In the interests of maximum latitude, inspired by the late Ed Bland’s The Cry of Jazz, the futureless future, in all its contradictions, herein represents: the ongoing struggle for racial and economic equality; the avant-garde future (and past) of Black music, a creative continuum; and the pastless past, where history goes down the Orwellian memory hole, which is often where jazzocracy dwells along with protracted atrocities like the Vietnam War, which time, corporate media, and the Beltway have reduced to a simple, fundamentally patriotic, “Thank you for your service!” So I’m having it both ways: the futureless future is both the void of a nonviable future and the galactic expanse of limitless eternal vistas. I’m not going to clarify my use of “jazzocracy” here beyond its contextual allusions. The problem of jazzocracy is the basis of much of Ka-ching, and this site is intended only to supplement the book. If you Google “jazzocracy,” however, your first return is—well, it’s not for me to go there in this space, though Ka-ching goes there and beyond. And we should all go to the invaluable beyond of UbuWeb where The Cry of Jazz can be seen in one 34-minute wail.