fixes to communists mustHEADmaster

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diff --git a/extra/communists_must.tex b/extra/communists_must.tex
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--- a/extra/communists_must.tex
+++ b/extra/communists_must.tex
@@ -10,7 +10,9 @@
 
 \chapter[Communists Must Give Revolutionary Leadership in Culture (1965)][Communists Must Give Revolutionary Leadership in Culture]{Communists Must Give Revolutionary Leadership in Culture (1965)}
 
-\section*{1\hfill}
+\vfill
+
+\section*{1}
 If the bourgeoisie could keep control indefinitely of the world's most productive 
 economies, the U.S. and West Europe, then all cultural leadership, no matter how 
 revolutionary, would come to nothing. The culture of the future would be fascist 
@@ -74,7 +76,7 @@ productivity of labor (Condition A).
 
 To increase labor productivity in the \enquote{applied arts}, public
 ownership is necessary, particularly to escape the forced consumption,
-the deliberately wasteful stylisrn required by the capitalist economy;
+the deliberately wasteful stylism required by the capitalist economy;
 and a planned economy is necessary, to plan housing and transport as a
 whole. But the experience of the Soviet Union shows that these economic
 prerequisites do not ensure efficient design. The Soviet Union is 
@@ -86,11 +88,11 @@ over the stylized design.
 The oppressed, the poor and illiterate masses as such have nothing to 
 contribute to engineering in the \enquote{applied arts}; there can be no 
 \enquote{proletarian design}. \enquote{Folk handicrafts}, such as handweaving, pottery,
-metalworking must be replaced by mass pro-duction. 
+metalworking must be replaced by mass production. 
 
 The most efficient architecture, housing today is Soviet prefabricated
 concrete architecture. (Appendix 1.) However, this architecture is 
-limited by the heaviness of concrete, structural redun-dancy, and 
+limited by the heaviness of concrete, structural redundancy, and 
 stylism. Maciunas' prefabricated architecture shows how much farther 
 efficiency can be carried. (Appendix 2. A sample of a major material 
 in Maciunas' design, expanded polystyrene, is utilized as the back 
@@ -147,10 +149,10 @@ Nor is it African arts of hundred of years ago which are no longer extant.
 \emph{Further, it must be absolutely clear that street-Negro music is not \enquote{folk art}.}
 Street-Negro music is not those \enquote{Negro spirituals} that were \enquote{purified} of 
 \enquote{ugly} Africanisms, notated in choral fashion, and performed in the Concert
-Hall; or Villa-Lobos'\enquote{Brazilian} Symphonies; or the Kingston Trio; or Odella.
+Hall; or Villa-Lobos' \enquote{Brazilian} Symphonies; or the Kingston Trio; or Odella.
 Street-Negro music is not the Russian Moiseyev's Ballets of phony \enquote{folk dances}
 performed on the Concert Stage; or the Mexican Ballet Folklorico; or the Cuban
-National \enquote{Folk Dance} group; or the Rhumba, \enquote{cleansed} of Africanisrns to become
+National \enquote{Folk Dance} group; or the Rhumba, \enquote{cleansed} of Africanisms to become
 a ballroom dance. 
 
 Recent trends in street-Negro music prove that it is irreconcilable 
@@ -164,17 +166,17 @@ In addition to the importance of the recording studio in production, there
 is the importance of radio stations in distribution. Street-Negro music rocks;
 European bourgeois Modern Art (and \enquote{folk art}) doesn't. 
 
-\enquote{folk art} means something antiquated, humble, and pathetic, and R\&B singer
-Buddy Guy's \enquote{First Time I Met the Blues} (Argo LP 4026) comes on too scary for
-that put-down. \uline{Bo Diddley} (Chess LP 1431) is good, normal street-Negro music; 
+\enquote{Folk art} means something antiquated, humble, and pathetic, and R\&B singer
+Buddy Guy's \enquote{First Time I Met the Blues}\footnote{(Argo LP 4026)} comes on too scary for
+that put-down. \uline{Bo Diddley}\footnote{(Chess LP 1431)} is good, normal street-Negro music; 
 Bo Diddley, use of amplifier reverb and tremolo in \enquote{Pretty Thing} is the 
 opposite of \enquote{primitive}. \enquote{Tobacco Road}, by the Nashville musician John D. 
-Laudermilk (Columbia Promotion Record 45 RPM 4-41562, JZ SP49232), is the very 
-opposite of \enquote{primitive}; and utterly cuts up the \enquote{sophisticated } Nashville Teens'
+Laudermilk,\footnote{(Columbia Promotion Record 45 RPM 4-41562, JZ SP49232)} is the very 
+opposite of \enquote{primitive}; and utterly cuts up the \enquote{sophisticated} Nashville Teens'
 version. Incidentally, Laudermilk's lyrics are reactionary, but his musical
 culture in general is an indigenous symbol of the proletariat. The R\&R which 
 jives the snobs and has an electronic sound and is called \enquote{junk music}, such
-as \enquote{The Surfin' Bird} by the Trashmen (Garrett Records GA 4002'), is also
+as \enquote{The Surfin' Bird} by the Trashmen,\footnote{(Garrett Records GA 4002)} is also
 by no means \enquote{primitive}. 
 
 For revolutionary leadership, street-Negro music \uline{must be} the 
@@ -226,26 +228,26 @@ After the Communists are listening to street-Negro music, then it
 will be time to consider that the bourgeoisie \uline{does} manipulate it by
 controlling it commercially. In addition to other commercial practices,
 the bourgeoisie selects to sell, and encourages, lyrics 
-which suit itself---especially in rock 'n' roll. (And the religion in
+which suit itself---especially in rock'n'roll. (And the religion in
 Gospel, Santer\'{\i}a, and the like is reactionary---but the musical
 culture is not, and survives through its influence on secular
 music.) Somebody will have to encourage an open call to rebellion
 in the lyrics (a step which is irreconcilable with composing cop-out
-\enquote{Negro freedom} \enquote{folk songs}).Actually, rebellion is what this
+\enquote{Negro freedom} \enquote{folk songs}). Actually, rebellion is what this
 music-dancing is all about; it just couldn't come out under the 
 overseer, shotgun or the A\&R man's axe. 
 
 As for \enquote{folk music} and \enquote{folk ballet}, they must be replaced by 
 street-Negro music. (Condition B.) All ballet should be replaced 
 by this music-dancing. (Condition B. Also, the live Concert Stage
-performance is not efficiently produced culture --- Condition A.)
+performance is not efficiently produced culture---Condition A.)
 Grand Opera should be replaced by this music-dancing. (Conditions
 B, A, C.) All other music should be replaced by it. (Condition B.) 
 
 Even more, Poetry should be replaced by the lyrics of street-Negro
 music (Conditions B, C.) 
 
-Revolutionary leadership in music, dancing, "poetry" can only be
+Revolutionary leadership in music, dancing, \enquote{poetry} can only be
 as I have stated. No alternative can even be considered. Street-Negro
 music is already a vital symbol of the most oppressed; all 
 that is needed is encouragement so that it can become more so. 
@@ -271,8 +273,8 @@ to the films that are shown to them. Thus, there can be no \enquote{proletarian}
 \enquote{folk} cinema. 
 
 Now \enquote{film} or \enquote{The Cinema} commonly means the \enquote{novelistic cinema},
-the \enquote{Theatrical or melodramatic cinema}, the \enquote{acted cinema}. 
-That is,the cinema is commonly a photograph of an acted theatrical
+the \enquote{theatrical or melodramatic cinema}, the \enquote{acted cinema}. 
+That is, the cinema is commonly a photograph of an acted theatrical
 drama, staged with sets, actors, costumes, and make-up. In
 turn, this drama is usually an adaptation of a fictional-plot novel. 
 The Hollywood movie industry is a novelistic cinema industry. The
@@ -282,7 +284,7 @@ is novelistic cinema.
 But during the revolutionary flood tide when Lenin was head of
 state, a significant change took place in the Russian film. Lenin
 issued a number of directives which said in effect that the novelistic
-cinema was merely to be tolerated. Soviet film-makers were 
+cinema was merely to be tolerated. Soviet filmmakers were 
 to concentrate on newsreels and documentaries, and these were 
 to be included in every film program. Lenin called for a propagandist 
 newsreel series \enquote{From the life of peoples in all countries}.
@@ -323,10 +325,10 @@ Soviet life for films of primarily technical importance, and portrayals
 of Lenin as a Russian deity rather than a political figure.
 The novelistic cinematographers won out, and Vertov's work was 
 suppressed. From 1937 to his death in 1954, Vertov made no 
-more feature films, The feature documentary made a limited come-back
-in World War II; but has boon in obscurity ever since. 
+more feature films, The feature documentary made a limited comeback
+in World War II; but has been in obscurity ever since. 
 
-Further, Vertov had a serious limitation which put him at a slight disadvantage in his struggle with Eisenstein. None of the Soviet artists were able to stand on their own feet politically; but in addition Vertov was hardly class-conscious at all. Eisenstoin made theatrical, acted cinemas which emphasized the class struggle (fat banker---starving workers); Vertov could have made documentaries which did so even more, but he didn't. Vertov's film reflected Soviet life, but not in a highly class-conscious way. Esther Shub was more political. 
+Further, Vertov had a serious limitation which put him at a slight disadvantage in his struggle with Eisenstein. None of the Soviet artists were able to stand on their own feet politically; but in addition Vertov was hardly class-conscious at all. Eisenstein made theatrical, acted cinemas which emphasized the class struggle (fat banker---starving workers); Vertov could have made documentaries which did so even more, but he didn't. Vertov's film reflected Soviet life, but not in a highly class-conscious way. Esther Shub was more political. 
 
 The British cinema is mostly novelistic. But in the early 1930's, during the upsurge of the workers, and under the influence of the Soviet filmmakers l have just discussed, the filmmaker John Grierson and others started the British Documentary Film movement, and the Left adopted the documentary as its own. 
 
@@ -344,23 +346,23 @@ and organization of material. Note that when we publish photographs,
 they are always of real events. We never publish photographs 
 of scenes staged with actors. Whatever our reason is, it is 
 the argument against the novelistic cinema. Further, for us to fool
-with the novelistic cinema, with elaborate sets, actors, and cos-tumes
+with the novelistic cinema, with elaborate sets, actors, and costumes
 would not only be escapist, but an absurdly wasteful expense.
 Then, if the bankers circulate a movie or play so fascist 
 that we have to demonstrate against it, we must publicize our own
 films in the demonstration.}
 
 \subsection*{\enquote{\textsc{Theatre}}}
-The Legitimate Theatre, Broadway and off-Broadway, is a culture of the luxury-consuming \'{e}lite. It is a luxury analogous to handwoven clothes. As soon as Legitimate theatrical productions are a success, they are filmed. The film is far more efficient than the Legitimate Theatre. Even though the Theatre is more original and intimate than the \uline{theatrical} cinema, it will tend to be replaced by films of itself, because of their greater efficiency. The Legitimate Theatre survives to the extent that a luxury-consuming \'{e}lite supports it. 
+The Legitimate Theatre, Broadway and off-Broadway, is a culture of the luxury-consuming \'{e}lite. It is a luxury analogous to handwoven clothes. As soon as Legitimate Theatrical productions are a success, they are filmed. The film is far more efficient than the Legitimate Theatre. Even though the Theatre is more original and intimate than the \uline{theatrical} cinema, it will tend to be replaced by films of itself, because of their greater efficiency. The Legitimate Theatre survives to the extent that a luxury-consuming \'{e}lite supports it. 
 
 Vaudeville has reappeared, but on television, on videotape. Even the comic nightclub monologue, which is not being filmed, is being recorded. 
 
 As for the feudal and \enquote{folk} theatres, Noh, the Japanese puppet theatre, the circus, the Brazilian \uline{festa}, they are already dying out, 
 
-Thus, the Legitimate Theatre is a highly inefficient luxury com-pased to the film. It is revolutionary leadership to do everything with the film; to replace the Theatre, including performances of old Dramas, with the socialist film. (\uline{Condition A}: higher labor pro-ductivity; \uline{Condition B}: against \'{e}litist luxuries.) 
+Thus, the Legitimate Theatre is a highly inefficient luxury compared to the film. It is revolutionary leadership to do everything with the film; to replace the Theatre, including performances of old Dramas, with the socialist film. (\uline{Condition A}: higher labor productivity; \uline{Condition B}: against \'{e}litist luxuries.) 
 
 \subsection*{\enquote{\textsc{Visual Arts}}}
-Before the Invention of photography, much Art involved representation, from Chinese silk painting to the French Academy to Indian sculpture. As photography was developed in bourgeois society in the 19th century, and rapidly achieved widespread popularity, Serious Artists progressively lost Interest In representation. 
+Before the invention of photography, much Art involved representation, from Chinese silk painting to the French Academy to Indian sculpture. As photography was developed in bourgeois society in the 19th century, and rapidly achieved widespread popularity, Serious Artists progressively lost interest in representation. 
 
 The decline of representational Art resulting from the invention of photography is an accomplished fact. The acceptance of this irreversible technical advance is obligatory for revolutionary leadership. (\uline{Condition A.}) As for calligraphy, it is replaced by the Roman alphabet and typography; and as for decoration in the \enquote{applied arts}, I have already dealt with it, 
 
@@ -377,7 +379,7 @@ The best-seller novel is a \uline{middle-class} art. Its \enquote{equipment}, th
 
 Many bourgeois intellectuals are becoming more interested in film than in the novel. Even so, the middle classes may continue to demand the best-seller. If they do, the best-seller will present a dilemma. The whole experience of the best-seller shows that it can only have flair, \enquote{freedom}, \enquote{life} when it is irresponsible to the correct political line, to Communist virtuousness. That is, when it is cynical about revolution, scatological, or the like. The novel that approximates the Party line, Marxist historiography, the Socialist Realist novel, can only be stodgy, inept, and dull---and is not a \enquote{best-seller}. There is no getting around it: Dostoevski is more \enquote{alive} than any Soviet novelist; the political cynics, Hemingway, Mailer, Baldwin, and their kind, make the most \enquote{alive} novelists, The reason is precisely that the best-seller violates Condition C. The flair of the best-seller, even the \enquote{true-to-life} best-seller, comes from its fictionality, its fantasy, its escapism, 
 
-No doubt the fiction of Proust, Joyco, Samuel Beckett will die out. (Condition B.) But otherwise there maybe no \enquote{best possibility} for fiction, The politically irresponsible best-seller may have to be permitted indefinitely, if the middle classes demand it. (But not Socialist Realism---we can't back an escapist art that the masses don't even want.)
+No doubt the fiction of Proust, Joyco, Samuel Beckett will die out. (Condition B.) But otherwise there may be no \enquote{best possibility} for fiction, The politically irresponsible best-seller may have to be permitted indefinitely, if the middle classes demand it. (But not Socialist Realism---we can't back an escapist art that the masses don't even want.)
 
 At best, if the workers' pressure for a revolutionary political line in the best-seller becomes great enough, it may be possible to divert them from the best-seller to the socialist journalistic book and film. (By the \enquote{journalistic book} I mean the book-length account of current events by a writer-participant, such as John Reed's \uline{Ten Days.}) 
 
@@ -386,7 +388,7 @@ At best, if the workers' pressure for a revolutionary political line in the best
 Can as much established culture as I have said really be exhausted? It is extremely significant that during the same early Soviet period I have referred to, all of the famous cultural specialists, even Eisenstein, even Mayakovsky, believed that Art would ultimately disappear; as every honest history of the period admits. In general, this period was the most revolutionary yet in cultural history; there must be some truth in the unanimous belief of its celebrities, 
 
 \subsection*{\textsc{Theory of Culture}}
-Two topics particularly need study. The most important is: Culture as the instrument of an economic class. The overwhelming evidence that culture is a class instrument must be assembled. The other topic is the finances of culture, of the multibillion-dollar cultural institutions: patronage and commissions; Opera boxes; book sales; ticket sales; the Art market; record sales; the banks and the cinema monopolies; the financing of Broadway plays; sponsorship of TV dramas; private endowment of Orchestras, Museums, Concert Halls; state-monopoly capitalist support, which is increasingly important. 
+Two topics particularly need study. The most important is: Culture as the instrument of an economic class. The overwhelming evidence that culture is a class instrument must be assembled. The other topic is the finances of culture, of the multi-billion-dollar cultural institutions: patronage and commissions; Opera boxes; book sales; ticket sales; the Art market; record sales; the banks and the cinema monopolies; the financing of Broadway plays; sponsorship of TV dramas; private endowment of Orchestras, Museums, Concert Halls; state-monopoly capitalist support, which is increasingly important. 
 
 Top published studies of the finances of culture are Francis Haskell's \uline{Patrons and Painters: A Study in the Relations Between Italian Art and Society In the Age of the Baroque}; investment banker Richard H. Rush's \uline{Art As An Investment}; and bourgeois critic Harold Rosenberg's \enquote{The Art Establishment}, in Esquire, January 1965; because they elaborate with Machiavellian frankness on the relation of culture to the ruling class, for a large area of culture. These revealing studies need only be placed in context to have revolutionary implications. Unpublished material of mine which I am collecting under the title \uline{Class and the Development of Culture} will provide an adequate general theory of culture. 
 
@@ -398,7 +400,7 @@ Only the applications of Condition B need to be explained: To show that certain
 
 Economic causes have greatly stratified the world proletariat. The bourgeoisie has used part of the profits from one section of the workers to bribe another section. The low labor productivity of proletarian dictatorships in backward countries is another cause. At the top of the world proletariat is the white labor aristocracy, and the revisionist managers in the proletarian dictatorships; at the bottom are the \enquote{street Negroes}, the \enquote{field Negroes}. The upper layer of the proletariat seeks to consolidate its privileges, and uses methods pioneered by the aristocracies of earlier eras. 
 
-One of the methods pioneered by the aristocracies was through Art. Most of the culture that Condition B excludes originated on commission from exploiters of one kind or another, back when Artists were virtually part of a patrician's stable of servants. The exploiters demanded of their Artists culture virtually prepared to consolidate and enhance the exploiters' position, to differentiate the exploiters as much as possible from the less privileged, the plebeians battering at the doors of privilege. This culture is intentionally wasteful. Where there was national oppression, the culture was prepared to differentiate the exploiters from the oppressed. Today, even though the European bourgeois Modern Artist is no longer a servant, his patrons are the aristocracy of business and finance, The major function of his Art is still to differentiate and consolidate the aristocracy, and the aristocracy of the aristocracy, as Rosenberg's \enquote{The Art Establishment} so brilliantly proves. Yes, this bourgeois critic understands his own class much bettor than the \enquote{Marxist} critics do.
+One of the methods pioneered by the aristocracies was through Art. Most of the culture that Condition B excludes originated on commission from exploiters of one kind or another, back when Artists were virtually part of a patrician's stable of servants. The exploiters demanded of their Artists culture virtually prepared to consolidate and enhance the exploiters' position, to differentiate the exploiters as much as possible from the less privileged, the plebeians battering at the doors of privilege. This culture is intentionally wasteful. Where there was national oppression, the culture was prepared to differentiate the exploiters from the oppressed. Today, even though the European bourgeois Modern Artist is no longer a servant, his patrons are the aristocracy of business and finance, The major function of his Art is still to differentiate and consolidate the aristocracy, and the aristocracy of the aristocracy, as Rosenberg's \enquote{The Art Establishment} so brilliantly proves. Yes, this bourgeois critic understands his own class much better than the \enquote{Marxist} critics do.
 
 As a consequence, the social climbers, the newly rich and the middle classes, insistently demand Art Appreciation courses to initiate them into the mysteries of snob culture. From this social layer come the \enquote{Marxist} critics, clutching their programs of Music of the Masters, their pamphlets explaining the Old Master Paintings. 
 
@@ -410,13 +412,13 @@ Then, snob culture today is dominated by European bourgeois culture, a dominatio
 
 An event which illustrates the role of snob culture in the proletarian dictatorships was the appearance of La Scala Opera of Milan at the Bolshoi Theatre in 1964. When it was announced that La Scala would open the 1964--5 Moscow season, the series was sold out almost instantly, Tickets were appropriated by Government Ministries---and their wives' dressmakers. Even the Soviet ticket scalping system (Blat) was helpless as two million requests for seals poured in. La Scala performed \uline{Turandot}, \uline{Trovatore}, \uline{Lucia di Lammermoor}. The first-night audience included almost every member of the Soviet \'{e}lite from Yuri Gagarin to Ulanova. Premier Khrushchev attended the second \uline{Turandot}, and came the next night with his whole family, along with Mikoyan and Marshal Zhukov. On the second night, the 95 brilliant chandeliers of the 134-year-old Bolshoi trembled with the applause from the six tiers of red plush and gold-trimmed balconies. Now the craving of those two million people for tickets, to see (and be seen at) an aristocratic frivolity like \uline{Turandot}, which is precisely what the whole cultural policy of the Soviet Union for decades has been contrived to produce, is a craving to climb into the managerial \'{e}lite. Yes, this culture finds its most appropriate, natural, and indispensable place in the aggressive consolidation of the bureaucracy. It is also significant that the top Soviet performing Artists, Ulanova (the \emph{\enquote{tsarina}} of Dance), Rikhter, Oistrakh, Rostropovich, and the stars of the Moscow Art Theatre, the Ballerinas who after a performance leave the Bolshoi in their fur coats and ride off in their chauffeur-driven private limousines, live in an ease second only to that of the top Government leaders. Sooner or later, the Interpretation of patrician Art requires patrician performers. In People's China too, orchestra players receive twice the salary of steelworkers. 
 
-European popular music is the exception in the culture Condition B excludes, in that it was a revolutionary symbol in 1789. But now that the European and European-American workers have come to have a position in the world proletariat above the colored workers, the \enquote{idea} of European popular music is that it is higher and purer than low, \enquote{racial} street-Negro music. This white-supremacist conception will persist as long as \enquote{white} music does; European popular music now symbolizes white supremacy, Further, the whole idea of \enquote{folk music} and \enquote{folk ballet} is \enquote{cleaned-up n------r music and dances}, European popular music and \enquote{folk music} consolidate white supremacy among the workers. 
+European popular music is the exception in the culture Condition B excludes, in that it was a revolutionary symbol in 1789. But now that the European and European-American workers have come to have a position in the world proletariat above the colored workers, the \enquote{idea} of European popular music is that it is higher and purer than low, \enquote{racial} street-Negro music. This white-supremacist conception will persist as long as \enquote{white} music does; European popular music now symbolizes white supremacy. Further, the whole idea of \enquote{folk music} and \enquote{folk ballet} is \enquote{cleaned-up n------r music and dances}, European popular music and \enquote{folk music} consolidate white supremacy among the workers. 
 
 \section*{6}
-A general remark on implementation of the best possibility for theatre and film. In the early stages of the replacement of the Legitimate Theatre and the novelistic cinema, some more plays and some neo-novelistic cinemas may be produced. These dramas and cinemas present a dilemma exactly analogous to that of the best-seller. They can have "life" only when they are irresponsible to the correct political line. The more they approximate the Party line, the more they will fall flat. LeRoi Jones against the Chinese "proletarian drama": that is the dilemma. The politically irresponsible drama and novelistic cinema may have to be permitted for a while. But a more hopeful possibility is that workers' dissatisfaction with their politics will help to displace them. 
+A general remark on implementation of the best possibility for theatre and film. In the early stages of the replacement of the Legitimate Theatre and the novelistic cinema, some more plays and some neo-novelistic cinemas may be produced. These dramas and cinemas present a dilemma exactly analogous to that of the best-seller. They can have \enquote{life} only when they are irresponsible to the correct political line. The more they approximate the Party line, the more they will fall flat. LeRoi Jones against the Chinese \enquote{proletarian drama}: that is the dilemma. The politically irresponsible drama and novelistic cinema may have to be permitted for a while. But a more hopeful possibility is that workers' dissatisfaction with their politics will help to displace them. 
 
 \section*{7}
-I have so far limited myself to the present period, but I would like to make one remark with respect to the period after the defeat of the U.S.-European bourgeoisies. Music-dancing will then be an amusement rather than a class-struggle symbol. In the present period, street-Negro music is permeated through and through with \uline{competition}. There is competition between the singers and combos. There is competition on the dance floor. The conceptions of one's superiority to another, one's getting ahead and leaving another behind, or of one's mediocrity or inferiority, are involved. Thus, disappointment and failure are possible in this music-dancing. Now competition is inimical to amusement, I think the people of the future will turn against this competition. They will find a way, in music-dancing and other amusements, for everybody to be "best". 
+I have so far limited myself to the present period, but I would like to make one remark with respect to the period after the defeat of the U.S.-European bourgeoisies. Music-dancing will then be an amusement rather than a class-struggle symbol. In the present period, street-Negro music is permeated through and through with \uline{competition}. There is competition between the singers and combos. There is competition on the dance floor. The conceptions of one's superiority to another, one's getting ahead and leaving another behind, or of one's mediocrity or inferiority, are involved. Thus, disappointment and failure are possible in this music-dancing. Now competition is inimical to amusement, I think the people of the future will turn against this competition. They will find a way, in music-dancing and other amusements, for everybody to be \enquote{best}. 
 
-\section*{{\Large 8}}
+\section*{8}
 If the bourgeoisie could keep control indefinitely of the world's most productive economies, the U.S. and West Europe, then all cultural leadership, no matter how revolutionary, would come to nothing.