription debut on Feb. 16, Armstrong led the world premiere of “Here I Stand: Paul Robeson,” an oratorio by Carlos Simon on a libretto by Dan Harder, commissioned by the Oakland Symphony.

Armstrong was selected unanimously by the Oakland Symphony’s board of directors and musicians after an extensive two-year search. “The search committee was overwhelmed by Kedrick’s scholarship and curiosity about all kinds of music, from classical and jazz to gospel and hip-hop,” said. Dr. Mieko Hatano, executive director of the Oakland Symphony. “We are thrilled to have him join us at the Oakland Symphony.”

Oakland Post

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Arts and Culture

Faces Around the Bay Dr. Carl Blake, Pianist

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999. One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

Published

1 week ago

April 17, 2024

Oakland Post

Dr. Carl Blake

By Barbara Fluhrer

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999.

One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

Blake obtained a Bachelor of Music from Boston University and continued post-baccalaureate studies in Jamaica before earning a Master of Arts in Music at San Jose State University. He was the recipient of two Fulbright residencies in Honduras and completed a third residency at the University of St. Petersburg in Russia. He has a Doctor of Musical Arts from Cornell University.

At age 19, Blake, then an undergraduate piano major at Boston University, was “discovered” by Impresario Dr. W. Hazaiah Williams, who is the Founder and Director of Today’s Artists/Four Seasons Arts.

Williams honored Blake by awarding him the first Marian Anderson Young Artist Award. Anderson personally presented the award at the Masonic Auditorium in S.F. Subsequently, Blake was presented by Dr. Williams in his San Francisco debut at The Herbst Theatre. Williams subsidized a year of study abroad for Blake at the Paris Conservatory of Music. Additionally, Williams sponsored Blake’s New York Weill Hall debut, where he has performed twice since. Blake performed several times at the Yachats Music Festival in Oregon.

Blake continues to perform nationally and abroad. His hobbies are reading, baking and travel. He says, “I’m still pumping ivories, as Belgian pianist Jeanne Stark described the disciplined practice of concert piano.”

Oakland Post

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Arts and Culture

Oakland Jazz Great Offers Master Class as City Declares “John Handy Day”

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city. Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

Published

2 months ago

February 24, 2024

Oakland Post

(L-R) Del Handy, John Handy, Roger Glenn, and Joe Warner celebrate John Handy Day at Geoffrey’s Inner Circle, Oakland. Photo by Lady Bianca.

By Conway Jones

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city.

Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

“John Handy is a jazz icon and an inspiration to musicians everywhere,” said Ayo Brame, a 16-year-old Oakland tenor saxophone player who is enrolled at the Oakland School for the Arts.

In celebration of this day, the reception in downtown Oakland at Geoffrey’s Inner Circle was a gathering of artists, young and old, coming together in his honor and celebrating his 91st birthday.

Handy presented a Saxophone Colossus free masterclass for musicians. This class afforded a rare opportunity to learn about the saxophone from an aficionado. The class was free and open to all – saxophonists, vocalists, aficionados, students, and casual listeners.

“As a longtime friend for over 60 years, and fellow musician who has had numerous opportunities to share the stage with John, it has always been a pleasure performing with him and hearing his creative interpretations of the music and his gift of ease inspiring the next generation of jazz musicians,” said Roger Glenn, a multi-instrumentalist.