Country Singers Quotes

There is such a place as fairyland - but only children can find the way to it. And they do not know that it is fairyland until they have grown so old that they forget the way. One bitter day, when they seek it and cannot find it, they realize what they have lost; and that is the tragedy of life. On that day the gates of Eden are shut behind them and the age of gold is over. Henceforth they must dwell in the common light of common day. Only a few, who remain children at heart, can ever find that fair, lost path again; and blessed are they above mortals. They, and only they, can bring us tidings from that dear country where we once sojourned and from which we must evermore be exiles. The world calls them its singers and poets and artists and story-tellers; but they are just people who have never forgotten the way to fairyland.

Indians are the Italians of Asia and vice versa. Every man in both countries is a singer when he is happy, and every woman is a dancer when she walks to the shop at the corner. For them, food is the music inside the body and music is the food inside the heart. Amore or Pyar makes every man a poet, a princess of peasant girl if only for second eyes of man and woman meets.

I hear the word "tolerance" -- that some people are trying to teach people to be tolerant of gays. I'm not satisfied with that word. I am gay, and I am not seeking to be "tolerated." One tolerates a toothache, rush-hour traffic, an annoying neighbor with a cluttered yard. I am not a negative to be tolerated.

I was in the winter of my life- and the men I met along the road were my only summer. At night I fell sleep with vision of myself dancing and laughing and crying with them. Three year down the line of being on an endless world tour and memories of them were the only things that sustained me, and my only real happy times. I was a singer, not very popular one, who once has dreams of becoming a beautiful poet- but upon an unfortunate series of events saw those dreams dashed and divided like million stars in the night sky that I wished on over and over again- sparkling and broken. But I really didn’t mind because I knew that it takes getting everything you ever wanted and then losing it to know what true freedom is. When the people I used to know found out what I had been doing, how I had been living- they asked me why. But there’s no use in talking to people who have a home, they have no idea what its like to seek safety in other people, for home to be wherever you lied you head. I was always an unusual girl, my mother told me that I had a chameleon soul. No moral compass pointing me due north, no fixed personality. Just an inner indecisiviness that was as wide as wavering as the ocean. And if I said that I didn’t plan for it to turn out this way I’d be lying- because I was born to be the other woman. I belonged to no one- who belonged to everyone, who had nothing- who wanted everything with a fire for every experience and an obssesion for freedom that terrified me to the point that I couldn’t even talk about- and pushed me to a nomadic point of madness that both dazzled and dizzied me. Every night I used to pray that I’d find my people- and finally I did- on the open road. We have nothing to lose, nothing to gain, nothing we desired anymore- except to make our lives into a work of art. LIVE FAST. DIE YOUNG. BE WILD. AND HAVE FUN. I believe in the country America used to be. I belive in the person I want to become, I believe in the freedom of the open road. And my motto is the same as ever- *I believe in the kindness of strangers. And when I’m at war with myself- I Ride. I Just Ride.* Who are you? Are you in touch with all your darkest fantasies? Have you created a life for yourself where you’re free to experience them? I Have. I Am Fucking Crazy. But I Am Free.

As for the cages themselves, an ordinary citizen who kept dogs in similar conditions for their entire lives would risk prosecution for cruelty. A pig producer who keeps an animal of comparable intelligence in this manner, however, is more likely to be rewarded with a tax concession or, in some countries, a direct government subsidy.

My Selection wasn’t a farce, but it wasn’t that far off. My father chose all the contestants by hand, picking young women with political alliances, influential families, or enough charm to make the entire country worship the ground they walked on. He knew he had to make it varied enough to seem legit, so there were three Fives thrown into the mix but nothing below that. The Fives were meant to be little more than throwaways to keep anyone from being suspicious.” I realized my mouth was gaping open and shut it immediately. “Mom?” “Was meant to be gone almost immediately. Truth be told, she barely made it past my father ’s attempts to sway my opinion or remove her himself. And look at her now.” His whole face changed. “Though it was hard for me to imagine, she is even more beloved as queen than my mother. She has made four beautiful, intelligent, strong children. And she has been the source of every happiness in my life.

The Indians are the Italians of Asia", Didier pronounced with a sage and mischievous grin. "It can be said, certainly, with equal justice, that the Italians are the Indians of Europe, but you do understand me, I think. There is so much Italian in the Indians, and so much Indians in the Italians. They are both people of the Madonna - they demand a goddess, even if the religion does not provide one. Every man in both countries is a singer when he is happy, and every woman is a dancer when she walks to the shop at the corner. For them, food is music inside the body, and music is food inside the heart. The Language of India and the language of Italy, they make every man a poet, and make something beautiful from every banalite. They are nations where love - amore, pyaar - makes a cavalier of a Borsalino on a street corner, and makes a princess of a peasant girl, if only for the second that her eyes meet yours.

The country singers understand. It’s always that one song that gets you. You can hide, but the song comes to find you. Country singers are always twanging about that number on the jukebox they can’t stand to hear you play, the one with the memories.

Dictatorships, wars, and cruelty drive whole countries to madness. My theory is that the human species was crazy from the very first and that civilization and culture are only enhancing man’s insanity. A Tale of Two Sisters

Me and the bottle have always been friends, we've had a few old nasty fights but the bottle would always win, so when I go to answer that final curtain call, I can hear these words being whispered by all... Ol' George stopped drinking today.

A warm beer is still a good beer, despite what modern country singers say.

No doubt this wretched music’s to blame. I don’t know why country singers feel the need to set depression to a melody.

Have you noticed that if you switch the first letters of every country singer's first and last name, you end up with an amazing Star Wars name?

Some of these new country singers aren’t really country. I think some of them ought to be singing pop music and just leave country alone. You don’t have to see them, you can hear it. It is what it is, I guess, but I’d still rather they just let the ones that sing country sing country.

Now let me ask you all a question, what's more pathetic and sad to you? A bunch of poor black people who listen to rich black rappers rapping about their wealth, or a bunch of poor white people who listen to rich white country singers singing songs about how much they love being broke rednecks?

Remember that country singer on American Songster, the girl whose father only let her order ketchup, mustard, and relish at McDonald’s because ketchup, mustard, and relish are free and you can mix them in a cup of hot water to make McSoup?

We have no obligation to assist countries whose governments have policies that will undermine the effectiveness of our aid.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

The Jewish people have been in exile for 2,000 years; they have lived in hundreds of countries, spoken hundreds of languages and still they kept their old language, Hebrew. They kept their Aramaic, later their Yiddish; they kept their books; they kept their faith.

Much of what is written on the craft is biased in one way or another, so weed out what is useful to you and ignore the rest. I see the next few years as being crucial in the transformation of our culture away from the patriarchal death cults and toward the love of life, of nature, of the female principle. The craft is only one path among the many opening up for women, and many of us will blaze new trails as we explore the uncharted country of our own interiors. The heritage, the culture, the knowledge of the ancient priestesses, healers, poets, singers, and seers were nearly lost, but a seed survived the flames that will blossom in a new age into thousands of flowers. The long sleep of Mother Goddess is ended. May She awaken in each of our hearts ~~ Merry meet, merry part, and blessed be.

I have not been ashamed of myself often, but I am ashamed of myself for choosing to be so cruel to another human being.

A philosopher and a social revolutionist, a painter, a singer, a poet, a writer, and a country gentleman, all engaged in sipping honey from life.

If we want to We will become a people, if we want to, when we learn that we are not angels, and that evil is not the prerogative of others We will become a people when we stop reciting a prayer of thanksgiving to the sacred nation every time a poor man finds something to eat for his dinner We will become a people when we can sniff out the sultan’s gatekeeper and the sultan without a trial We will become a people when a poet writes an erotic description of a dancer’s belly We will become a people when we forget what the tribe tells us, when the individual recognizes the importance of small details We will become a people when a writer can look up at the stars without saying: ‘Our country is loftier and more beautiful!’ We will become a people when the morality police protect a prostitute from being beaten up in the streets We will become a people when the Palestinian only remembers his flag on the football pitch, at camel races, and on the day of the Nakba We will become a people, if we want to, when the singer is allowed to chant a verse of Surat al-Rahman at a mixed wedding reception We will become a people when we respect the right, and the wrong.

Furthermore, some of the best people in the country were connected with the Communist movement in some way, heroes and heroines one could admire. There was Paul Robeson, the fabulous singer-actor-athlete whose magnificent voice could fill Madison Square Garden, crying out against racial injustice, against fascism. And literary figures (weren’t Theodore Dreiser and W. E. B. DuBois Communists?),

Only a few, who remain children at heart, can ever find that fair, lost path again; and blessed are they above mortals. They, and only they, can bring us tidings from that dear country where we once sojourned and from which we must evermore be exiles. The world calls them its singers and poets and artists and story-tellers; but they are just people who have never forgotten the way to fairyland.

What sorrow is like to the sorrow of one who is alone? Once I dwelt in the company of the king I loved well, And my arm was heavy with the weight of the rings he gave, And my heart weighed down with the gold of his love. The face the king is like the sun to those who surrounded,. But now my heart is empty And I wander along throughout the world. The groves take on their blossoms, The trees and meadows grow fair But the cuckoo, saddest of singers, Cries forth the only sorrow of the exile, And now my heart hoes wandering, In search of what I shall never see more; All faces are alike to me if I cannot see the face of my king, And all countries are alike to me When I cannot see the fair fields and meadows of my home. So I shall arise and follow my heart in its wandering For what is the fair meadow of home to me When I cannot see the face of my king And the weight on my arm is but a band of gold When the heart is empty of the weight of love. And so I shall go roaming Over the fishers' road And the road of the great whale And beyond the country of the wave With none to bear me company But the memory of those I loved And the songs I sang out of a full heart, And the cuckoo's cry in memory.

gave when she asked him that question. “Bush’s iPod is heavy on traditional country singers,” she reported. “He has selections by Van Morrison, whose ‘Brown Eyed Girl’ is a Bush favorite, and by John Fogerty, most predictably ‘Centerfield.’” She got a Rolling Stone editor, Joe Levy, to analyze the selection, and he commented, “One thing that’s interesting is that the president likes artists who don’t

EVERYWHERE I TURNED, EVERYWHERE I went, everybody had something to say about love. Mothers, fathers, teachers, singers, musicians, poets, writers, friends. It was like the air. It was like the ocean. It was like the sun. It was like the leaves on a tree in summer. It was like the rain that broke the drought. It was the soft sound of the water flowing through a stream. And it was the sound of the crashing waves against the shore in a storm. Love was why we fought all our battles. Love was what we lived and died for. Love was what we dreamed of as we slept. Love was the air we wanted to breathe in when we woke to greet the day. Love was a torch you carried to lead you out of darkness. Love took you out of exile and carried you to a country called Belonging.

Poem in October" It was my thirtieth year to heaven Woke to my hearing from harbour and neighbour wood And the mussel pooled and the heron Priested shore The morning beckon With water praying and call of seagull and rook And the knock of sailing boats on the net webbed wall Myself to set foot That second In the still sleeping town and set forth. My birthday began with the water- Birds and the birds of the winged trees flying my name Above the farms and the white horses And I rose In rainy autumn And walked abroad in a shower of all my days. High tide and the heron dived when I took the road Over the border And the gates Of the town closed as the town awoke. A springful of larks in a rolling Cloud and the roadside bushes brimming with whistling Blackbirds and the sun of October Summery On the hill's shoulder, Here were fond climates and sweet singers suddenly Come in the morning where I wandered and listened To the rain wringing Wind blow cold In the wood faraway under me. Pale rain over the dwindling harbour And over the sea wet church the size of a snail With its horns through mist and the castle Brown as owls But all the gardens Of spring and summer were blooming in the tall tales Beyond the border and under the lark full cloud. There could I marvel My birthday Away but the weather turned around. It turned away from the blithe country And down the other air and the blue altered sky Streamed again a wonder of summer With apples Pears and red currants And I saw in the turning so clearly a child's Forgotten mornings when he walked with his mother Through the parables Of sun light And the legends of the green chapels And the twice told fields of infancy That his tears burned my cheeks and his heart moved in mine. These were the woods the river and sea Where a boy In the listening Summertime of the dead whispered the truth of his joy To the trees and the stones and the fish in the tide. And the mystery Sang alive Still in the water and singingbirds. And there could I marvel my birthday Away but the weather turned around. And the true Joy of the long dead child sang burning In the sun. It was my thirtieth Year to heaven stood there then in the summer noon Though the town below lay leaved with October blood. O may my heart's truth Still be sung On this high hill in a year's turning.

One afternoon in the fall of 2015, while I was writing this book, I was driving in my car and listening to SiriusXM Radio. On the folk music station the Coffee House, a song came on with a verse that directly spoke to me—so much so that I pulled off the road as soon as I could and wrote down the lyrics and the singer’s name. The song was called “The Eye,” and it’s written by the country-folk singer Brandi Carlile and her bandmate Tim Hanseroth and sung by Carlile. I wish it could play every time you open these pages, like a Hallmark birthday card, because it’s become the theme song of this book. The main refrain is: I wrapped your love around me like a chain But I never was afraid that it would die You can dance in a hurricane But only if you’re standing in the eye. I hope that it is clear by now that every day going forward we’re going to be asked to dance in a hurricane, set off by the accelerations in the Market, Mother Nature, and Moore’s law. Some politicians propose to build a wall against this hurricane. That is a fool’s errand. There is only one way to thrive now, and it’s by finding and creating your own eye. The eye of a hurricane moves, along with the storm. It draws energy from it, while creating a sanctuary of stability inside it. It is both dynamic and stable—and so must we be. We can’t escape these accelerations. We have to dive into them, take advantage of their energy and flows where possible, move with them, use them to learn faster, design smarter, and collaborate deeper—all so we can build our own eyes to anchor and propel ourselves and our families confidently forward.

Our country has produced exceptional men and women: two Nobel laureates—Pablo Neruda and Gabriela Mistral—the singers/composers Víctor Jara and Violeta Parra, the pianist Claudio Arrau, the painter Roberto Matta, and the novelist José Donoso, to mention a few who come to mind.

Mary the Canary lives in a cloud of perfume and colours. She's an auxiliary nurse by day and a country and western singer by night: bed pans and power ballass. She's so glamorous she makes Mrs Hart look plain. She is the other woman and I'm bring trained to hate her even though I've never met her.

Whaling should stop because it brings needless suffering to social, intelligent animals capable of enjoying their own lives. But against the Japanese charge of cultural bias, Western nations will have little defense until they do much more about the needless animal suffering in their own countries.

wI don’t care what they say about Aretha. She can be hiding out in her house in Detroit for years. She can go decades without taking a plane or flying off to Europe. She can cancel half her gigs and infuriate every producer and promoter in the country. She can sing all kinds of jive-ass songs that are beneath her. She can go into her diva act and turn off the world. But on any given night, when that lady sits down at the piano and gets her body and soul all over some righteous song, she’ll scare the shit out of you. And you’ll know—you’ll swear—that she’s still the best fuckin’ singer this fucked-up country has ever produced.

Terrorism has made our world an integrated community in a new and frightening way. Not merely the activities of our neighbors, but those of the inhabitants of the most remote mountain valleys of the farthest-flung countries of our planet, have become our business. We need to extend the reach of the criminal law there and to have the means to bring terrorists to justice without declaring war on an entire country in order to do it. For this we need a sound global system of criminal justice, so justice does not become the victim of national differences of opinion. We also need, though it will be far more difficult to achieve, a sense that we really are one community, that we are people who recognize not only the force of prohibitions against killing each other but also the pull of obligations to assist one another. This may not stop religious fanatics from carrying out suicide missions, but it will help to isolate them and reduce their support.

I don’t care what they say about Aretha,” said Billy Preston. “She can be hiding out in her house in Detroit for years. She can go decades without taking a plane or flying off to Europe. She can cancel half her gigs and infuriate every producer and promoter in the country. She can sing all kinds of jive-ass songs that are beneath her. She can go into her diva act and turn off the world. But on any given night, when that lady sits down at the piano and gets her body and soul all over some righteous song, she’ll scare the shit out of you. And you’ll know—you’ll swear—that she’s still the best fuckin’ singer this fucked-up country has ever produced.

machines again, and radios, and the latest Chevrolet. General Electric flooded the country with luxury gadgets: food processors, toasters, floor-polishing machines, FM radios, electric blankets, and so on. These were all products promoted by that epitome of the television salesman Ronald Reagan, a popular actor whose work in advertising eventually taught him to sell himself, too. Traditional ideals were put on hold and ‘selling out’ became a catchphrase – you accepted a job that gave you no satisfaction because the pay was good. These were the months and years when British singer Vera Lynn touched American hearts with ‘A kiss won’t mean “Goodbye” but “Hello to love”’. Yes, that’s when it started, with that kiss on Times Square.

There really is no happy place; it's all about your mindset. However, if I was to choose a place which contributes to my well-being, it would be the recording studio – no contest. There is something magical about people coming together to share ideas, pieces of themselves, and where the song can take you. Within those walls, music is unpredictable... a wildcard... like dreaming in sound.

There is such a place as fairyland-but only a few, who remain children at heart, can ever find that fair, lost path again; and blessed are they above mortals. They can bring us tidings from that dear country where we once sojourned and must be evermore exiles. The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland.

Tis not the greatest singer Who tries the loftiest themes, He is the true joy bringer, Who tells his simplest dreams. He is the greatest poet, Who will renounce all art, And take his heart and show it To every other heart; Who writes no learned riddle, But sings his simplest rune, Takes his heart strings for a fiddle, And plays his easiest tune ~ Sam Walter Foss (1858-1911) [From Back Country Poems, 1892]

Well, the Story Girl was right. There is such a place as fairyland—but only children can find the way to it. And they do not know that it is fairyland until they have grown so old that they forget the way. One bitter day, when they seek it and cannot find it, they realize what they have lost; and that is the tragedy of life. On that day the gates of Eden are shut behind them and the age of gold is over. Henceforth they must dwell in the common light of common day. Only a few, who remain children at heart, can ever find that fair, lost path again; and blessed are they above mortals. They, and only they, can bring us tidings from that dear country where we once sojourned and from which we must evermore be exiles. The world calls them its singers and poets and artists and story-tellers; but they are just people who have never forgotten the way

Some years after I had broken with the mother, she abandoned her child, and ran away to Italy with a musician or singer. I acknowledged no natural claim on Adèle’s part to be supported by me, nor do I now acknowledge any, for I am not her father; but hearing that she was quite destitute, I e’en took the poor thing out of the slime and mud of Paris, and transplanted it here, to grow up clean in the wholesome soil of an English country garden. Mrs. Fairfax found you to train it; but

I hear the word “tolerance”—that some people are trying to teach people to be tolerant of gays. I’m not satisfied with that word. I am gay, and I am not seeking to be “tolerated.” One tolerates a toothache, rush-hour traffic, an annoying neighbor with a cluttered yard. I am not a negative to be tolerated, and I don’t think that other minority groups would feel comforted and equal to hear leaders of the general public self-righteously proclaim that “we” should “tolerate them.” That’s not equality.

Every man in both countries is a singer when he is happy, and every woman is a dancer when she walks to the shop at the corner. For them, food is music inside the body, and music is food inside the heart. The language of India and the language of Italy, they make every man a poet, and make something beautiful from every banalite. These are nations where love—amore, pyaar—makes a cavalier of a Borsalino on a street corner, and makes a princess of a peasant girl, if only for the second that her eyes meet yours. It is the secret of my love for India, Lin, that my first great love was Italian.

No,’ he says very firmly. ‘It doesn’t matter how good a drummer, singer, or trombone-mimer you are, bragging about anything is bad form. They have a mantra in the business – “Lego over ego” – and people follow it.’ He tells me that he and his fellow non-Danes have been guided towards the writings of a 1930s Danish-Norwegian author, Aksel Sandemose, for a better understanding of how best to ‘integrate’ into the workplace in Denmark. Sandemose outlines ten rules for living Danishly (otherwise known as ‘Jante’s Law’) in his novel, A Fugitive Crosses His Tracks. These, as far as Google Translate and I can make out, are: You’re not to think you are anything special You’re not to think you are as good as we are You’re not to think you are smarter than us You’re not to convince yourself that you are better than us You’re not to think you know more than us You’re not to think you are more important than us You’re not to think you are good at anything You’re not to laugh at us You’re not to think anyone cares about you You’re not to think you can teach us anything ‘Crikey, you’re not to do much round here, are you?’ ‘Oh, and there’s another, unspoken one.’ ‘Yes?’ ‘“Don’t put up with presenteeism”. If anyone plays the martyr card, staying late or working too much, they’re more likely to get a leaflet about efficiency or time management dropped on their desk than any sympathy.

That was just one curious shift that occurred in the local music scene. The folk-rock movement, as it turns out, didn’t really last very long in its original incarnation. To the contrary, it quickly splintered into three distinct new genres: country-rock, psychedelic rock, and the ‘introspective singer-songwriter’ school of folk-rock most closely associated with former mental patient James Taylor. None of those musical genres, notably, posed much of a threat to the ‘establishment.’ The navel-gazers eschewed social concerns in favor of focusing on tales of personal anguish, the acid rockers largely preached the mantra of ‘turn on, tune in, drop out,’ and the country-rockers largely stuck to traditional—which is to say, quite conservative—country music themes. Following

by raising what appears before you. If you can’t even serve what is put in front of you, how are you going to change the world? If you are getting so upset about conditions in the world that you’re edgy with everyone around you, you’re not helping anyone. If you can’t create harmony in your own household, what right do you have to complain that countries are shooting missiles at each other? You have to live a life that, if everyone lived it, there would be peace. If you can’t do that, you are part of the problem, not the solution. It’s all about letting go of yourself. The world is going to come in, and it’s going to hit what’s left of your samskaras. What you feel going on inside when that happens is reactive energy. Don’t ever act based on that. You will just be polluting the environment with your inner blockages. No good can come from that.

Down every aisle a single thought follows me like a shadow: Brand Italy is strong. When it comes to cultural currency, there is no brand more valuable than this one. From lipstick-red sports cars to svelte runway figures to enigmatic opera singers, Italian culture means something to everyone in the world. But nowhere does the name Italy mean more than in and around the kitchen. Peruse a pantry in London, Osaka, or Kalamazoo, and you're likely to find it spilling over with the fruits of this country: dried pasta, San Marzano tomatoes, olive oil, balsamic vinegar, jars of pesto, Nutella. Tucked into the northwest corner of Italy, sharing a border with France and Switzerland, Piedmont may be as far from the country's political and geographical center as possible, but it is ground zero for Brand Italy. This is the land of Slow Food. Of white truffles. Barolo. Vermouth. Campari. Breadsticks. Nutella. Fittingly, it's also the home of Eataly, the supermarket juggernaut delivering a taste of the entire country to domestic and international shoppers alike. This is the Eataly mother ship, the first and most symbolically important store for a company with plans for covering the globe in peppery Umbrian oil, and shavings of Parmigiano-Reggiano Vacche Rosse. We start with the essentials: bottle opener, mini wooden cutting board, hard-plastic wineglasses. From there, we move on to more exciting terrain: a wild-boar sausage from Tuscany. A semiaged goat's-milk cheese from Molise. A tray of lacy, pistachio-pocked mortadella. Some soft, spicy spreadable 'nduja from Calabria. A jar of gianduja, the hazelnut-chocolate spread that inspired Nutella- just in case we have any sudden blood sugar crashes on the trail.

Another intriguing experiment, lead by Tania Singer from the Max Planck Institute, showed that there are other limits to this compensatory mechanism, by exposing pairs of people to varying tactile surfaces (they had to touch either something nice or something gross).39 They showed two people experiencing something unpleasant will be very good at empathising correctly, recognising the emotion and intensity of feeling in the other person, but if one is experiencing pleasure while the other is enduring unpleasantness, then the pleasure-experiencing person will seriously underestimate the other’s suffering. So the more privileged and comfortable someone’s life is, the harder it is for them to appreciate the needs and issues of those worse off. But as long as we don’t do something stupid like put the most pampered people in charge of running countries, we should be OK.

But in Hebrew scripture David is not just the “sweet singer of Israel,” the chiseled poet who plays a harp and composes the Psalms. After he makes his name by killing Goliath, David recruits a gang of guerrillas, extorts wealth from his fellow citizens at swordpoint, and fights as a mercenary for the Philistines. These achievements make Saul jealous: the women in his court are singing, “Saul has killed by the thousands, but David by the tens of thousands.” So Saul plots to have him assassinated.19 David narrowly escapes before staging a successful coup. When David becomes king, he keeps up his hard-earned reputation for killing by the tens of thousands. After his general Joab “wasted the country of the children of Ammon,” David “brought out the people that were in it, and cut them with saws, and with harrows of iron, and with axes.” 20 Finally he manages to do something that God considers immoral: he orders a census. To punish David for this lapse, God kills seventy thousand of his citizens.

Singer. ‘I bet I’m the only man in this town that’s been mad—I’m talking about really mean mad—for ten solid long years. I damn near got in a fight just a little while ago. Sometimes it seems to me like I might even be crazy. I just don’t know.’ Singer pushed the wine toward his guest. Jake drank from the bottle and rubbed the top of his head. ‘You see, it’s like I’m two people. One of me is an educated man. I been in some of the biggest libraries in the country. I read. I read all the time. I read books that tell the pure honest truth. Over there in my suitcase I have books by Karl Marx and Thorstein Veblen and such writers as them. I read them over and over, and the more I study the madder I get. I know every word printed on every page. To begin with I like words. Dialectic materialism—Jesuitical prevarication’— Jake rolled the syllables in his mouth with loving solemnity—‘teleological propensity.’ The mute wiped his forehead with a neatly folded handkerchief. ‘But what I’m getting at is this. When a person knows and can’t make the others understand, what does he do?’ Singer reached for a wineglass, filled it to the brim, and put it firmly into Jake’s bruised hand. ‘Get drunk, huh?

Now, who and what is this minstrel in reality? Where does he come from? In what respects does he differ from his predecessors? He has been described as a cross between the early medieval court-singer and the ancient mime of classical times. The mime had never ceased to flourish since the days of classical antiquity; when even the last traces of classical culture disappeared, the descendants of the old mimes still continued to travel about the Empire, entertaining the masses with their unpretentious, unsophisticated and unliterary art. The Germanic countries were flooded out with mimes in the early Middle Ages; but until the ninth century the poets and singers at the courts kept themselves strictly apart from them. Not until they lost their cultured audience, as a result of the Carolingian Renaissance and the clericalism of the following generation, and came up against the competition of the mimes in the lower classes, did they have, to a certain extent, to become mimes themselves in order to be able to compete with their rivals. Thus both singers and comedians now move in the same circles, intermingle and influence each other so much that they soon become indistinguishable from one another. The mime and the scop both become the minstrel. The most striking characteristic of the minstrel is his versatility. The place of the cultured, highly specialized heroic ballad poet is now taken by the Jack of all trades, who is no longer merely a poet and singer, but also a musician and dancer, dramatist and actor, clown and acrobat, juggler and bear-leader, in a word, the universal jester and maître de plaisir of the age. Specialization, distinction and solemn dignity are now finished with; the court poet has become everybody’s fool and his social degradation has such a revolutionary and shattering effect on himself that he never entirely recovers from the shock. From now on he is one of the déclassés, in the same class as tramps and prostitutes, runaway clerics and sent-down students, charlatans and beggars. He has been called the ‘journalist of the age’, but he really goes in for entertainment of every kind: the dancing song as well as the satirical song, the fairy story as well as the mime, the legend of saints as well as the heroic epic. In this context, however, the epic takes on quite new features: it acquires in places a more pointed character with a new straining after effect, which was absolutely foreign to the spirit of the old heroic ballad. The minstrel no longer strikes the gloomy, solemn, tragi-heroic note of the ‘Hildebrandslied’, for he wants to make even the epic sound entertaining; he tries to provide sensations, effective climaxes and lively epigrams. Compared with the monuments of the older heroic poetry, the ‘Chanson de Roland’ never fails to reveal this popular minstrel taste for the piquant.

In a less race-conscious world, black fiddlers and white blues singers might have been regarded as forming a single southern continuum, and such collaborations might have been the norm rather than being hailed as genre-crossing anomalies. Indeed, it is arguably due to the legacy of segregation that blues has presented the most common interracial meeting ground, since, given a level playing field, many of the African American southerners we think of as blues artists might have made their mark performing hillbilly or country and western material.

she was asked why she was sending convoys to distant countries when there were Poles so poor that they had to rummage through the garbage to find something to eat. Ochojska’s reply was to reject the idea that caring for people far away is in conflict with caring for people nearby; she believes that making people aware of the needs of others anywhere in the world will make them more aware of the needs of local people as well.

Dharma Master Cheng Yen is a Buddhist nun living in Hualien County, a mountainous region on the east coast of Taiwan. Because the mountains formed barriers to travel, the area has a high proportion of indigenous people, and in the 1960s many people in the area, especially indigenous people, were living in poverty. Although Buddhism is sometimes regarded as promoting a retreat from the world to focus on the inner life, Cheng Yen took the opposite path. In 1966, when Cheng Yen was twenty-nine, she saw an indigenous woman with labor complications whose family had carried her for eight hours from their mountain village to Hualien City. On arriving they were told they would have to pay for the medical treatment she needed. Unable to afford the cost of treatment they had no alternative but to carry her back again. In response, Cheng Yen organized a group of thirty housewives, each of whom put aside a few cents each day to establish a charity fund for needy families. It was called Tzu Chi, which means “Compassionate Relief.” Gradually word spread, and more people joined.6 Cheng Yen began to raise funds for a hospital in Hualien City. The hospital opened in 1986. Since then, Tzu Chi has established six more hospitals. To train some of the local people to work in the hospital, Tzu Chi founded medical and nursing schools. Perhaps the most remarkable feature of its medical schools is the attitude shown to corpses that are used for medical purposes, such as teaching anatomy or simulation surgery, or for research. Obtaining corpses for this purpose is normally a problem in Chinese cultures because of a Confucian tradition that the body of a deceased person should be cremated with the body intact. Cheng Yen asked her volunteers to help by willing their bodies to the medical school after their death. In contrast to most medical schools, here the bodies are treated with the utmost respect for the person whose body it was. The students visit the family of the deceased and learn about his or her life. They refer to the deceased as “silent mentors,” place photographs of the living person on the walls of the medical school, and have a shrine to each donor. After the course has concluded and the body has served its purpose, all parts are replaced and the body is sewn up. The medical school then arranges a cremation ceremony in which students and the family take part. Tzu Chi is now a huge organization, with seven million members in Taiwan alone—almost 30 percent of the population—and another three million members associated with chapters in 51 countries. This gives it a vast capacity to help. After a major earthquake hit Taiwan in 1999, Tzu Chi rebuilt 51 schools. Since then it has done the same after disasters in other countries, rebuilding 182 schools in 16 countries. Tzu Chi promotes sustainability in everything it does. It has become a major recycler, using its volunteers to gather plastic bottles and other recyclables that are turned into carpets and clothing. In order to promote sustainable living as well as compassion for sentient beings all meals served in Tzu Chi hospitals, schools, universities, and other institutions are vegetarian.

From the perspective of an effective altruist, Tzu Chi does some surprising things. After the earthquake and tsunami that hit Japan in 2011, Tzu Chi raised funds to distribute hot meals to survivors, and in the wake of Hurricane Sandy, which battered New York and New Jersey in 2012, Tzu Chi distributed $10 million dollars worth of Visa debit cards, with $600 on each card, to victims of the storm.7 When I visited the Tzu Chi hospital in Hualien, I asked Rey-Sheng Her, a spokesman for Tzu Chi, why the organization would give aid to the citizens of wealthy countries like Japan and the United States, when the money could do much more good if used to help people in extreme poverty. His answer was that it is important for Tzu Chi to show compassion and love for all, rich and poor.

The music on the radio--pop, rock, rap, and country songs which promote class war and celebrate idiocy, sociopathy, immoral wealth accumulation, discrimination, and stultifying social roles--is the thrown voice of Wall Street. All of the broker's values are exemplified in this music. ...The elite seek to program, dupe, hypnotize, control you--who they regard as their property, their 'bitch'--through these proxy singers. ...Don't let them talk to you that way.

The Dixie Chicks are another obvious absence, and it is hard not to suspect that they are being ostracized from the museum because of lead singer Natalie Maines’s criticism of George W. Bush for America’s invasion of Iraq in 2003, which provoked a storm of controversy.

In Poland, Italy, some valleys of Austria, and especially the Balkan countries, the fast is most conscientiously observed. One meal a day only, and no animal products: no meat, no fish, no eggs, butter, cheese, or milk.

So three days before the millennium, Bianca called. “D’ya wanna go to the White House with Trisha and me?” By Trisha, she meant country singer Trisha Yearwood, whose record label, MCA, she’d recently been hired to work at. “When would that be, exactly?” I asked. “For that Millennium Concert at the Lincoln Memorial. There’s a party at the White House after and all.” She always talked like she was chewing gum between words. “They’re flying us there in a private jet. Ya don’t need to write about it. Just come as Trisha’s guest. It’ll be fun.” “Shit, I’m supposed to go ice-skating with some guys who think the world’s going to end. Give me a day to figure things out and I’ll get right back to you.

Or consider how we citizens of rich countries obtain our oil and minerals. Teodoro Obiang, the dictator of tiny Equatorial Guinea, sells most of his country’s oil to American corporations, among them Exxon Mobil, Marathon, and Hess. Although his official salary is a modest $60,000, this ruler of a country of 550,000 people is richer than Queen Elizabeth II. He owns six private jets and a $35 million house in Malibu, as well as other houses in Maryland and Cape Town and a fleet of Lamborghinis, Ferraris, and Bentleys. Most of the people over whom he rules live in extreme poverty, with a life expectancy of forty-nine and an infant mortality of eighty-seven per one thousand (this means that more than one child in twelve dies before its first birthday).

When Karel Gott, the Czech pop singer, went abroad in 1972, Husak got scared. He sat right down and wrote him a personal letter (it was August 1972 and Gott was in Frankfurt). The following is a verbatim quote from it. I have invented nothing. Dear Karel, We are not angry with you. Please come back. We will do everything you ask. We will help you if you help us … Think it over. Without batting an eyelid Husak let doctors, scholars, astronomers, athletes, directors, cameramen, workers, engineers, architects, historians, journalists, writers, and painters go into emigration, but he could not stand the thought of Karel Gott leaving the country. Because Karel Gott represents music minus memory, the music in which the bones of Beethoven and Ellington, the dust of Palestrina and Schonberg, lie buried. The president of forgetting and the idiot of music deserve one another. They are working for the same cause. “We will help you if you help us.” You can’t have one without the other.

sturdy five-foot-ten frame—but that was in another country, and alas… “What’s that you’ve got in your hand?” he snapped at me. I glanced down at the piece of paper

Shur, the Land of: The mountainous country to the east of Elon. Its ruler is Shur. It is also known as the Ten Tribes of Shur.   Silver horn: A horn used to call and direct leviathans.   Singer: A teller of tales.   Skarpaler; Lord Skarpaler: An ancient warrior of the Bloodspillers.   slith:

Sagan was perhaps the most eloquent harbinger because his concern came from a place of deep understanding: ‘I have a foreboding of an America in my children’s or grandchildren’s time—when the United States is a service and information economy; when nearly all the key manufacturing industries have slipped away to other countries; when awesome technological powers are in the hands of a very few, and no one representing the public interest can even grasp the issues; when the people have lost the ability to set their own agendas or knowledgeably question those in authority; when, clutching our crystals and nervously consulting our horoscopes, our critical faculties in decline, unable to distinguish between what feels good and what’s true, we slide, almost without noticing, back into superstition and darkness.

Steeped in a literature claiming that men were created in the image of a warrior God, it’s no wonder evangelicals were receptive to sentiments like those expressed by Jerry Falwell in his 2004 sermon, “God is Pro-War.” Having long idealized cowboys and soldiers as models of exemplary Christian manhood, evangelicals were primed to embrace Bush’s “‘ cowboy’ approach” and his “Lone Ranger mentality.” God created men to be aggressive—violent when necessary—so that they might fulfill their sacred role of protector. 27 At the 2004 Republican National Convention, Christian recording artist Michael W. Smith stood on the stage of New York’s Madison Square Garden, declaring his love for his president and his country. He then recounted how, only six weeks after the September 11 attacks, he had found himself in the Oval Office with his good friend, President Bush. They spoke of the firefighters and other first responders who had given their lives trying to save others. “Hey W,” said the presidential “W” to the singer. “I think you need to write a song about this.” Smith did as he was asked. And there, standing before the convention audience as patriotic images flashed on the screen behind him, he performed “There She Stands,” a song about the symbol of the nation, the American flag, standing proudly amid the rubble. It was a small rhetorical step to change the feminine “beauty” all men were created to fight for into the nation herself. 28

When I was a graduate student, I read an article by Peter Singer arguing that citizens of prosperous countries should direct most of their money toward helping the truly needy. Singer argued that choosing to spend our money on luxuries like fancy clothing and expensive meals is really no different from seeing a girl drowning in a shallow lake and doing nothing because you don’t want to ruin your expensive shoes by wading in to save her. I was moved by this argument and would repeat the analogy to my friends, often when we were in bars and restaurants, and it suddenly occurred to me that we were engaged in the moral equivalent of killing children.

Everywhere I turned, everywhere I went, everybody had some3thing to say about love. Mothers, fathers, teachers, singers, musicians, poets, writers, friends. It was like the air It was like the ocean. It was like the sun. It was like the leaves on a tree in summer. It was like the rain that broke the drought. It was the soft sound of the water flowing through a stream. And it was the sound of the crashing waves against the shore in a storm. Love was why we fought all our battles. Love was what we lived and died for. Love was what we dreamed of as we slept. Love was the air we wanted to breathe in when we woke to greet the day. Love was a torch you carried to lead you out of darkness. Love took you out of exile and carried you to a country called Belonging

Dylan, Duende, Death and Lorca Does Bob Dylan have Duende? DUENDE dancers perform moving, unique, unrepeatable performances Does Bob Dylan have duende? Do you have duende? What is duende? Duende is a Spanish word with two meanings. A duende is a goblin or a pixie that probably lives at the bottom of the garden and gives three wishes to old ladies who deserve a break. The duende was best defined by Spain’s great poet Federico García Lorca during a lecture he gave in New York in 1929 on Andalusian music known as cante jondo, or deep voice. ‘The duende,’ he said, ‘is a momentary burst of inspiration, the blush of all that is truly alive, all that the performer is creating at a certain moment.’ The difference between a good and a bad singer is that the good singer has the duende and the bad singer doesn’t. ‘There are no maps nor disciplines to help us find the duende. We only know that he burns the blood like a poultice of broken glass, that he exhausts, that he rejects all the sweet geometry we have learned.’ Some critics say Bob Dylan does not have a great voice. But more than any other performer since the birth of recorded music, Dylan has revealed the indefinable, spine-tingling something captured in Lorca’s interpretation of duende. ‘It is an inexplicable power of attraction, the ability to send waves of emotion through those watching and listening to them.’ ‘The duende,’ he continues, ‘resembles what Goethe called the demoniacal. It manifests itself principally among musicians and poets of the spoken word, for it needs the trembling of the moment and then a long silence.’ painting off hell by Hieronymus Bosch Hell & Hieronymus Bosch Four elements can be found in Lorca’s vision of duende: irrationality, earthiness, a heightened awareness of death and a dash of the diabolical. I agree with Lorca that duende manifests principally among singers, but would say that same magic may touch us when confronted by great paintings: Picasso’s Guernica, Edvard Munch’s The Scream, the paintings of heaven and hell by Hieronymus Bosch. The duende is found in the bitter roots of human existence, what Lorca referred to as ‘the pain which has no explanation.’ Artists often feel sad without knowing why. They sense the cruel inevitability of fate. They smell the coppery scent of death. All artists live in a permanent state of angst knowing that what they have created could have been better. Death with Duende It is not surprising that Spain found a need for the word duende. It is the only country where death in the bullring is a national spectacle, the only nation where death is announced by the explosion of trumpets and drums. The bullring, divided in sol y sombre – the light and shade, is the perfect metaphor for life and death, a passing from the light into darkness. Every matador who ever lived had duende and no death is more profound than death in the bullring.

What are your feelings from Bush to Obama? Besides being responsible for the death of half a million people, I feel like Bush dealt a huge economic and social blow to the USA, one from which we may never fully recover. He directly flushed 3 trillion dollars down the toilet on hopeless, pointlessly destructive wars in Afghanistan and Iraq …and they’re not even over! For years to come, we’ll be paying costs for all the injured veterans (over 50,000) and destabilizing three countries, because you have to look at the impact that the Afghan war has on Pakistan. Bush expanded the use of torture, and created a whole new layer of government bureaucracy (the “Department of Homeland Security”) to spy on Americans. He created Indefinite Detention (at Guantanamo and other US military bases) and expanded the use of executive-ordered assassinations using the new drone technology. On economic issues, his administration allowed corporations to run things and regulate themselves. The agency that was supposed to regulate oil drilling had lobbyist-paid prostitutes sleeping with employees while oil industry lobbyists basically ran the agency. Energy companies like Enron, and the country’s investment banks were deregulated at the end of the Clinton administration and Bush allowed them to run wild. Above all, he was incompetent and appointed some really stupid people to important positions at every level of government. Certainly, Obama has been involved in many of these same activities. A few he’s increased, such as the use of drone assassinations, but most of them he has at least tried to scale back. At the beginning of his first term, he tried to close the Guantanamo prison and have trials for many of the detainees in the United States but conservatives (including many Democrats) stirred up public resistance and blocked this from happening. He tried to get some kind of universal healthcare because over 50 million Americans don’t have health insurance. This is one of the leading causes of personal bankruptcies and foreclosures because someone gets sick in a family, loses their job, loses their health insurance (because American employers are source of most people’s healthcare) and they can’t pay their health bills or their mortgage. Or they use up all their money caring for a sick family member. So many people in the US wanted health insurance reform or single-payer, universal health care similar to what you have in the UK. Members of Obama’s own party (The Democrats) joined with Republicans to narrowly block “The public option” but they managed to pass a half-assed but not-unsubstantial reform of health insurance that would prevent insurers from denying you coverage when you’re sick or have a “preexisting condition.” The minute it was signed into law, Republicans sued in the courts (all the way to the supreme court) and fought, tooth and nail to block its implementation. Same thing with gun control, even as we’re one of the most violent industrial countries in the world. (Among industrial countries, our murder rate is second only to Russia). Obama has managed to withdraw troops from Iraq and Afghanistan over Republican opposition but, literally, everything he tries to do, they blast it in the media and fight it in Congress. So, while I have a lot of criticisms of Obama, he is many orders of magnitude less awful than Bush and many of the positive things he’s tried to do have been blocked. That said, the Democratic and Republican parties agree on more things than they disagree. Both signed off on the Afghan and Iraq wars. Both signed off on deregulation of banks, of derivatives, of mortgage regulations and of the energy and telecom business …and we’ve been living with the consequences ever since. I’m guessing it’s the same thing with Labor and Conservatives in the UK. Labor or Democrats will SAY they stand for certain “progressive” things but they end up supporting the same old crap... (2014 interview with iamhiphop)

Q: What can ordinary people with busy lives and not a lot of political access do to address this stuff? You can try to address it in your own life. You can try to set up your life so you have to drive as little as possible. In so doing, you vote with your feet and your wallet. When more people bike, walk and use public transit, there is greater pressure on elected officials and government agencies to improve these modes of transportation. It thus increases the profitability of public transit and makes cities more desirable places to live. It also helps reduce your carbon footprint and reduces the amount of money going to automobile manufacturers, oil companies and highway agencies. In a globally connected capitalist world, cities and countries are competing for highly skilled labor—programmers, engineers, scientists, etc. To some degree, these people can live anywhere they want. So San Francisco or my current city in Minnesota aren’t just competing with other U.S. cities but are competing with cities in Europe for the best and brightest talent. Polls and statistics show that more and more skilled people want to live in cities that are walkable, bikeable and have good public transit. Also our population is aging and realizing that they don’t want to be trapped in automobile-oriented retirement communities in Florida or the southwest USA. They also want improved walkability and transit. Finally, there’s been an explosion of obesity in the USA with resulting increases in healthcare costs. Many factors contribute to this but increased amounts of driving and a lack of daily exercise are major factors. City, state and business leaders in the US are increasingly aware of all this. It is part of Gil Peñalosa’s “8-80” message (the former parks commissioner of Bogotá, Colombia) and many other leaders. (2015 interview with Microcosm Publishing)

The Blasters proved to be the most prominent and popular of these acts by far. Originally a quartet, the band was bred in Downey, just down the freeway from East L.A. In their teens, brothers Phil and Dave Alvin were bitten by the blues bug; they became habitués of the L.A. club the Ash Grove, where many of the best-known folk and electric blues performers played, and they sought out the local musicians who could teach them their craft, learning firsthand from such icons as Big Joe Turner, T-Bone Walker, and Little Richard’s saxophonist Lee Allen (who would ultimately join the band in the ’80s). But the Blasters’ style was multidimensional: they could play R&B, they loved country music, and they were also dyed-in-the-wool rockabilly fans who were initially embraced by the music’s fervent L.A. cultists. Their debut album, 1980’s American Music, was recorded in a Van Nuys garage by the Milan, Italy–born rockabilly fanatic Rockin’ Ronnie Weiser, and released on his indie label Rollin’ Rock Records, which also issued LPs by such first-generation rockabilly elders as Gene Vincent, Mac Curtis, Jackie Waukeen Cochran, and Ray Campi. By virtue of Phil Alvin’s powerful, unmannered singing and Dave Alvin’s adept guitar playing and original songwriting, the Blasters swiftly rose to the top of a pack of greasy local bands that also included Levi and the Rockats (a unit fronted by English singer Levi Dexter) and the Rockabilly Rebels (who frequently backed Ray Campi). Los Lobos were early Blasters fans, and often listened to American Music in their van on the way to their own (still acoustic) gigs. Rosas says, “We loved their first record, man. We used to play the shit out of that record. Dave [Hidalgo] was the one who got a copy of it, and he put it on cassette.

Sometimes I think that the situation in the country could improve if internet access was cut,” Lamloum wrote. “Then people would no longer have access to rumors, which represent roughly 90 percent of information that’s out there.

He witnessed “a petite blonde of incredible vanilla-ice-cream beauty,” equipped with “a quavering Appalachian soprano.” This singer and her band, he declared, represented “gut-country music at its purest.” Her name was Dolly Parton.

The people of Between welcomed outsiders whose hearts did not match their bodies, who wished to live a life beyond being strictly Man or strictly Woman — but the mentor smiled in that way the old do, when they think they know better. No one in this country knew anything.

I suppose vengeance suits him. Do you think this will be the end of it?” “Uh-uh, I would not say that,” said Makeda. “Oh, yes, he will be fat off this victory for a while, but he eats countries. This one will be digested, and he shall go on to gnaw on the next.” “Is that your word as a mentor?” “My word as anyone with eyes.

The mentor smiled in that way the old do, when they think they know better. No one in this country knew anything.

The young man plugs his earphones back in and perches on the edge of a bench, bopping along to his music. his hairstyle and face remind Ki-yong of Bart Simpson, and his loose red T-shirt is emblazoned with Che Guevara's face. He is probably listening to Rage Against the Machine, or some similar band. The most capitalist country in the world produced these far-left lyrics, and on the CD—filled with the imagery of a Vietnamese monk sitting cross-legged while engulfed in fire, young Seoulites throwing Molotov cocktails—the singers swear, scream, and yell that we have to smash the system. It's fitting music for the kid in the Che Guevara shirt. If Stalin and Lenin were alive to hear this music, what would they think? Would they feel the urge to send the band to the Siberian archipelago?

I don’t know why country singers feel the need to set depression to a melody.

A Sun record released in June 1954, a month after “Gonna Dance All Night,” came closer to the panting It: “My Kind of Carryin’ On” by Doug Poindexter and the Starlite Wranglers. It fluttered, shook like a creature flirting with madness. Sam must have slept well that night. “My Kind of Carryin’ On” was Poindexter’s only Sun single. In 1955 he retired from the music business after the breakup of his band. His lead guitarist, Scotty Moore, and his bass player, Bill Black, had joined with a new singer. Today Poindexter sells insurance in Memphis.

Advocates of shutting off aid to the poorest countries predict that this will result in a very great evil: population control by famine and disease. Tens of millions would die slowly. Hundreds of millions would continue to live in extreme poverty, at the very margin of existence. Against this prospect, those who support this policy place a possible evil that is greater still: the same process of famine and disease taking place in, say, fifty years’ time when the world's population will be at least 50 percent greater than its present level and the number who will die from famine or struggle on in extreme poverty will be that much greater. The question is: how probable is this forecast that continued assistance now will lead to greater disasters in the future?

Because of what the rich nations are doing, lands that now grow crops will become barren, glaciers that for millennia have fed rivers will dwindle, the sea will take over fertile fields, tropical diseases will spread, and people will starve or become refugees. For at least the past twenty years, the rich countries have known that their actions risk causing these effects; and from some time in the first decade of the twenty-first century, they have known that their actions very probably will have these effects. The fact that these harms are an unwanted but unavoidable side effect of pursuing otherwise innocuous goals, like giving people the kind of lifestyle they desire, is no justification for causing such harms. According to the doctrine of double effect, knowingly causing harm can be justified if the harm is not intended, the goal is sufficiently important to outweigh the harm caused, and there is no other way of achieving the goal without causing at least as great a harm. In the case of global warming, however, the reverse is the case: the harm caused far outweighs the good obtained.

This influence has not been limited to communist societies. Conservative, liberal, and democratic socialist governments have established social welfare systems to cut the ground from under revolutionary Marxist opposition movements. Other opponents of Marxism have reacted in less benign ways: Mussolini and Hitler were aided in their rise to power by conservative forces that saw them as the most promising way of combating the Marxist threat. Even in countries like the United States, where there was no real prospect of Marxists gaining power, the existence of a foreign Marxist enemy served to justify governments in restricting individual rights, increasing arms spending, and pursuing a bellicose foreign policy that led to the overthrow of popularly elected governments and the disastrous intervention in Vietnam.

When we hit the last long curve leading into Montpelier we could see the lights of the Blue Parrot off to the left. That’s all farm country around there and there’s a lot of empty space. Also the ground is flat so you can see lights a long way off.

THE INDIANS are the Italians of Asia,’ Didier pronounced with a sage and mischievous grin. ‘It can be said, certainly, with equal justice, that the Italians are the Indians of Europe, but you do understand me, I think. There is so much Italian in the Indians, and so much Indian in the Italians. They are both people of the Madonna—they demand a goddess, even if the religion does not provide one. Every man in both countries is a singer when he is happy, and every woman is a dancer when she walks to the shop at the corner. For them, food is music inside the body, and music is food inside the heart. The language of India and the language of Italy, they make every man a poet, and make something beautiful from every banalité. These are nations where love—amore, pyaar—makes a cavalier of a Borsalino on a street corner, and makes a princess of a peasant girl, if only for the second that her eyes meet yours. It is the secret of my love for India, Lin, that my first great love was Italian.

the KLF were a bunch of conceptual pop tricksters who won the hearts of their home country with stunts like recording country singer Tammy Wynette in a rap context. Performing at the prestigious BRIT awards, Extreme Noise Terror blasted the KLF hit “3 a.m. Eternal” into oblivion while the KLF sprayed the audience with machine guns preloaded with blanks. When the KLF were awarded “Best British Group” honors later that night,

Why do we regard patriotism as a virtue at all? We disapprove of selfish behavior, but we encourage group selfishness, and gild it with the same name "patriotism." We erect statues of those who fought and died for our country, irrespective of the merits of the war in which they fought.

But that was in another country,’” he quoted, “‘and besides, the wench is dead.

If you wait till the white man leaves and ask about that space, the space between white and black folks in South Carolina, the black folks say, “Oh, it ain’t nothing. Such-and-so is my friend. I’ve known him forty years. We all get along here.” Only at night, when they get home, when the lights are down and all the churchin’ is done and the singing is over and the TV is off and the wine is flowing and tongues are working freely, only within the safety of home and family does the talk change, and then the buzz is no longer a buzz. It’s a roaring cyclone of fury laced with distaste and four hundred years of pent-up bitterness. There is not a single marker for James Brown in this place, they say. No spot to commemorate his birth, no building named after him, no school, no library, no statue, no nothing. And even when they do name something after him, or celebrate him in the state legislature or some such thing, it doesn’t matter. They smile about it during the day, but at night they cuss that thing so hard it’ll curl up on its own and crawl away like a snake. There’s not even a marker at the spot where the greatest soul singer this country ever knew came from. Why would they put one there? They hate him.

Many of the first generation of Psychobillies were often ignorant about the history of Rockabilly and gained their love of Rock’n’Roll not from lovingly collecting twenty-five year old 45’s tracked down in dusty American record stores but by watching ‘Grease’ and ‘Happy Days’ alongside seeing Matchbox and The Stray Cats on ‘Top Of The Pops’. This was a generation weaned on ‘The Wanderers’, ‘Lemon Popsicle’ and stacks of low-rent TV advertised Rock’n’Roll albums.... They may not have known who [1950s rockabilly-country singer] Narvel Felts and [1950s rockabilly artist] ‘Groovey’ Joe Poovey were but they sure as hell had heard of Darts and Showaddywaddy and they undoubtedly knew “who put the bomp in the bompshoobompshoobomp” never mind the fucking ramalamadingdong.

EARLY IN 1986, I learned of a rumor that Kurt Waldheim, a former United Nations secretary-general and a candidate for Austria’s presidency, had a file as a Nazi war criminal—in the United Nations no less! There were always whispers about Waldheim’s past but a UN file was something new. “Do you have such a file?” I asked the United Nations Secretariat. “We don’t know,” came the answer. “Why not?” I asked. “Because we’re not allowed to open the archives.” During World War II, Churchill had established a tribunal of the sixteen Allied governments (some in exile) to document Nazi war crimes for future prosecution. The tribunal’s findings were handed over to the United Nations when it was established. The files were stored in one of the UN buildings in New York. I asked once more to see them. “You can’t,” a UN official explained. “When the archives were deposited in the United Nations, it was agreed they will be opened only with the unanimous consent of all sixteen countries.” “What the…” I muttered, outraged. In the face of such obstinacy I set out on a yearlong public and diplomatic campaign to convince these sixteen governments to give their consent. In this I was greatly helped by Edgar Bronfman Sr. and Israel Singer of the World Jewish Congress. It was like peeling a diplomatic onion. One layer led to another, and then to another, until at last all the countries had agreed. We had opened the padlock. When I walked into the unlocked storeroom, I saw rows and rows of cardboard boxes containing yellowing files. Picking up a box marked with the letter W, I started going file by file. Sure enough, there was a file marked WALDHEIM KURT. It detailed acts of wanton murder that this Austrian Nazi officer’s unit carried out in the war. Declassified documents later showed that the CIA had been aware of some details of Waldheim’s wartime past since 1945. They didn’t publish the information and Waldheim was able to assume the august post of United Nations secretary-general, in which he was warmly welcomed around the world.

This unusual television moment received much international attention, as did another CNN interview in which I displayed a large map of the Middle East. I “walked” through the Arab countries from Morocco to the Indian Ocean with the open palms of my hands. Then I covered Israel with my thumb.10 For many used to seeing the map of Israel alone on a full screen, a great Israeli Goliath “oppressing” the small Palestinian David, this demonstration came as a shock. It was Israel that was David. This was the best way I could think of to convey that the Arab world was hundreds of times the size of Israel. These interviews may have been seen by some unlikely viewers. When visiting Japan that year, singer Perry Como was asked by the Japanese government how to improve Japan’s image in the United States. He suggested they hire my services.

Kazuo Ishiguro was pushing for such an expansion in his 1917 Nobel Lecture. After speaking so movingly about the effect singers have on his writing and discussing a film, amidst his literary musings and remembrances, he ended with a plea that serves well as a conclusion to this Nobel Prize section with its comments on future generations, genre and form: “… we must widen our common literary world to include many more voices from beyond our comfort zones of the elite first world cultures. We must search more energetically to discover the gems from what remain today unknown literary cultures, whether the writers live in far away countries or within our own communities. Second: we must take great care not to set too narrowly or conservatively our definitions of what constitutes good literature. The next generation will come with all sorts of new, sometimes bewildering ways to tell important and wonderful stories. We must keep our minds open to them, especially regarding genre and form, so that we can nurture and celebrate the best of them.

Kazuo Ishiguro was pushing for such an expansion in his 1917 Nobel Lecture. After speaking so movingly about the effect singers have on his writing and discussing a film, amidst his literary musings and remembrances, he ended with a plea that serves well as a conclusion to this Nobel Prize section with its comments on future generations, genre and form: “… we must widen our common literary world to include many more voices from beyond our comfort zones of the elite first world cultures. We must search more energetically to discover the gems from what remain today unknown literary cultures, whether the writers live in far away countries or within our own communities. Second: we must take great care not to set too narrowly or conservatively our definitions of what constitutes good literature. The next generation will come with all sorts of new, sometimes bewildering ways to tell important and wonderful stories. We must keep our minds open to them, especially regarding genre and form, so that we can nurture and celebrate the best of them. In a time of dangerously increasing division, we must listen. Good writing and good reading will break down barriers. We may even find a new idea, a great humane vision, around which to rally.

Her brother had undergone a tremendous transformation from badass country singer to family man. She wished Clayton would do the same. As far as she could tell, he preferred relationships shorter than the expiration date on a gallon of milk—if that.

Every man in both countries is a singer when he is happy, and every woman is a dancer when she walks to the shop at the corner. For them, food is music inside the body, and music is food inside the heart.

it was the American country singer and sausage maker Jimmy Dean who nailed it. He said, “Do what you say you’re going to do, and try to do it a little better than you said you would.” Follow

In a wide young country of boundless resources, why is this thing? This question worried me. Our legislators are unable or unwilling to cope with it. They trouble not to be patriots and statesmen. Australia can bring forth writers, orators, financiers, singers, musicians, actors, and athletes which are second to none of any nation under the sun. Why can she not bear sons, men of soul, mind, truth, godliness, and patriotism sufficient to rise and cast off the grim shackles which widen round us day by day?

I know you are. Just hang in there a little longer, angel. I’ll be in the NFL, and you’ll be one of the country’s most famous singer-slash-songwriters.” “I hope so.” I just don’t know if you’ll be next to me. It isn’t about the fame for me. Not in the way it is for Cole anyway. He’d never say it out loud, but he wants his name known because he wants his mother and all the others who left him to realize how much they missed out on.

Hendrix was twenty-one and unknown. He sought an audience with B.B., who told him “about entirely new approaches to the guitar, and the powerful effect the Hawaiian and country and western pedal-steel guitars had had on him,” and how he had “achieved a cry that sounded human, that had emotion, that sang,” David Henderson writes in his Hendrix biography. B.B. pointed to his fat hands, and he explained how Jimi could use his long, supple fingers to make his guitar sound “like a woman singer’s vibrato,” like Lucille. That little chat “put enough in Jimmy’s ears to keep him occupied for months, years.