What were the British thinking when they threw open their doors to mass immigration from the Third World?
Over centuries, they had failed to assimilate a few million Irish, who were European Christians. So, having failed to assimilate the Irish, they decided to invite in millions of Hindus and Muslims from South Asia, Arabs from the Middle East, Africans from the sub-Sahara, black folks from the Caribbean.
But with no common faith or culture to hold the nation together, Britain is coming apart. Multiculturalism has "utterly failed," said Germany's Angela Merkel, only to be echoed by Nicolas Sarkozy and David Cameron.
Is multiculturalism a success here? Or does the sudden eruption of flash mobs suggest that the curtain has begun to be pulled back on diversity's dark side here in America?
Thursday, October 27, 2011
Diversity's Dark Side
"You've damaged your own race," said Mayor Michael Nutter to the black youths of Philadelphia whose flash mobs have been beating and robbing shoppers in the fashionable district of downtown.
"Take those God-darn hoodies down," the mayor went on in his blistering lecture. "Pull your pants up and buy a belt, 'cause no one wants to see your underwear or the crack of your butt."
And the mayor had some advice for teenagers looking for work.
"You walk into somebody's office with your hair uncombed and a pick in the back and your shoes untied and your pants half down, tattoos up and down your arms and on your neck, and you wonder why somebody won't hire you?"
"They don't hire you 'cause you look like you're crazy."
Nutter is African-American and the first leader to speak out about the racial character of the flash mobs attacking people in one American city after another. And where are our other leaders?
At the Iowa State Fair last August, black thugs beat a white man so savagely he was hospitalized. Police only began to look into the possibility of a racial attack and hate crime after fair-goers said the thugs were calling it "Beat Whitey Night."
After Memorial Day, Chicago cops had to close a beach when a flash mob formed, attacked people and knocked cyclists off bikes.
In Miami Beach, there were beatings and shootings that same weekend. In D.C., flash mobs of black youths have turned up a half-dozen times in stores to loot clothes and merchandise and flee.
The media almost never identify the race of the thugs. Their reticence would disappear were a white mob in some Southern city to be caught beating up on black shoppers at a mall.
But the flash mob scourge hitting U.S. cities has been eclipsed by the pillaging and burning of London and other British cities in the worst violence visited on that nation and its capital since Goering's Luftwaffe executed the "Blitz."
Thousands of hoodlums, thugs and criminals have firebombed buildings, looted stores and stripped, beaten and robbed people for no reason other than that they were white.
Overwhelmed cops virtually surrendered the city for three days. By the fourth night, the rampage had taken on a multiethnic caste as Asians and white trash appeared to join in the festival of criminality.
Asian and black store owners, too, are victims. In Birmingham, three Pakistani men defending their neighborhood were run over and killed by a truck reportedly driven by a black rioter.
In a country-and-gospel tune recalled often in the '60s, the one that gave James Baldwin the title of his polemic, this couplet appears:
God gave Noah the rainbow sign,
No more water, the fire next time.
A half-century after the long hot summers of the 1960s and two decades after the worst riot in U.S. history since the New York draft riots of 1863 -- the Los Angeles riot of 1992, in which blacks and Hispanics attacked Koreans and whites -- the "next time" may have arrived.
In Europe, the harbinger of the new century came a half-decade ago when North African youths in the Paris banlieues went on a days-long rampage of firebombing cars and attacking police and firemen, many of whom drove off and let the fires burn out.
This week, it was London's turn. And when the fires burn out, we shall hear anew the old liberal litany about poverty, despair, inequality and unemployment, the excuses that long ago ceased to persuade.
For poverty existed in far greater measure in the Depression. Yet our parents and grandparents did not form mobs to burn, beat and loot.
The West is in decline because the character of its people is in decline. In Europe, Christianity is dead. The moral code it gave men to live righteously is regarded with mockery. The London riots were the work of moral barbarians with no loyalty to the people in whose midst they live and no love for the society to which they give nothing, only take.
In America, millions of fatherless young seek out in gangs the familial ties they never knew. Those gangs are now almost always formed on the basis of ethnicity or race.
What were the British thinking when they threw open their doors to mass immigration from the Third World?
Over centuries, they had failed to assimilate a few million Irish, who were European Christians. So, having failed to assimilate the Irish, they decided to invite in millions of Hindus and Muslims from South Asia, Arabs from the Middle East, Africans from the sub-Sahara, black folks from the Caribbean.
But with no common faith or culture to hold the nation together, Britain is coming apart. Multiculturalism has "utterly failed," said Germany's Angela Merkel, only to be echoed by Nicolas Sarkozy and David Cameron.
Is multiculturalism a success here? Or does the sudden eruption of flash mobs suggest that the curtain has begun to be pulled back on diversity's dark side here in America?
"Take those God-darn hoodies down," the mayor went on in his blistering lecture. "Pull your pants up and buy a belt, 'cause no one wants to see your underwear or the crack of your butt."
And the mayor had some advice for teenagers looking for work.
"You walk into somebody's office with your hair uncombed and a pick in the back and your shoes untied and your pants half down, tattoos up and down your arms and on your neck, and you wonder why somebody won't hire you?"
"They don't hire you 'cause you look like you're crazy."
Nutter is African-American and the first leader to speak out about the racial character of the flash mobs attacking people in one American city after another. And where are our other leaders?
At the Iowa State Fair last August, black thugs beat a white man so savagely he was hospitalized. Police only began to look into the possibility of a racial attack and hate crime after fair-goers said the thugs were calling it "Beat Whitey Night."
After Memorial Day, Chicago cops had to close a beach when a flash mob formed, attacked people and knocked cyclists off bikes.
In Miami Beach, there were beatings and shootings that same weekend. In D.C., flash mobs of black youths have turned up a half-dozen times in stores to loot clothes and merchandise and flee.
The media almost never identify the race of the thugs. Their reticence would disappear were a white mob in some Southern city to be caught beating up on black shoppers at a mall.
But the flash mob scourge hitting U.S. cities has been eclipsed by the pillaging and burning of London and other British cities in the worst violence visited on that nation and its capital since Goering's Luftwaffe executed the "Blitz."
Thousands of hoodlums, thugs and criminals have firebombed buildings, looted stores and stripped, beaten and robbed people for no reason other than that they were white.
Overwhelmed cops virtually surrendered the city for three days. By the fourth night, the rampage had taken on a multiethnic caste as Asians and white trash appeared to join in the festival of criminality.
Asian and black store owners, too, are victims. In Birmingham, three Pakistani men defending their neighborhood were run over and killed by a truck reportedly driven by a black rioter.
In a country-and-gospel tune recalled often in the '60s, the one that gave James Baldwin the title of his polemic, this couplet appears:
God gave Noah the rainbow sign,
No more water, the fire next time.
A half-century after the long hot summers of the 1960s and two decades after the worst riot in U.S. history since the New York draft riots of 1863 -- the Los Angeles riot of 1992, in which blacks and Hispanics attacked Koreans and whites -- the "next time" may have arrived.
In Europe, the harbinger of the new century came a half-decade ago when North African youths in the Paris banlieues went on a days-long rampage of firebombing cars and attacking police and firemen, many of whom drove off and let the fires burn out.
This week, it was London's turn. And when the fires burn out, we shall hear anew the old liberal litany about poverty, despair, inequality and unemployment, the excuses that long ago ceased to persuade.
For poverty existed in far greater measure in the Depression. Yet our parents and grandparents did not form mobs to burn, beat and loot.
The West is in decline because the character of its people is in decline. In Europe, Christianity is dead. The moral code it gave men to live righteously is regarded with mockery. The London riots were the work of moral barbarians with no loyalty to the people in whose midst they live and no love for the society to which they give nothing, only take.
In America, millions of fatherless young seek out in gangs the familial ties they never knew. Those gangs are now almost always formed on the basis of ethnicity or race.
What were the British thinking when they threw open their doors to mass immigration from the Third World?
Over centuries, they had failed to assimilate a few million Irish, who were European Christians. So, having failed to assimilate the Irish, they decided to invite in millions of Hindus and Muslims from South Asia, Arabs from the Middle East, Africans from the sub-Sahara, black folks from the Caribbean.
But with no common faith or culture to hold the nation together, Britain is coming apart. Multiculturalism has "utterly failed," said Germany's Angela Merkel, only to be echoed by Nicolas Sarkozy and David Cameron.
Is multiculturalism a success here? Or does the sudden eruption of flash mobs suggest that the curtain has begun to be pulled back on diversity's dark side here in America?
Whose country is it anyway?
For the third straight year, the median income of the typical American family fell in 2010. Adjusted for inflation, it is back where it was in 1996, the longest period of zero growth since the Depression.
And the poverty rate has inched up to 15.1 percent.
Both figures, however, should be put in perspective.
For example, a family can be classified as poor and own a car, a flat-screen TV and a computer, and have a washer-dryer and a garbage disposal.
Folks below the poverty line have their kids educated free in Head Start, for 13 years in public schools, then get Pell grants for college. They get free food stamps and health care through Medicaid. They get subsidized housing and earned income tax credits, are eligible for all other safety-net programs, and can earn $23,300 in pretax income and pay no income taxes.
Poverty in 21st century America is not poverty in the Paris of "Les Miserables" or the London of Oliver Twist or the Dust Bowl of Tom Joad.
The 15-year stagnation in the median income of the American family, however -- a vanishing of the American Dream that one's children will know a better life -- is a more serious matter.
For there are causes of the stunted growth in the standard of living of the American family that neither party is willing to address, if either of them even recognizes those causes.
First is the immersion of the U.S. economy in a global economy. This plunged U.S. workers into direct competition with workers in Asia and Latin America willing to do the same jobs for far less, in factories where regulations are far lighter.
U.S. corporate executives leapt at the opportunity to close plants here and relocate abroad. This explains the 50,000 factories that disappeared in the Bush decade and the 5.5 million manufacturing jobs that vanished.
You cannot have a rising standard of living when your highest-paid production jobs are being exported overseas.
Now, to buy the goods of the foreign factories that used to be here, we are shoveling out more and more of America's wealth. Our national bill for imported goods and services is $2.5 trillion a year. The U.S. trade deficit is back up to between $550 billion and $600 billion a year.
If President Obama wishes to know why his $800 billion stimulus bill didn't have the kick he expected, he should look at the "seepage" problem.
How do you stimulate the U.S. economy when the workers you retain or rehire with your stimulus billions head for Walmarts on Saturday to buy goods made in Japan, Korea and China?
Our $6 trillion in trade deficits in the Bush decade stimulated economies all over the world, just not our own. Indeed, the most successful economies of the last decade were China and Germany. Not coincidentally, they were the world's two largest exporting countries.
There are time-honored ways that nations have turned around such situations. What prevents us from adopting them? An ignorance of our own history, the immense investment of our transnational corporations in the new global arrangement, and the opposition of a World Trade Organization to which we have surrendered our national sovereignty.
A second reason why the median income of American families is back to 1996 levels and sinking is mass immigration, legal and illegal.
According to analyst Ed Rubenstein of VDARE.com, the United States, despite an unemployment rate above 9 percent, imports 100,000 immigrant workers every single month. Numbers USA contends that 125,000 foreign workers are brought in every month.
Thus, well over a million workers are added annually to our labor force when 14 million Americans are looking for work.
Why are we doing this?
Is it xenophobic to say our own citizens should come first, that the importation of foreign workers must halt until our own unemployed have found jobs?
A huge share of our immigrant population is Hispanic. And Rubenstein finds that for every 100 Hispanics employed in the United States in year 2001, 126 are employed today. But for every 100 non-Hispanics employed in 2001, only 98 are working today.
What prevents our politicians from putting Americans first, deporting illegal aliens and suspending the importation of foreign labor until our own workers are back on the job?
Politics is one reason. Democrats see illegal aliens and their children as future Democratic voters. Republicans are terrified of being called racists and alienating the ethnic lobbies.
Crass commercial interest is another reason.
U.S. companies see immigrants, legal or illegal, as an endless source of cheap labor to keep wage costs down. And they are right.
But who is looking out for the national interest, for all of the members of the American family, especially the unemployed?
If the median income of the American family is falling, already back to where it was in Bill Clinton's first term, Middle America is one of the big losers in the global economy. And who are the big winners?
And the poverty rate has inched up to 15.1 percent.
Both figures, however, should be put in perspective.
For example, a family can be classified as poor and own a car, a flat-screen TV and a computer, and have a washer-dryer and a garbage disposal.
Folks below the poverty line have their kids educated free in Head Start, for 13 years in public schools, then get Pell grants for college. They get free food stamps and health care through Medicaid. They get subsidized housing and earned income tax credits, are eligible for all other safety-net programs, and can earn $23,300 in pretax income and pay no income taxes.
Poverty in 21st century America is not poverty in the Paris of "Les Miserables" or the London of Oliver Twist or the Dust Bowl of Tom Joad.
The 15-year stagnation in the median income of the American family, however -- a vanishing of the American Dream that one's children will know a better life -- is a more serious matter.
For there are causes of the stunted growth in the standard of living of the American family that neither party is willing to address, if either of them even recognizes those causes.
First is the immersion of the U.S. economy in a global economy. This plunged U.S. workers into direct competition with workers in Asia and Latin America willing to do the same jobs for far less, in factories where regulations are far lighter.
U.S. corporate executives leapt at the opportunity to close plants here and relocate abroad. This explains the 50,000 factories that disappeared in the Bush decade and the 5.5 million manufacturing jobs that vanished.
You cannot have a rising standard of living when your highest-paid production jobs are being exported overseas.
Now, to buy the goods of the foreign factories that used to be here, we are shoveling out more and more of America's wealth. Our national bill for imported goods and services is $2.5 trillion a year. The U.S. trade deficit is back up to between $550 billion and $600 billion a year.
If President Obama wishes to know why his $800 billion stimulus bill didn't have the kick he expected, he should look at the "seepage" problem.
How do you stimulate the U.S. economy when the workers you retain or rehire with your stimulus billions head for Walmarts on Saturday to buy goods made in Japan, Korea and China?
Our $6 trillion in trade deficits in the Bush decade stimulated economies all over the world, just not our own. Indeed, the most successful economies of the last decade were China and Germany. Not coincidentally, they were the world's two largest exporting countries.
There are time-honored ways that nations have turned around such situations. What prevents us from adopting them? An ignorance of our own history, the immense investment of our transnational corporations in the new global arrangement, and the opposition of a World Trade Organization to which we have surrendered our national sovereignty.
A second reason why the median income of American families is back to 1996 levels and sinking is mass immigration, legal and illegal.
According to analyst Ed Rubenstein of VDARE.com, the United States, despite an unemployment rate above 9 percent, imports 100,000 immigrant workers every single month. Numbers USA contends that 125,000 foreign workers are brought in every month.
Thus, well over a million workers are added annually to our labor force when 14 million Americans are looking for work.
Why are we doing this?
Is it xenophobic to say our own citizens should come first, that the importation of foreign workers must halt until our own unemployed have found jobs?
A huge share of our immigrant population is Hispanic. And Rubenstein finds that for every 100 Hispanics employed in the United States in year 2001, 126 are employed today. But for every 100 non-Hispanics employed in 2001, only 98 are working today.
What prevents our politicians from putting Americans first, deporting illegal aliens and suspending the importation of foreign labor until our own workers are back on the job?
Politics is one reason. Democrats see illegal aliens and their children as future Democratic voters. Republicans are terrified of being called racists and alienating the ethnic lobbies.
Crass commercial interest is another reason.
U.S. companies see immigrants, legal or illegal, as an endless source of cheap labor to keep wage costs down. And they are right.
But who is looking out for the national interest, for all of the members of the American family, especially the unemployed?
If the median income of the American family is falling, already back to where it was in Bill Clinton's first term, Middle America is one of the big losers in the global economy. And who are the big winners?
How Capital Crushed Labor
Once, it was a Labor Day tradition for Democrats to go to Cadillac Square in Detroit to launch their campaigns in that forge and furnace of American democracy, the greatest industrial center on earth.
Democrats may still honor the tradition. But Detroit is not what she was, not remotely. And neither is America.
Not so long ago, we made all the shoes and clothes we wore, the motorcycles and cars we drove, the radios we listened to, the TV sets we watched, the home and office calculators and computers we used.
No more. Much of what we buy is no longer made by American workers, but by Japanese, Chinese, other Asians, Canadians and Europeans.
"Why don't we make things here anymore?" is the wail.
Answer: We don't make things here anymore because it is cheaper to make them abroad and ship them back.
With an economy of $14 trillion, we may still be the best market in the world to sell into. But we are also among the most expensive markets in the world in which to produce.
Why is that? Again, the answer is simple.
U.S. wages are higher than they are almost anywhere else. Our health, safety and environmental laws are among the most stringent. Our affirmative action demands are the most exacting, except possibly for those of Malaysia and South Africa.
Does the cost of production here in America alone explain the decline in manufacturing and stagnation of workers' wages?
No. For since the Revolution, America has had a standard of living that has been the envy of the world. From the Civil War through the 1920s, as we became the greatest manufacturing power the world had ever seen, our workers enjoyed pay and benefits that were unmatched anywhere.
Yet our exports in those decades were double our imports, and our trade surpluses annually added 4 percent to the gross national product. How did we do it?
We taxed the products of foreign factories and workers and used the revenue to finance the government. We imposed tariffs of up to 40 percent on foreign goods entering our market and used the tariff money to keep taxes low in the United States.
We made foreigners pay a price to get their products into our market and made them pay to help finance our government. We put our own country and people first.
For corporate America, especially industrial America, this was nirvana. They had exclusive free access to our market, and foreign rivals had to pay a stiff fee, a tariff, to get their products in and try to compete with U.S. products in the U.S. market.
What happened to this idea that made America a self-sufficient republic, producing almost all it consumed, a nation that could stay out of the world wars as long as she wished and crush the greatest powers in Europe and Asia in less than four years after she went in?
A new class came to power that looked on tariffs as xenophobic, on economic patriotism as atavistic and on national sovereignty as an antique idea in the new world order it envisioned.
By 1976, editorial writers were talking about a new declaration of interdependence to replace Thomas Jefferson's Declaration of Independence, which was now outdated.
The new idea was to replicate America on a global scale, to throw open the borders of all nations as the borders of the 50 states were open, to abolish all tariffs and trade barriers, and to welcome the free flow of goods and people across all frontiers, thereby creating the One World that statesmen such as Woodrow Wilson and Wendell Willkie had envisioned.
By three decades ago, this globalist ideology had captured both national parties, a product of universities dominated by New Dealers.
But why did corporate America, with its privileged access to the greatest market on earth, go along with sharing that market with its manufacturing rivals from all over the world?
The answer lies in the trade-off corporate America got.
Already established in the U.S. market, corporate America could risk sharing that market if, in return, it could shift its own production out of the United States to countries where the wages were low and regulations were light.
Corporate America could there produce for a fraction of what it cost to produce here. Then these same corporations could ship their foreign-made products back to the USA and pocket the difference in the cost of production. Corporate stock prices would soar, as would corporate salaries -- and dividends, to make shareholders happy and supportive of a corporate policy of moving out of the USA.
Under globalization, America's investor class could and did get rich by the abandonment of America's working class.
America is in a terminal industrial decline because the interests of corporate America now clash directly with the interests of working America -- and, indeed, with the national interest of the United States.
And both parties are either oblivious to or indifferent of what is happening to their country.
Democrats may still honor the tradition. But Detroit is not what she was, not remotely. And neither is America.
Not so long ago, we made all the shoes and clothes we wore, the motorcycles and cars we drove, the radios we listened to, the TV sets we watched, the home and office calculators and computers we used.
No more. Much of what we buy is no longer made by American workers, but by Japanese, Chinese, other Asians, Canadians and Europeans.
"Why don't we make things here anymore?" is the wail.
Answer: We don't make things here anymore because it is cheaper to make them abroad and ship them back.
With an economy of $14 trillion, we may still be the best market in the world to sell into. But we are also among the most expensive markets in the world in which to produce.
Why is that? Again, the answer is simple.
U.S. wages are higher than they are almost anywhere else. Our health, safety and environmental laws are among the most stringent. Our affirmative action demands are the most exacting, except possibly for those of Malaysia and South Africa.
Does the cost of production here in America alone explain the decline in manufacturing and stagnation of workers' wages?
No. For since the Revolution, America has had a standard of living that has been the envy of the world. From the Civil War through the 1920s, as we became the greatest manufacturing power the world had ever seen, our workers enjoyed pay and benefits that were unmatched anywhere.
Yet our exports in those decades were double our imports, and our trade surpluses annually added 4 percent to the gross national product. How did we do it?
We taxed the products of foreign factories and workers and used the revenue to finance the government. We imposed tariffs of up to 40 percent on foreign goods entering our market and used the tariff money to keep taxes low in the United States.
We made foreigners pay a price to get their products into our market and made them pay to help finance our government. We put our own country and people first.
For corporate America, especially industrial America, this was nirvana. They had exclusive free access to our market, and foreign rivals had to pay a stiff fee, a tariff, to get their products in and try to compete with U.S. products in the U.S. market.
What happened to this idea that made America a self-sufficient republic, producing almost all it consumed, a nation that could stay out of the world wars as long as she wished and crush the greatest powers in Europe and Asia in less than four years after she went in?
A new class came to power that looked on tariffs as xenophobic, on economic patriotism as atavistic and on national sovereignty as an antique idea in the new world order it envisioned.
By 1976, editorial writers were talking about a new declaration of interdependence to replace Thomas Jefferson's Declaration of Independence, which was now outdated.
The new idea was to replicate America on a global scale, to throw open the borders of all nations as the borders of the 50 states were open, to abolish all tariffs and trade barriers, and to welcome the free flow of goods and people across all frontiers, thereby creating the One World that statesmen such as Woodrow Wilson and Wendell Willkie had envisioned.
By three decades ago, this globalist ideology had captured both national parties, a product of universities dominated by New Dealers.
But why did corporate America, with its privileged access to the greatest market on earth, go along with sharing that market with its manufacturing rivals from all over the world?
The answer lies in the trade-off corporate America got.
Already established in the U.S. market, corporate America could risk sharing that market if, in return, it could shift its own production out of the United States to countries where the wages were low and regulations were light.
Corporate America could there produce for a fraction of what it cost to produce here. Then these same corporations could ship their foreign-made products back to the USA and pocket the difference in the cost of production. Corporate stock prices would soar, as would corporate salaries -- and dividends, to make shareholders happy and supportive of a corporate policy of moving out of the USA.
Under globalization, America's investor class could and did get rich by the abandonment of America's working class.
America is in a terminal industrial decline because the interests of corporate America now clash directly with the interests of working America -- and, indeed, with the national interest of the United States.
And both parties are either oblivious to or indifferent of what is happening to their country.
Once, it was a Labor Day tradition for Democrats to go to Cadillac Square in Detroit to launch their campaigns in that forge and furnace of American democracy, the greatest industrial center on earth.
Democrats may still honor the tradition. But Detroit is not what she was, not remotely. And neither is America.
Not so long ago, we made all the shoes and clothes we wore, the motorcycles and cars we drove, the radios we listened to, the TV sets we watched, the home and office calculators and computers we used.
No more. Much of what we buy is no longer made by American workers, but by Japanese, Chinese, other Asians, Canadians and Europeans.
"Why don't we make things here anymore?" is the wail.
Answer: We don't make things here anymore because it is cheaper to make them abroad and ship them back.
With an economy of $14 trillion, we may still be the best market in the world to sell into. But we are also among the most expensive markets in the world in which to produce.
Why is that? Again, the answer is simple.
U.S. wages are higher than they are almost anywhere else. Our health, safety and environmental laws are among the most stringent. Our affirmative action demands are the most exacting, except possibly for those of Malaysia and South Africa.
Does the cost of production here in America alone explain the decline in manufacturing and stagnation of workers' wages?
No. For since the Revolution, America has had a standard of living that has been the envy of the world. From the Civil War through the 1920s, as we became the greatest manufacturing power the world had ever seen, our workers enjoyed pay and benefits that were unmatched anywhere.
Yet our exports in those decades were double our imports, and our trade surpluses annually added 4 percent to the gross national product. How did we do it?
We taxed the products of foreign factories and workers and used the revenue to finance the government. We imposed tariffs of up to 40 percent on foreign goods entering our market and used the tariff money to keep taxes low in the United States.
We made foreigners pay a price to get their products into our market and made them pay to help finance our government. We put our own country and people first.
For corporate America, especially industrial America, this was nirvana. They had exclusive free access to our market, and foreign rivals had to pay a stiff fee, a tariff, to get their products in and try to compete with U.S. products in the U.S. market.
What happened to this idea that made America a self-sufficient republic, producing almost all it consumed, a nation that could stay out of the world wars as long as she wished and crush the greatest powers in Europe and Asia in less than four years after she went in?
A new class came to power that looked on tariffs as xenophobic, on economic patriotism as atavistic and on national sovereignty as an antique idea in the new world order it envisioned.
By 1976, editorial writers were talking about a new declaration of interdependence to replace Thomas Jefferson's Declaration of Independence, which was now outdated.
The new idea was to replicate America on a global scale, to throw open the borders of all nations as the borders of the 50 states were open, to abolish all tariffs and trade barriers, and to welcome the free flow of goods and people across all frontiers, thereby creating the One World that statesmen such as Woodrow Wilson and Wendell Willkie had envisioned.
By three decades ago, this globalist ideology had captured both national parties, a product of universities dominated by New Dealers.
But why did corporate America, with its privileged access to the greatest market on earth, go along with sharing that market with its manufacturing rivals from all over the world?
The answer lies in the trade-off corporate America got.
Already established in the U.S. market, corporate America could risk sharing that market if, in return, it could shift its own production out of the United States to countries where the wages were low and regulations were light.
Corporate America could there produce for a fraction of what it cost to produce here. Then these same corporations could ship their foreign-made products back to the USA and pocket the difference in the cost of production. Corporate stock prices would soar, as would corporate salaries -- and dividends, to make shareholders happy and supportive of a corporate policy of moving out of the USA.
Under globalization, America's investor class could and did get rich by the abandonment of America's working class.
America is in a terminal industrial decline because the interests of corporate America now clash directly with the interests of working America -- and, indeed, with the national interest of the United States.
And both parties are either oblivious to or indifferent of what is happening to their country.
Democrats may still honor the tradition. But Detroit is not what she was, not remotely. And neither is America.
Not so long ago, we made all the shoes and clothes we wore, the motorcycles and cars we drove, the radios we listened to, the TV sets we watched, the home and office calculators and computers we used.
No more. Much of what we buy is no longer made by American workers, but by Japanese, Chinese, other Asians, Canadians and Europeans.
"Why don't we make things here anymore?" is the wail.
Answer: We don't make things here anymore because it is cheaper to make them abroad and ship them back.
With an economy of $14 trillion, we may still be the best market in the world to sell into. But we are also among the most expensive markets in the world in which to produce.
Why is that? Again, the answer is simple.
U.S. wages are higher than they are almost anywhere else. Our health, safety and environmental laws are among the most stringent. Our affirmative action demands are the most exacting, except possibly for those of Malaysia and South Africa.
Does the cost of production here in America alone explain the decline in manufacturing and stagnation of workers' wages?
No. For since the Revolution, America has had a standard of living that has been the envy of the world. From the Civil War through the 1920s, as we became the greatest manufacturing power the world had ever seen, our workers enjoyed pay and benefits that were unmatched anywhere.
Yet our exports in those decades were double our imports, and our trade surpluses annually added 4 percent to the gross national product. How did we do it?
We taxed the products of foreign factories and workers and used the revenue to finance the government. We imposed tariffs of up to 40 percent on foreign goods entering our market and used the tariff money to keep taxes low in the United States.
We made foreigners pay a price to get their products into our market and made them pay to help finance our government. We put our own country and people first.
For corporate America, especially industrial America, this was nirvana. They had exclusive free access to our market, and foreign rivals had to pay a stiff fee, a tariff, to get their products in and try to compete with U.S. products in the U.S. market.
What happened to this idea that made America a self-sufficient republic, producing almost all it consumed, a nation that could stay out of the world wars as long as she wished and crush the greatest powers in Europe and Asia in less than four years after she went in?
A new class came to power that looked on tariffs as xenophobic, on economic patriotism as atavistic and on national sovereignty as an antique idea in the new world order it envisioned.
By 1976, editorial writers were talking about a new declaration of interdependence to replace Thomas Jefferson's Declaration of Independence, which was now outdated.
The new idea was to replicate America on a global scale, to throw open the borders of all nations as the borders of the 50 states were open, to abolish all tariffs and trade barriers, and to welcome the free flow of goods and people across all frontiers, thereby creating the One World that statesmen such as Woodrow Wilson and Wendell Willkie had envisioned.
By three decades ago, this globalist ideology had captured both national parties, a product of universities dominated by New Dealers.
But why did corporate America, with its privileged access to the greatest market on earth, go along with sharing that market with its manufacturing rivals from all over the world?
The answer lies in the trade-off corporate America got.
Already established in the U.S. market, corporate America could risk sharing that market if, in return, it could shift its own production out of the United States to countries where the wages were low and regulations were light.
Corporate America could there produce for a fraction of what it cost to produce here. Then these same corporations could ship their foreign-made products back to the USA and pocket the difference in the cost of production. Corporate stock prices would soar, as would corporate salaries -- and dividends, to make shareholders happy and supportive of a corporate policy of moving out of the USA.
Under globalization, America's investor class could and did get rich by the abandonment of America's working class.
America is in a terminal industrial decline because the interests of corporate America now clash directly with the interests of working America -- and, indeed, with the national interest of the United States.
And both parties are either oblivious to or indifferent of what is happening to their country.
Wednesday, October 26, 2011
Once, it was a Labor Day tradition for Democrats to go to Cadillac Square in Detroit to launch their campaigns in that forge and furnace of American democracy, the greatest industrial center on earth.
Democrats may still honor the tradition. But Detroit is not what she was, not remotely. And neither is America.
Not so long ago, we made all the shoes and clothes we wore, the motorcycles and cars we drove, the radios we listened to, the TV sets we watched, the home and office calculators and computers we used.
No more. Much of what we buy is no longer made by American workers, but by Japanese, Chinese, other Asians, Canadians and Europeans.
"Why don't we make things here anymore?" is the wail.
Answer: We don't make things here anymore because it is cheaper to make them abroad and ship them back.
With an economy of $14 trillion, we may still be the best market in the world to sell into. But we are also among the most expensive markets in the world in which to produce.
Why is that? Again, the answer is simple.
U.S. wages are higher than they are almost anywhere else. Our health, safety and environmental laws are among the most stringent. Our affirmative action demands are the most exacting, except possibly for those of Malaysia and South Africa.
Does the cost of production here in America alone explain the decline in manufacturing and stagnation of workers' wages?
No. For since the Revolution, America has had a standard of living that has been the envy of the world. From the Civil War through the 1920s, as we became the greatest manufacturing power the world had ever seen, our workers enjoyed pay and benefits that were unmatched anywhere.
Yet our exports in those decades were double our imports, and our trade surpluses annually added 4 percent to the gross national product. How did we do it?
We taxed the products of foreign factories and workers and used the revenue to finance the government. We imposed tariffs of up to 40 percent on foreign goods entering our market and used the tariff money to keep taxes low in the United States.
We made foreigners pay a price to get their products into our market and made them pay to help finance our government. We put our own country and people first.
For corporate America, especially industrial America, this was nirvana. They had exclusive free access to our market, and foreign rivals had to pay a stiff fee, a tariff, to get their products in and try to compete with U.S. products in the U.S. market.
What happened to this idea that made America a self-sufficient republic, producing almost all it consumed, a nation that could stay out of the world wars as long as she wished and crush the greatest powers in Europe and Asia in less than four years after she went in?
A new class came to power that looked on tariffs as xenophobic, on economic patriotism as atavistic and on national sovereignty as an antique idea in the new world order it envisioned.
By 1976, editorial writers were talking about a new declaration of interdependence to replace Thomas Jefferson's Declaration of Independence, which was now outdated.
The new idea was to replicate America on a global scale, to throw open the borders of all nations as the borders of the 50 states were open, to abolish all tariffs and trade barriers, and to welcome the free flow of goods and people across all frontiers, thereby creating the One World that statesmen such as Woodrow Wilson and Wendell Willkie had envisioned.
By three decades ago, this globalist ideology had captured both national parties, a product of universities dominated by New Dealers.
But why did corporate America, with its privileged access to the greatest market on earth, go along with sharing that market with its manufacturing rivals from all over the world?
The answer lies in the trade-off corporate America got.
Already established in the U.S. market, corporate America could risk sharing that market if, in return, it could shift its own production out of the United States to countries where the wages were low and regulations were light.
Corporate America could there produce for a fraction of what it cost to produce here. Then these same corporations could ship their foreign-made products back to the USA and pocket the difference in the cost of production. Corporate stock prices would soar, as would corporate salaries -- and dividends, to make shareholders happy and supportive of a corporate policy of moving out of the USA.
Under globalization, America's investor class could and did get rich by the abandonment of America's working class.
America is in a terminal industrial decline because the interests of corporate America now clash directly with the interests of working America -- and, indeed, with the national interest of the United States.
And both parties are either oblivious to or indifferent of what is happening to their country.
Democrats may still honor the tradition. But Detroit is not what she was, not remotely. And neither is America.
Not so long ago, we made all the shoes and clothes we wore, the motorcycles and cars we drove, the radios we listened to, the TV sets we watched, the home and office calculators and computers we used.
No more. Much of what we buy is no longer made by American workers, but by Japanese, Chinese, other Asians, Canadians and Europeans.
"Why don't we make things here anymore?" is the wail.
Answer: We don't make things here anymore because it is cheaper to make them abroad and ship them back.
With an economy of $14 trillion, we may still be the best market in the world to sell into. But we are also among the most expensive markets in the world in which to produce.
Why is that? Again, the answer is simple.
U.S. wages are higher than they are almost anywhere else. Our health, safety and environmental laws are among the most stringent. Our affirmative action demands are the most exacting, except possibly for those of Malaysia and South Africa.
Does the cost of production here in America alone explain the decline in manufacturing and stagnation of workers' wages?
No. For since the Revolution, America has had a standard of living that has been the envy of the world. From the Civil War through the 1920s, as we became the greatest manufacturing power the world had ever seen, our workers enjoyed pay and benefits that were unmatched anywhere.
Yet our exports in those decades were double our imports, and our trade surpluses annually added 4 percent to the gross national product. How did we do it?
We taxed the products of foreign factories and workers and used the revenue to finance the government. We imposed tariffs of up to 40 percent on foreign goods entering our market and used the tariff money to keep taxes low in the United States.
We made foreigners pay a price to get their products into our market and made them pay to help finance our government. We put our own country and people first.
For corporate America, especially industrial America, this was nirvana. They had exclusive free access to our market, and foreign rivals had to pay a stiff fee, a tariff, to get their products in and try to compete with U.S. products in the U.S. market.
What happened to this idea that made America a self-sufficient republic, producing almost all it consumed, a nation that could stay out of the world wars as long as she wished and crush the greatest powers in Europe and Asia in less than four years after she went in?
A new class came to power that looked on tariffs as xenophobic, on economic patriotism as atavistic and on national sovereignty as an antique idea in the new world order it envisioned.
By 1976, editorial writers were talking about a new declaration of interdependence to replace Thomas Jefferson's Declaration of Independence, which was now outdated.
The new idea was to replicate America on a global scale, to throw open the borders of all nations as the borders of the 50 states were open, to abolish all tariffs and trade barriers, and to welcome the free flow of goods and people across all frontiers, thereby creating the One World that statesmen such as Woodrow Wilson and Wendell Willkie had envisioned.
By three decades ago, this globalist ideology had captured both national parties, a product of universities dominated by New Dealers.
But why did corporate America, with its privileged access to the greatest market on earth, go along with sharing that market with its manufacturing rivals from all over the world?
The answer lies in the trade-off corporate America got.
Already established in the U.S. market, corporate America could risk sharing that market if, in return, it could shift its own production out of the United States to countries where the wages were low and regulations were light.
Corporate America could there produce for a fraction of what it cost to produce here. Then these same corporations could ship their foreign-made products back to the USA and pocket the difference in the cost of production. Corporate stock prices would soar, as would corporate salaries -- and dividends, to make shareholders happy and supportive of a corporate policy of moving out of the USA.
Under globalization, America's investor class could and did get rich by the abandonment of America's working class.
America is in a terminal industrial decline because the interests of corporate America now clash directly with the interests of working America -- and, indeed, with the national interest of the United States.
And both parties are either oblivious to or indifferent of what is happening to their country.
Can Western civilization survive the passing of the European peoples whose ancestors created it and their replacement by Third World immigrants? Probably not, for the new arrivals seem uninterested in preserving the old culture they have found.
Those who hold the white race responsible for the mortal sins of mankind -- slavery, racism, imperialism, genocide -- may welcome its departure from history. Those who believe that the civilization that came out of Jerusalem, Athens, Rome and London to be the crowning achievement of mankind will mourn its passing.
Those who hold the white race responsible for the mortal sins of mankind -- slavery, racism, imperialism, genocide -- may welcome its departure from history. Those who believe that the civilization that came out of Jerusalem, Athens, Rome and London to be the crowning achievement of mankind will mourn its passing.
There was a time not so long ago when the nation was united on a common faith, morality, history, heroes, holidays, holy days, language and literature. Now we fight over them all.
We disagree on what the First Amendment says about the freedom to pray in school and celebrate Christmas and Easter? How can we be the "one nation, under God" of the Pledge of Allegiance, or the people "endowed by their Creator" with inalienable rights, if we cannot even identify or discuss or mention that God and that Creator in the schools of America?
We disagree on what the First Amendment says about the freedom to pray in school and celebrate Christmas and Easter? How can we be the "one nation, under God" of the Pledge of Allegiance, or the people "endowed by their Creator" with inalienable rights, if we cannot even identify or discuss or mention that God and that Creator in the schools of America?
Buchanin
America has changed irretrievably.
Since the great cultural-social revolution of the 1960s, there has occurred what Nietzsche called the "transvaluation of all values."
Is America Disintegrating?
by Patrick J. Buchanan 10/21/2011
In Federalist 2, John Jay looks out at a nation of a common blood, faith, language, history, customs and culture.
"Providence," he writes, "has been pleased to give this one connected country to one united people -- a people descended from the same ancestors, speaking the same language, professing the same religion ... very similar in their manners and customs ..."
Are we still that "one united people" today? Or has America become what Klemens von Metternich called Italy: "a mere geographical expression"?
In Suicide of a Superpower, out this week, I argue that the America we grew up in is disintegrating, breaking apart along the fault lines of politics, race, ethnicity, culture and faith; that the centrifugal forces in society have now become the dominant forces.
Our politics are as poisonous as they have been in our lifetimes.
Sarah Palin was maligned as morally complicit in the murder attempt on Rep. Gabrielle Giffords. Terms like "terrorists" and "hostage-takers" are routinely used on Tea Party members who one congressman said want to see blacks "hanging on a tree."
Half a century after the civil rights revolution triumphed, the terms "racist" and "racism" are in daily use. We remain, said Eric Holder in calling us a "nation of cowards," as socially segregated as ever.
"Outside the workplace, the situation is even more bleak in that there is almost no significant interaction between us. On Saturdays and Sundays, America ... does not, in some ways, differ significantly from the country that existed some 50 years ago."
He is not altogether wrong in that. In California's prisons and among her proliferating ethnic gangs, a black-brown civil war has broken out.
Yet, by 2042, there will be 66 million black folks and 135 million Hispanics here, the latter concentrated in the states bordering Mexico.
What holds us together, then?
We are not now and will not then be "descended from common ancestors." We will consist of all the races, cultures, tribes and creeds of Earth -- a multiracial, multicultural, multiethnic, multilingual stew of a nation that has never before existed, or survived. The parallels that come to mind are the Habsburg Empire that flew apart after World War I, and the Soviet Union and Yugoslavia that disintegrated after the Cold War.
No more will we all speak the same language. We will be bilingual and bi-national. Spanish radio and TV stations are already the fastest growing. In Los Angeles, half the people speak a language other than English in their own homes.
As for "professing the same religion," where 85 percent of Americans were Christians in 1990, that is down to 75 percent and plummeting. The old Christian churches -- Presbyterian, Methodist, Lutheran and especially Episcopalian -- are splitting, shrinking and dying.
Where three in four Catholics attended Sunday Mass in 1960, it is now one in four. One in three cradle Catholics has lost the faith. The numbers of priests and nuns are plummeting; religious orders are dying; Catholics schools are closing.
The moral consensus and moral code Christianity gave to us has collapsed. Since the great cultural-social revolution of the 1960s, there has occurred what Nietzsche called the "transvaluation of all values."
What was morally repellent -- promiscuity, homosexuality, abortion -- is now seen by perhaps half the nation as natural, normal, healthy and progressive.
Socially, too, America is breaking down.
Where out-of-wedlock births in the 1950s were rare, today, 41 percent of all American children are born out of wedlock. Among Hispanics, it is 51 percent; among blacks, 71 percent. And the correlation between the illegitimacy rate, the drug rate, the dropout rate, the crime rate and the incarceration rate is absolute.
This helps to explain the four decades of plunging test scores of American children and the quadrupling of the prison population.
And while all this is happening, the state is failing.
We cannot control our borders, win our wars or balance our budgets. In three consecutive national elections -- 2006, 2008 and 2010 -- the incumbents have been repudiated. Confidence in politics, politicians and the future of the country has never been so low in our lifetimes.
There was a time not so long ago when the nation was united on a common faith, morality, history, heroes, holidays, holy days, language and literature. Now we fight over them all.
Neocons says not to worry, the Constitution holds us together.
Does it? Do we all agree on what the First Amendment says about the freedom to pray in school and celebrate Christmas and Easter? How can we be the "one nation, under God" of the Pledge of Allegiance, or the people "endowed by their Creator" with inalienable rights, if we cannot even identify or discuss or mention that God and that Creator in the schools of America?
Do we agree on what the Ninth Amendment says about right to life? What about what the 14th Amendment says about affirmative action? What the Second Amendment says about the right to carry a concealed gun?
The new secession that is coming, Rick Perry notwithstanding, is not like the secession of 1861. It is a secession of the heart from one another.
America has changed irretrievably.
In order to love one's country, said Edmund Burke, one's country ought to be lovely. Is it still? Reid Buckley, brother of Bill, replies, "I am obliged to make a public declaration that I cannot love my country. ... We are Vile."
Since the great cultural-social revolution of the 1960s, there has occurred what Nietzsche called the "transvaluation of all values."
Is America Disintegrating?
by Patrick J. Buchanan 10/21/2011
In Federalist 2, John Jay looks out at a nation of a common blood, faith, language, history, customs and culture.
"Providence," he writes, "has been pleased to give this one connected country to one united people -- a people descended from the same ancestors, speaking the same language, professing the same religion ... very similar in their manners and customs ..."
Are we still that "one united people" today? Or has America become what Klemens von Metternich called Italy: "a mere geographical expression"?
In Suicide of a Superpower, out this week, I argue that the America we grew up in is disintegrating, breaking apart along the fault lines of politics, race, ethnicity, culture and faith; that the centrifugal forces in society have now become the dominant forces.
Our politics are as poisonous as they have been in our lifetimes.
Sarah Palin was maligned as morally complicit in the murder attempt on Rep. Gabrielle Giffords. Terms like "terrorists" and "hostage-takers" are routinely used on Tea Party members who one congressman said want to see blacks "hanging on a tree."
Half a century after the civil rights revolution triumphed, the terms "racist" and "racism" are in daily use. We remain, said Eric Holder in calling us a "nation of cowards," as socially segregated as ever.
"Outside the workplace, the situation is even more bleak in that there is almost no significant interaction between us. On Saturdays and Sundays, America ... does not, in some ways, differ significantly from the country that existed some 50 years ago."
He is not altogether wrong in that. In California's prisons and among her proliferating ethnic gangs, a black-brown civil war has broken out.
Yet, by 2042, there will be 66 million black folks and 135 million Hispanics here, the latter concentrated in the states bordering Mexico.
What holds us together, then?
We are not now and will not then be "descended from common ancestors." We will consist of all the races, cultures, tribes and creeds of Earth -- a multiracial, multicultural, multiethnic, multilingual stew of a nation that has never before existed, or survived. The parallels that come to mind are the Habsburg Empire that flew apart after World War I, and the Soviet Union and Yugoslavia that disintegrated after the Cold War.
No more will we all speak the same language. We will be bilingual and bi-national. Spanish radio and TV stations are already the fastest growing. In Los Angeles, half the people speak a language other than English in their own homes.
As for "professing the same religion," where 85 percent of Americans were Christians in 1990, that is down to 75 percent and plummeting. The old Christian churches -- Presbyterian, Methodist, Lutheran and especially Episcopalian -- are splitting, shrinking and dying.
Where three in four Catholics attended Sunday Mass in 1960, it is now one in four. One in three cradle Catholics has lost the faith. The numbers of priests and nuns are plummeting; religious orders are dying; Catholics schools are closing.
The moral consensus and moral code Christianity gave to us has collapsed. Since the great cultural-social revolution of the 1960s, there has occurred what Nietzsche called the "transvaluation of all values."
What was morally repellent -- promiscuity, homosexuality, abortion -- is now seen by perhaps half the nation as natural, normal, healthy and progressive.
Socially, too, America is breaking down.
Where out-of-wedlock births in the 1950s were rare, today, 41 percent of all American children are born out of wedlock. Among Hispanics, it is 51 percent; among blacks, 71 percent. And the correlation between the illegitimacy rate, the drug rate, the dropout rate, the crime rate and the incarceration rate is absolute.
This helps to explain the four decades of plunging test scores of American children and the quadrupling of the prison population.
And while all this is happening, the state is failing.
We cannot control our borders, win our wars or balance our budgets. In three consecutive national elections -- 2006, 2008 and 2010 -- the incumbents have been repudiated. Confidence in politics, politicians and the future of the country has never been so low in our lifetimes.
There was a time not so long ago when the nation was united on a common faith, morality, history, heroes, holidays, holy days, language and literature. Now we fight over them all.
Neocons says not to worry, the Constitution holds us together.
Does it? Do we all agree on what the First Amendment says about the freedom to pray in school and celebrate Christmas and Easter? How can we be the "one nation, under God" of the Pledge of Allegiance, or the people "endowed by their Creator" with inalienable rights, if we cannot even identify or discuss or mention that God and that Creator in the schools of America?
Do we agree on what the Ninth Amendment says about right to life? What about what the 14th Amendment says about affirmative action? What the Second Amendment says about the right to carry a concealed gun?
The new secession that is coming, Rick Perry notwithstanding, is not like the secession of 1861. It is a secession of the heart from one another.
America has changed irretrievably.
In order to love one's country, said Edmund Burke, one's country ought to be lovely. Is it still? Reid Buckley, brother of Bill, replies, "I am obliged to make a public declaration that I cannot love my country. ... We are Vile."
Buchanin on Diversity
Is America Disintegrating?
by Patrick J. Buchanan 10/21/2011
692
Comments
In Federalist 2, John Jay looks out at a nation of a common blood, faith, language, history, customs and culture.
"Providence," he writes, "has been pleased to give this one connected country to one united people -- a people descended from the same ancestors, speaking the same language, professing the same religion ... very similar in their manners and customs ..."
Are we still that "one united people" today? Or has America become what Klemens von Metternich called Italy: "a mere geographical expression"?
In Suicide of a Superpower, out this week, I argue that the America we grew up in is disintegrating, breaking apart along the fault lines of politics, race, ethnicity, culture and faith; that the centrifugal forces in society have now become the dominant forces.
Our politics are as poisonous as they have been in our lifetimes.
Sarah Palin was maligned as morally complicit in the murder attempt on Rep. Gabrielle Giffords. Terms like "terrorists" and "hostage-takers" are routinely used on Tea Party members who one congressman said want to see blacks "hanging on a tree."
Half a century after the civil rights revolution triumphed, the terms "racist" and "racism" are in daily use. We remain, said Eric Holder in calling us a "nation of cowards," as socially segregated as ever.
"Outside the workplace, the situation is even more bleak in that there is almost no significant interaction between us. On Saturdays and Sundays, America ... does not, in some ways, differ significantly from the country that existed some 50 years ago."
He is not altogether wrong in that. In California's prisons and among her proliferating ethnic gangs, a black-brown civil war has broken out.
Yet, by 2042, there will be 66 million black folks and 135 million Hispanics here, the latter concentrated in the states bordering Mexico.
What holds us together, then?
We are not now and will not then be "descended from common ancestors." We will consist of all the races, cultures, tribes and creeds of Earth -- a multiracial, multicultural, multiethnic, multilingual stew of a nation that has never before existed, or survived. The parallels that come to mind are the Habsburg Empire that flew apart after World War I, and the Soviet Union and Yugoslavia that disintegrated after the Cold War.
No more will we all speak the same language. We will be bilingual and bi-national. Spanish radio and TV stations are already the fastest growing. In Los Angeles, half the people speak a language other than English in their own homes.
As for "professing the same religion," where 85 percent of Americans were Christians in 1990, that is down to 75 percent and plummeting. The old Christian churches -- Presbyterian, Methodist, Lutheran and especially Episcopalian -- are splitting, shrinking and dying.
Where three in four Catholics attended Sunday Mass in 1960, it is now one in four. One in three cradle Catholics has lost the faith. The numbers of priests and nuns are plummeting; religious orders are dying; Catholics schools are closing.
The moral consensus and moral code Christianity gave to us has collapsed. Since the great cultural-social revolution of the 1960s, there has occurred what Nietzsche called the "transvaluation of all values."
What was morally repellent -- promiscuity, homosexuality, abortion -- is now seen by perhaps half the nation as natural, normal, healthy and progressive.
Socially, too, America is breaking down.
Where out-of-wedlock births in the 1950s were rare, today, 41 percent of all American children are born out of wedlock. Among Hispanics, it is 51 percent; among blacks, 71 percent. And the correlation between the illegitimacy rate, the drug rate, the dropout rate, the crime rate and the incarceration rate is absolute.
This helps to explain the four decades of plunging test scores of American children and the quadrupling of the prison population.
And while all this is happening, the state is failing.
We cannot control our borders, win our wars or balance our budgets. In three consecutive national elections -- 2006, 2008 and 2010 -- the incumbents have been repudiated. Confidence in politics, politicians and the future of the country has never been so low in our lifetimes.
There was a time not so long ago when the nation was united on a common faith, morality, history, heroes, holidays, holy days, language and literature. Now we fight over them all.
Neocons says not to worry, the Constitution holds us together.
Does it? Do we all agree on what the First Amendment says about the freedom to pray in school and celebrate Christmas and Easter? How can we be the "one nation, under God" of the Pledge of Allegiance, or the people "endowed by their Creator" with inalienable rights, if we cannot even identify or discuss or mention that God and that Creator in the schools of America?
Do we agree on what the Ninth Amendment says about right to life? What about what the 14th Amendment says about affirmative action? What the Second Amendment says about the right to carry a concealed gun?
The new secession that is coming, Rick Perry notwithstanding, is not like the secession of 1861. It is a secession of the heart from one another.
by Patrick J. Buchanan 10/21/2011
692
Comments
In Federalist 2, John Jay looks out at a nation of a common blood, faith, language, history, customs and culture.
"Providence," he writes, "has been pleased to give this one connected country to one united people -- a people descended from the same ancestors, speaking the same language, professing the same religion ... very similar in their manners and customs ..."
Are we still that "one united people" today? Or has America become what Klemens von Metternich called Italy: "a mere geographical expression"?
In Suicide of a Superpower, out this week, I argue that the America we grew up in is disintegrating, breaking apart along the fault lines of politics, race, ethnicity, culture and faith; that the centrifugal forces in society have now become the dominant forces.
Our politics are as poisonous as they have been in our lifetimes.
Sarah Palin was maligned as morally complicit in the murder attempt on Rep. Gabrielle Giffords. Terms like "terrorists" and "hostage-takers" are routinely used on Tea Party members who one congressman said want to see blacks "hanging on a tree."
Half a century after the civil rights revolution triumphed, the terms "racist" and "racism" are in daily use. We remain, said Eric Holder in calling us a "nation of cowards," as socially segregated as ever.
"Outside the workplace, the situation is even more bleak in that there is almost no significant interaction between us. On Saturdays and Sundays, America ... does not, in some ways, differ significantly from the country that existed some 50 years ago."
He is not altogether wrong in that. In California's prisons and among her proliferating ethnic gangs, a black-brown civil war has broken out.
Yet, by 2042, there will be 66 million black folks and 135 million Hispanics here, the latter concentrated in the states bordering Mexico.
What holds us together, then?
We are not now and will not then be "descended from common ancestors." We will consist of all the races, cultures, tribes and creeds of Earth -- a multiracial, multicultural, multiethnic, multilingual stew of a nation that has never before existed, or survived. The parallels that come to mind are the Habsburg Empire that flew apart after World War I, and the Soviet Union and Yugoslavia that disintegrated after the Cold War.
No more will we all speak the same language. We will be bilingual and bi-national. Spanish radio and TV stations are already the fastest growing. In Los Angeles, half the people speak a language other than English in their own homes.
As for "professing the same religion," where 85 percent of Americans were Christians in 1990, that is down to 75 percent and plummeting. The old Christian churches -- Presbyterian, Methodist, Lutheran and especially Episcopalian -- are splitting, shrinking and dying.
Where three in four Catholics attended Sunday Mass in 1960, it is now one in four. One in three cradle Catholics has lost the faith. The numbers of priests and nuns are plummeting; religious orders are dying; Catholics schools are closing.
The moral consensus and moral code Christianity gave to us has collapsed. Since the great cultural-social revolution of the 1960s, there has occurred what Nietzsche called the "transvaluation of all values."
What was morally repellent -- promiscuity, homosexuality, abortion -- is now seen by perhaps half the nation as natural, normal, healthy and progressive.
Socially, too, America is breaking down.
Where out-of-wedlock births in the 1950s were rare, today, 41 percent of all American children are born out of wedlock. Among Hispanics, it is 51 percent; among blacks, 71 percent. And the correlation between the illegitimacy rate, the drug rate, the dropout rate, the crime rate and the incarceration rate is absolute.
This helps to explain the four decades of plunging test scores of American children and the quadrupling of the prison population.
And while all this is happening, the state is failing.
We cannot control our borders, win our wars or balance our budgets. In three consecutive national elections -- 2006, 2008 and 2010 -- the incumbents have been repudiated. Confidence in politics, politicians and the future of the country has never been so low in our lifetimes.
There was a time not so long ago when the nation was united on a common faith, morality, history, heroes, holidays, holy days, language and literature. Now we fight over them all.
Neocons says not to worry, the Constitution holds us together.
Does it? Do we all agree on what the First Amendment says about the freedom to pray in school and celebrate Christmas and Easter? How can we be the "one nation, under God" of the Pledge of Allegiance, or the people "endowed by their Creator" with inalienable rights, if we cannot even identify or discuss or mention that God and that Creator in the schools of America?
Do we agree on what the Ninth Amendment says about right to life? What about what the 14th Amendment says about affirmative action? What the Second Amendment says about the right to carry a concealed gun?
The new secession that is coming, Rick Perry notwithstanding, is not like the secession of 1861. It is a secession of the heart from one another.
Buchanin on Diversity
In Federalist 2, John Jay looks out at a nation of a common blood, faith, language, history, customs and culture.
"Providence," he writes, "has been pleased to give this one connected country to one united people -- a people descended from the same ancestors, speaking the same language, professing the same religion ... very similar in their manners and customs ..."
Are we still that "one united people" today? Or has America become what Klemens von Metternich called Italy: "a mere geographical expression"?
"Providence," he writes, "has been pleased to give this one connected country to one united people -- a people descended from the same ancestors, speaking the same language, professing the same religion ... very similar in their manners and customs ..."
Are we still that "one united people" today? Or has America become what Klemens von Metternich called Italy: "a mere geographical expression"?
Automation
Automation was expected to be our salvation and liberation, but it was coopted as just another tool of the permanent kleptocratic oligarchy. The rule seems to be that the ruling class will always find a way to come out on top at the expense of the poor.
It's about jobs. Automation is finally, fully kicking in. Its built in. Inexorable. The number of people needed to run a healthy productive economy is down below the critical mass by a huge amount. We are at twenty percent unemployed now, and might arguably be heading toward a permanent forty to seventy percent half employed, marginally employed, unemployed/unemployable. Seriously. With chinese slave labor and automation/efficiency, only the brightest and best thirty percent of Americans will be able to "pursue happiness". Hell, it's probably,always been that way. Imagine what life was like for workers, for eighty percent of Americans, a hundred years ago. Unlivable.
You know what I believe. That any fond hope for a better life for the less talented majority was always sheer bunk. Fond, ie foolish hopes. You believe things have changed, but they haven't. Again, even worse, imagine life for the vast majority in the eighteenth century. Or Liberia or Haiti today.
And this is not not going away. The only cure is a guaranteed annual wage. Paul Goodman's plan. (and a pretty drab life style at best); and that will be effectively resisted by red state Americans as being un-American.
Life has always been miserable for half the population, even in the most developed economies. Miserable. Miser-able. Full of uncertainty and misery. You people just don't realize what it's like to hate your slave job, hate your boss, be a pay check away from despair every single day of your life. Have no vacations. Commute an hour or more. It's horrible. That's normal!! Only the talented thirty percent are above it all. Economically stable and successful liberals. It's oxymoronic. Maybe plain moronic.
Did the word automation (equals despair) come up once yet anywhere at all in this whole discussion? Did Robert Reich mention it? No. Nobody wants to just give up and shut up. Hope and change is an industry in itself.
Herman Cain idiotically said if your you're not rich or employed, blame yourself. Silly as that sounds,he's right; he means blame your DNA. Blame yourself for not having the where-with-all to compete and win.
It's about jobs. Automation is finally, fully kicking in. Its built in. Inexorable. The number of people needed to run a healthy productive economy is down below the critical mass by a huge amount. We are at twenty percent unemployed now, and might arguably be heading toward a permanent forty to seventy percent half employed, marginally employed, unemployed/unemployable. Seriously. With chinese slave labor and automation/efficiency, only the brightest and best thirty percent of Americans will be able to "pursue happiness". Hell, it's probably,always been that way. Imagine what life was like for workers, for eighty percent of Americans, a hundred years ago. Unlivable.
You know what I believe. That any fond hope for a better life for the less talented majority was always sheer bunk. Fond, ie foolish hopes. You believe things have changed, but they haven't. Again, even worse, imagine life for the vast majority in the eighteenth century. Or Liberia or Haiti today.
And this is not not going away. The only cure is a guaranteed annual wage. Paul Goodman's plan. (and a pretty drab life style at best); and that will be effectively resisted by red state Americans as being un-American.
Life has always been miserable for half the population, even in the most developed economies. Miserable. Miser-able. Full of uncertainty and misery. You people just don't realize what it's like to hate your slave job, hate your boss, be a pay check away from despair every single day of your life. Have no vacations. Commute an hour or more. It's horrible. That's normal!! Only the talented thirty percent are above it all. Economically stable and successful liberals. It's oxymoronic. Maybe plain moronic.
Did the word automation (equals despair) come up once yet anywhere at all in this whole discussion? Did Robert Reich mention it? No. Nobody wants to just give up and shut up. Hope and change is an industry in itself.
Herman Cain idiotically said if your you're not rich or employed, blame yourself. Silly as that sounds,he's right; he means blame your DNA. Blame yourself for not having the where-with-all to compete and win.
Automation
It's about jobs. Automation is finally, fully kicking in. Its built in. Inexorable. The number of people needed to run a healthy productive economy is down below the critical mass by a huge amount. We are at twenty percent unemployed now, and might arguably be heading toward a permanent forty to seventy percent half employed, marginally employed, unemployed/unemployable. Seriously. With chinese slave labor and automation/efficiency, only the brightest and best thirty percent of Americans will be able to "pursue happiness". Hell, it's probably,always been that way. Imagine what life was like for workers, for eighty percent of Americans, a hundred years ago. Unlivable.
You know what I believe. That any fond hope for a better life for the less talented majority was always sheer bunk. Fond, ie foolish hopes. You believe things have changed, but they haven't. Again, even worse, imagine life for the vast majority in the eighteenth century. Or Liberia or Haiti today.
And this is not not going away. The only cure is a guaranteed annual wage. Paul Goodman's plan. (and a pretty drab life style at best); and that will be effectively resisted by red state Americans as being un-American.
Life has always been miserable for half the population, even in the most developed economies. Miserable. Miser-able. Full of uncertainty and misery. You people just don't realize what it's like to hate your slave job, hate your boss, be a pay check away from despair every single day of your life. Have no vacations. Commute an hour or more. It's horrible. That's normal!! Only the talented thirty percent are above it all. Economically stable and successful liberals. It's oxymoronic. Maybe plain moronic.
Did the word automation (equals despair) come up once yet anywhere at all in this whole discussion? Did Robert Reich mention it? No. Nobody wants to just give up and shut up. Hope and change is an industry in itself.
Herman Cain idiotically said if your you're not rich or employed, blame yourself. Silly as that sounds,he's right; he means blame your DNA. Blame yourself for not having the where-with-all to compete and win.
You know what I believe. That any fond hope for a better life for the less talented majority was always sheer bunk. Fond, ie foolish hopes. You believe things have changed, but they haven't. Again, even worse, imagine life for the vast majority in the eighteenth century. Or Liberia or Haiti today.
And this is not not going away. The only cure is a guaranteed annual wage. Paul Goodman's plan. (and a pretty drab life style at best); and that will be effectively resisted by red state Americans as being un-American.
Life has always been miserable for half the population, even in the most developed economies. Miserable. Miser-able. Full of uncertainty and misery. You people just don't realize what it's like to hate your slave job, hate your boss, be a pay check away from despair every single day of your life. Have no vacations. Commute an hour or more. It's horrible. That's normal!! Only the talented thirty percent are above it all. Economically stable and successful liberals. It's oxymoronic. Maybe plain moronic.
Did the word automation (equals despair) come up once yet anywhere at all in this whole discussion? Did Robert Reich mention it? No. Nobody wants to just give up and shut up. Hope and change is an industry in itself.
Herman Cain idiotically said if your you're not rich or employed, blame yourself. Silly as that sounds,he's right; he means blame your DNA. Blame yourself for not having the where-with-all to compete and win.
Pat Buchanin
The social, political and moral revolutions of the 1960s have changed America irretrievably. And they have put down roots and converted a vast slice of the nation.
In order to love one's country, said Edmund Burke, one's country ought to be lovely. Is it still? Reid Buckley, brother of Bill, replies, "I am obliged to make a public declaration that I cannot love my country. ... We are Vile."
In order to love one's country, said Edmund Burke, one's country ought to be lovely. Is it still? Reid Buckley, brother of Bill, replies, "I am obliged to make a public declaration that I cannot love my country. ... We are Vile."
Buchanin : a short cultural history
What Is It We Wish to Conserve?
by Patrick J. Buchanan 10/25/2011
254
Comments
A conservative's task in society is "to preserve a particular people, living in a particular place during a particular time."
Jack Hunter, in a review of this writer's new book, Suicide of a Superpower: Will America Survive to 2025? thus summarizes Russell Kirk's view of the duty of the conservative to his country.
Kirk, the traditionalist, though not so famous as some of his contemporaries at National Review, is now emerging as perhaps the greatest of that first generation of post-World War II conservatives -- in the endurance of his thought.
Richard Nixon believed that. Forty years ago, he asked this writer to contact Dr. Kirk and invite him to the White House for an afternoon of talk. No other conservative would do, said the president.
Kirk's rendering of the conservative responsibility invites a question. Has the right, despite its many victories, failed? For, in what we believe and how we behave, we are not the people we used to be.
Perhaps. But then, we didn't start the fire.
Second-generation conservatives, Middle Americans who grew up in mid-century, were engulfed by a set of revolutions that turned their country upside down and from which there is no going home again.
First was a civil rights revolution, which began with the freedom riders and March on Washington of August 1963 and ended tragically and terribly with the assassination of Dr. Martin Luther King Jr. in 1968.
That revolution produced the civil rights and voting rights acts, but was attended by the long, hot summers of the '60s -- days-long riots in Harlem in 1964, Watts in 1965, Detroit and Newark in 1967, and a hundred other cities and Washington, D.C., in 1968 that tore the nation apart.
Crucially, the initial demands -- an end to segregation and equality of opportunity -- gave way to demands for an equality of condition and equality of results through affirmative action, race-based preferences in hiring and admissions, and a progressive income tax. Reparations for slavery are now on the table.
In response to this revolution, LBJ, after the rout of Barry Goldwater, exploited his huge congressional majorities to launch a governmental revolution, fastening on the nation a vast array of social programs that now threaten to bankrupt the republic, even as they have created a vast new class of permanent federal dependents.
The next revolution began at teach-ins to protest involvement in Vietnam, but climaxed with half a million marchers around the White House carrying Viet Cong flags, waving placards with America spelled "Amerika" and chanting, "Ho, Ho, Ho Chi Minh -- the NLF is going to win."
Well, the NLF didn't win. It was crushed in the Tet Offensive. But the North Vietnamese invasion of 1975 did. Result: a million boat people in the South China Sea, a holocaust in Cambodia and poisoned American politics for decades after that American defeat.
By the time Vietnam ended, many in the antiwar movement had become anti-American and come to regard her role in history not as great and glorious but as an endless catalogue of crimes, from slavery to imperialism to genocide against the Native Americans.
The fourth revolution was social -- a rejection by millions of young of the moral code by which their parents sought to live.
This produced demands for legalized drugs, condoms for school kids, a right to terminate pregnancies with subsidized abortions and the right of homosexuals to marry.
The first political success of the integrated revolutions came with capture of the Democratic Party in 1972, though Sen. George McGovern was crushed by Nixon in a 49-state landslide.
The conservative triumph of the half-century was surely the election of Ronald Reagan, who revived America's spirit, restored her prosperity and presided over her peaceful Cold War victory. Yet even Reagan failed to curtail an ever-expanding federal government.
Did then the conservatives fail?
In defense of the right, it needs be said. They were no more capable of preventing these revolutionary changes in how people think and believe about God and man, right and wrong, good and evil, than were the French of the Vendee to turn back the revolution of 1789.
Converting a people to new ways of thinking about fundamental truths is beyond the realm of politics and requires a John Wesley or a St. Paul.
The social, political and moral revolutions of the 1960s have changed America irretrievably. And they have put down roots and converted a vast slice of the nation.
In order to love one's country, said Edmund Burke, one's country ought to be lovely. Is it still? Reid Buckley, brother of Bill, replies, "I am obliged to make a public declaration that I cannot love my country. ... We are Vile."
And so what is the conservative's role in an America many believe has not only lost its way but seems to be losing its mind?
What is it now that conservatives must conserve?
by Patrick J. Buchanan 10/25/2011
254
Comments
A conservative's task in society is "to preserve a particular people, living in a particular place during a particular time."
Jack Hunter, in a review of this writer's new book, Suicide of a Superpower: Will America Survive to 2025? thus summarizes Russell Kirk's view of the duty of the conservative to his country.
Kirk, the traditionalist, though not so famous as some of his contemporaries at National Review, is now emerging as perhaps the greatest of that first generation of post-World War II conservatives -- in the endurance of his thought.
Richard Nixon believed that. Forty years ago, he asked this writer to contact Dr. Kirk and invite him to the White House for an afternoon of talk. No other conservative would do, said the president.
Kirk's rendering of the conservative responsibility invites a question. Has the right, despite its many victories, failed? For, in what we believe and how we behave, we are not the people we used to be.
Perhaps. But then, we didn't start the fire.
Second-generation conservatives, Middle Americans who grew up in mid-century, were engulfed by a set of revolutions that turned their country upside down and from which there is no going home again.
First was a civil rights revolution, which began with the freedom riders and March on Washington of August 1963 and ended tragically and terribly with the assassination of Dr. Martin Luther King Jr. in 1968.
That revolution produced the civil rights and voting rights acts, but was attended by the long, hot summers of the '60s -- days-long riots in Harlem in 1964, Watts in 1965, Detroit and Newark in 1967, and a hundred other cities and Washington, D.C., in 1968 that tore the nation apart.
Crucially, the initial demands -- an end to segregation and equality of opportunity -- gave way to demands for an equality of condition and equality of results through affirmative action, race-based preferences in hiring and admissions, and a progressive income tax. Reparations for slavery are now on the table.
In response to this revolution, LBJ, after the rout of Barry Goldwater, exploited his huge congressional majorities to launch a governmental revolution, fastening on the nation a vast array of social programs that now threaten to bankrupt the republic, even as they have created a vast new class of permanent federal dependents.
The next revolution began at teach-ins to protest involvement in Vietnam, but climaxed with half a million marchers around the White House carrying Viet Cong flags, waving placards with America spelled "Amerika" and chanting, "Ho, Ho, Ho Chi Minh -- the NLF is going to win."
Well, the NLF didn't win. It was crushed in the Tet Offensive. But the North Vietnamese invasion of 1975 did. Result: a million boat people in the South China Sea, a holocaust in Cambodia and poisoned American politics for decades after that American defeat.
By the time Vietnam ended, many in the antiwar movement had become anti-American and come to regard her role in history not as great and glorious but as an endless catalogue of crimes, from slavery to imperialism to genocide against the Native Americans.
The fourth revolution was social -- a rejection by millions of young of the moral code by which their parents sought to live.
This produced demands for legalized drugs, condoms for school kids, a right to terminate pregnancies with subsidized abortions and the right of homosexuals to marry.
The first political success of the integrated revolutions came with capture of the Democratic Party in 1972, though Sen. George McGovern was crushed by Nixon in a 49-state landslide.
The conservative triumph of the half-century was surely the election of Ronald Reagan, who revived America's spirit, restored her prosperity and presided over her peaceful Cold War victory. Yet even Reagan failed to curtail an ever-expanding federal government.
Did then the conservatives fail?
In defense of the right, it needs be said. They were no more capable of preventing these revolutionary changes in how people think and believe about God and man, right and wrong, good and evil, than were the French of the Vendee to turn back the revolution of 1789.
Converting a people to new ways of thinking about fundamental truths is beyond the realm of politics and requires a John Wesley or a St. Paul.
The social, political and moral revolutions of the 1960s have changed America irretrievably. And they have put down roots and converted a vast slice of the nation.
In order to love one's country, said Edmund Burke, one's country ought to be lovely. Is it still? Reid Buckley, brother of Bill, replies, "I am obliged to make a public declaration that I cannot love my country. ... We are Vile."
And so what is the conservative's role in an America many believe has not only lost its way but seems to be losing its mind?
What is it now that conservatives must conserve?
Effects of pot
This study builds on previous work by Harvard researchers demonstrating that the learning and memory impairments of heavy marijuana users typically vanish within 28 days of “smoking cessation.” (The slight impairments still existed, however, one week after smoking.) While several days might sound like a long hippocampal hangover, heavy alcohol users typically experience deficits that persist for several months, if not years. In other words, heavy marijuana use appears to be a lot less damaging than alcoholism.
Taken together, these studies demonstrate that popular stereotypes of marijuana users are unfair and untrue. While it’s definitely not a good idea to perform a cognitively demanding task (such as driving!) while stoned, smoking a joint probably also won’t lead to any measurable long-term deficits. The Dude, in other words, wasn’t dumb because he inhaled. He was dumb because he was The Dude. (All those White Russians probably didn’t help, either.)
Taken together, these studies demonstrate that popular stereotypes of marijuana users are unfair and untrue. While it’s definitely not a good idea to perform a cognitively demanding task (such as driving!) while stoned, smoking a joint probably also won’t lead to any measurable long-term deficits. The Dude, in other words, wasn’t dumb because he inhaled. He was dumb because he was The Dude. (All those White Russians probably didn’t help, either.)
Monday, October 24, 2011
Bin Laden
It seems to me that with the character of our society, it might have been more consistent with American values to have at least ordered his capture with rules of engagement,"
Atheism
My analysis will be based on the contention that God should be detectable by scientific means simply by virtue of the fact that he is supposed to play such a central role in the operation of the universe and the lives of humans. Existing scientific models contain no place where God is included as an ingredient in order to describe observations.
Saturday, October 22, 2011
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
Pree-VYET
Or
zdrav-tvoy-tyeh
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
Pree-VYET
Or
zdrav-tvoy-tyeh
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
I will say this, I am atheist. I do not begrudge anyone their choice of salvation or beliefs, it's a very personal choice and it's not mine to disparage. I am not atheist because I hate god, I am atheist simply because the standards of logic don't allow for the existence of something that has yet to manifest in any measurable way. Should Thor swing down from the heavens and fling Mjolnir at my feet, well, that makes all 10000 plus gods in our history a logical possibility
How to say hello how are you in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-tyeh
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-tyeh
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-tyeh
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-tyeh
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
How to say hello how are you in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-yah
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-yah
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
How tomsay hello how are you in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-yah
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-yah
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
How to say hello how are you in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-yah
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
RUSSIAN:
zdrav-tvoy-yah
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
How to say hello how are you in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
JAPANESE:
konnichiwa
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
CHINESE:
Ni how?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
Shakespeare
Roland Emmerich’s inadvertently comic new movie, Anonymous, purports to announce to the world that the works we deluded souls imagine to have been written by one William Shakespeare were actually penned by Edward de Vere, the 17th Earl of Oxford. James Shapiro’s fine book Contested Will chronicles the long obsession with depriving Shakespeare of authentic authorship of his works, mostly on the grounds that no manuscripts survive but also that his cultural provenance was too lowly, and his education too rudimentary, to have allowed him to penetrate the minds of kings and courtiers. Only someone from the upper crust, widely traveled and educated at the highest level, this argument runs, could have had the intellectual wherewithal to have created, say, Julius Caesar.
Alternative candidates for the "real" Shakespeare have numbered the Cambridge-schooled Christopher Marlowe (who also happens to have been killed before the greatest of Shakespeare’s plays appeared) and the philosopher--statesman Francis Bacon. But the hottest candidate for some time has been the Earl of Oxford, himself a patron of dramatists, a courtier-poet of middling talent, and an adventurer who was at various times banished from the court and captured by pirates. The Oxford theory has been doing the rounds since 1920, when an English scholar, Thomas Looney (pronounced Loaney), first brought it before the world.
None of which would matter very much were there not something repellent at the heart of the theory, and that something is the toad, snobbery—the engine that drives the Oxfordian case against the son of the Stratford glover John Shakespeare. John was indeed illiterate. But his son was not, as we know incontrovertibly from no fewer than six surviving signatures in Shakespeare’s own flowing hand, the first from 1612, when he was giving evidence in a domestic lawsuit.
The Earl of Oxford was learned and, by reports, witty. But publicity -materials for Anonymous say that Shakespeare by comparison went to a mere "village school" and so could hardly have compared with the cultural richness imbibed by Oxford. The hell he couldn’t! Stratford was no "village," and the "grammar school," which means elementary education in America, was in fact a cradle of serious classical learning in Elizabethan England. By the time he was 13 or so, Shakespeare would have read (in Latin) works by Terence, Plautus, Virgil, Erasmus, Cicero, and probably Plutarch and Livy too. One of the great stories of the age was what such schooling did for boys of humble birth.
How could Shakespeare have known all about kings and queens and courtiers? By writing for them and playing before them over and over again—nearly a hundred performances before Elizabeth and James, almost 20 times a year in the latter case. His plays were published in quarto from 1598 with his name on the page. The notion that the monarchs would have been gulled into thinking he was the true author, when in fact he wasn’t, beggars belief.
The real problem is not all this idiotic misunderstanding of history and the world of the theater but a fatal lack of imagination on the subject of the imagination. The greatness of Shakespeare is precisely that he did not conform to social type—that he was, in the words of the critic William Hazlitt, "no one and everyone." He didn’t need to go to Italy because Rome had come to him at school and came again in the travels of his roaming mind. His capacity for imaginative extension was socially limitless too: reaching into the speech of tavern tarts as well as archbishops and kings.
Alternative candidates for the "real" Shakespeare have numbered the Cambridge-schooled Christopher Marlowe (who also happens to have been killed before the greatest of Shakespeare’s plays appeared) and the philosopher--statesman Francis Bacon. But the hottest candidate for some time has been the Earl of Oxford, himself a patron of dramatists, a courtier-poet of middling talent, and an adventurer who was at various times banished from the court and captured by pirates. The Oxford theory has been doing the rounds since 1920, when an English scholar, Thomas Looney (pronounced Loaney), first brought it before the world.
None of which would matter very much were there not something repellent at the heart of the theory, and that something is the toad, snobbery—the engine that drives the Oxfordian case against the son of the Stratford glover John Shakespeare. John was indeed illiterate. But his son was not, as we know incontrovertibly from no fewer than six surviving signatures in Shakespeare’s own flowing hand, the first from 1612, when he was giving evidence in a domestic lawsuit.
The Earl of Oxford was learned and, by reports, witty. But publicity -materials for Anonymous say that Shakespeare by comparison went to a mere "village school" and so could hardly have compared with the cultural richness imbibed by Oxford. The hell he couldn’t! Stratford was no "village," and the "grammar school," which means elementary education in America, was in fact a cradle of serious classical learning in Elizabethan England. By the time he was 13 or so, Shakespeare would have read (in Latin) works by Terence, Plautus, Virgil, Erasmus, Cicero, and probably Plutarch and Livy too. One of the great stories of the age was what such schooling did for boys of humble birth.
How could Shakespeare have known all about kings and queens and courtiers? By writing for them and playing before them over and over again—nearly a hundred performances before Elizabeth and James, almost 20 times a year in the latter case. His plays were published in quarto from 1598 with his name on the page. The notion that the monarchs would have been gulled into thinking he was the true author, when in fact he wasn’t, beggars belief.
The real problem is not all this idiotic misunderstanding of history and the world of the theater but a fatal lack of imagination on the subject of the imagination. The greatness of Shakespeare is precisely that he did not conform to social type—that he was, in the words of the critic William Hazlitt, "no one and everyone." He didn’t need to go to Italy because Rome had come to him at school and came again in the travels of his roaming mind. His capacity for imaginative extension was socially limitless too: reaching into the speech of tavern tarts as well as archbishops and kings.
EXPERTISE
What we told the directors of the firm was that, at least when it came to building portfolios, the firm was rewarding luck as if it were skill. This should have been shocking news to them, but it was not. There was no sign that they disbelieved us. How could they? After all, we had analyzed their own results, and they were certainly sophisticated enough to appreciate their implications, which we politely refrained from spelling out. We all went on calmly with our dinner, and I am quite sure that both our findings and their implications were quickly swept under the rug and that life in the firm went on just as before. The illusion of skill is not only an individual aberration; it is deeply ingrained in the culture of the industry. Facts that challenge such basic assumptions — and thereby threaten people’s livelihood and self-esteem — are simply not absorbed. The mind does not digest them. This is particularly true of statistical studies of performance, which provide general facts that people will ignore if they conflict with their personal experience.
The next morning, we reported the findings to the advisers, and their response was equally bland. Their personal experience of exercising careful professional judgment on complex problems was far more compelling to them than an obscure statistical result. When we were done, one executive I dined with the previous evening drove me to the airport. He told me, with a trace of defensiveness, “I have done very well for the firm, and no one can take that away from me.” I smiled and said nothing. But I thought, privately: Well, I took it away from you this morning. If your success was due mostly to chance, how much credit are you entitled to take for it?
We often interact with professionals who exercise their judgment with evident confidence, sometimes priding themselves on the power of their intuition. In a world rife with illusions of validity and skill, can we trust them? How do we distinguish the justified confidence of experts from the sincere overconfidence of professionals who do not know they are out of their depth? We can believe an expert who admits uncertainty but cannot take expressions of high confidence at face value. People come up with coherent stories and confident predictions even when they know little or nothing. Overconfidence arises because people are often blind to their own blindness.
True intuitive expertise is learned from prolonged experience with good feedback on mistakes. You are probably an expert in guessing your spouse’s mood from one word on the telephone; chess players find a strong move in a single glance at a complex position; and true legends of instant diagnoses are common among physicians. To know whether you can trust a particular intuitive judgment, there are two questions you should ask: Is the environment in which the judgment is made sufficiently regular to enable predictions from the available evidence? The answer is yes for diagnosticians, no for stock pickers. Do the professionals have an adequate opportunity to learn the cues and the regularities? The answer here depends on the professionals’ experience and on the quality and speed with which they discover their mistakes. Anesthesiologists have a better chance to develop intuitions than radiologists do. Many of the professionals we encounter easily pass both tests, and their off-the-cuff judgments deserve to be taken seriously. In general, however, you should not take assertive and confident people at their own evaluation unless you have independent reason to believe that they know what they are talking about. Unfortunately, this advice is difficult to follow: overconfident professionals sincerely believe they have expertise, act as experts and look like experts. You will have to struggle to remind yourself that they may be in the grip of an illusion.
The next morning, we reported the findings to the advisers, and their response was equally bland. Their personal experience of exercising careful professional judgment on complex problems was far more compelling to them than an obscure statistical result. When we were done, one executive I dined with the previous evening drove me to the airport. He told me, with a trace of defensiveness, “I have done very well for the firm, and no one can take that away from me.” I smiled and said nothing. But I thought, privately: Well, I took it away from you this morning. If your success was due mostly to chance, how much credit are you entitled to take for it?
We often interact with professionals who exercise their judgment with evident confidence, sometimes priding themselves on the power of their intuition. In a world rife with illusions of validity and skill, can we trust them? How do we distinguish the justified confidence of experts from the sincere overconfidence of professionals who do not know they are out of their depth? We can believe an expert who admits uncertainty but cannot take expressions of high confidence at face value. People come up with coherent stories and confident predictions even when they know little or nothing. Overconfidence arises because people are often blind to their own blindness.
True intuitive expertise is learned from prolonged experience with good feedback on mistakes. You are probably an expert in guessing your spouse’s mood from one word on the telephone; chess players find a strong move in a single glance at a complex position; and true legends of instant diagnoses are common among physicians. To know whether you can trust a particular intuitive judgment, there are two questions you should ask: Is the environment in which the judgment is made sufficiently regular to enable predictions from the available evidence? The answer is yes for diagnosticians, no for stock pickers. Do the professionals have an adequate opportunity to learn the cues and the regularities? The answer here depends on the professionals’ experience and on the quality and speed with which they discover their mistakes. Anesthesiologists have a better chance to develop intuitions than radiologists do. Many of the professionals we encounter easily pass both tests, and their off-the-cuff judgments deserve to be taken seriously. In general, however, you should not take assertive and confident people at their own evaluation unless you have independent reason to believe that they know what they are talking about. Unfortunately, this advice is difficult to follow: overconfident professionals sincerely believe they have expertise, act as experts and look like experts. You will have to struggle to remind yourself that they may be in the grip of an illusion.
True Grit
There is nothing free except the Grace of God. You cannot earn that or deserve it.
------ True Grit
------ True Grit
C.S. Lewis on grief
Part of every misery is, so to speak, the misery's shadow or reflection: the fact that you don't merely suffer but have to keep on thinking about the fact that you suffer. You not only live each endless day in grief, but live each day thinking about living each day in grief.
Supreme Court
Five Supreme Court Justices--Scalia, Thomas, Roberts, Alito and Kennedy are entrenching, in a whirlwind of judicial dictates, judicial legislating and sheer ideological judgments, a mega-corporate supremacy over the rights and remedies of individuals.
The artificial entity called "the corporation" has no mention in our Constitution whose preamble starts with "We the People," not "We the Corporation."
The artificial entity called "the corporation" has no mention in our Constitution whose preamble starts with "We the People," not "We the Corporation."
List of Songs
YESTERDAY, YOUR MOTHER SHOULD KNOW, GOOD DAY SUNSHINE, RUBY TUESDAY, WILD HORSES, SYMPATHY FOR THE DEVIL, THE LONG AND WINDING ROAD, ME AND BABY BROTHER OR BRIDGE OVER TROUBLED WATERS, LADY MADONNA, CHANGES, GOLDEN YEARS, CONNECTION, PAINT IT BLACK,. SPIDER AND THE FLY, TICKET TO RIDE, WE CAN WORK IT OUT, TAXMAN, I AM THE WALRUS, SHE'S LEAVING HOME, STAND, TEXAS CADILLAC, AGUA DE BEBER, GIRL FROM IPANEMA, LOVE AND HAPPINESS, CHAIN OF FOOLS, PICTURES OF MATCHSTICK MEN, BAREFOOT IN BALTIMORE, TAKE IT TO THE LIMIT, WRECK OF THE EDMUND FITZGERALD, DOWN BY THE RIVER, HANGMAN,
ARETHA FRANKLYN. CHAIN OF FOOLS, HEARD IT THROUGH THE GRAPEVINE. GOOD VIBRATIONS, TRADER, SURF'S UP, HEROES AND VILLAINS, FOUR CORNERED ROOM, ONLY A DREAM IN RIO, HOLD THEM UP. CHAMPAGNE JAM, GOD ONLY KNOWS, SOMETHING, I WANT TO TELL YOU, MICHELLE, BECAUSE, KOKOMO, SAIL ON SAILOR, FEEL FLOWS, HEY JUDE, HELLO GOODBYE, HELP, I SAW HER STANDING THERE,
IN MY LIFE, NORWEGIAN WOOD, REAL LOVE, YOUR MOTHER SHOULD KNOW. EIGHT DAYS A WEEK, PENNY LANE, HERE THERE AND EVERYWHERE, HEARTBREAKER, DO YOU WANT TO DANCE, STRANGE BREW, WORLD IN CHANGES, NIGHT MOVES, MR. BOJANGLES, THE WEIGHT, I SAW HER AGAIN, CAN'T HURRY LOVE, DANGLIN' CONVERSATION, STOP IN THE NAME OF LOVE, DANCIN' IN THE STREET, BROWN EYED GIRL,
STORMY, TO KNOW HIM IS TO LOVE HIM, DREAM, HERE THERE AND EVERYWHERE, JUMPIN' JACK FLASH, WHITE RABBIT, BAD BAD LEROY BROWN, CALIFORNIA GIRLS, HOT FUN IN THE SUMMERTIME, I SAW HER AGAIN, EL CONDOR PASA, DO YOU BELIEVE IN MAGIC, YOUNGER GIRL, HOUSE OF THE RISIN' SON, SATISFACTION, LOLA, ALL DAY AND ALL OF THE NIGHT, ALONG COMES MARY, I SHOULD HAVE KNOWN BETTER, WE CAN WORK IT OUT, GOOD VIBRATIONS, HOLY MOSES, SUNSHINE SUPERMAN, TIME IS ON MY SIDE, TIME HAS COME TODAY, INCENSE AND PEPPERMINTS,
TUESDAY AFTERNOON, WALK AWAY RENEE, TINY DANCER, AIN'T GOT NOTHING YET. LIAR, ONE IS THE LONLIEST NUMBER, IF I FELL, THINGS WE SAID TODAY, LAZIN ON A SUMMER AFTERNOON, MR. TAMBOURINE MAN, WHAT A DAY FOR A DAYDREAM,.UNDER MY THUMB, YOU ARE MY BEST FRIEND, TELEPHONE LINE, SOUL MAN, MACARTHUR PARK , DOWN BY THE RIVER IN MY LIFE, MOTHER NATURE'S SON, MAGICAL MYSTERY TOUR, I'VE JUST SEEN A FACE, WITH A LITTLE HELP FROM MY FRIENDS, THE NIGHT BEFORE, HELP, HELLO GOODBYE, HARD DAYS NIGHT, DRIVE MY CAR, THE FOOL ON THE HILL, CAN'T BUY ME LOVE, BLACKBIRD, I'LL FOLLOW THE SUN, LEAN ON ME, LADY JANE, BABY COME BACK, MISS SUN, GREEN ONIONS, LOVE AND MERCY, ALL ALONG THE WATCHTOWER, IT'S ALL OVER NOW BABY BLUE, HEART OF MINE, LOWDOWN, LAY LADY LAY,. HEART OF GLASS, RIDE LIKE THE WIND, THE FUTURE, DON'T LET IT LINGER, SUNSHINE OF YOUR LOVE, TALES OF BRAVE ULYSSES, FORTUNATE SON, WOODEN SHIPS , THE WINDOWS OF THE WORLD, HEY JOE, BLUE JEAN, LET'S DANCE, HOW LONG HAS THIS BEEN GOING ON MODERN LOVE, HEY JOE, HARBOR LIGHTS, COULD IT BE I'M FALLING IN LOVE, SOUTHERN CROSS, WOODSTOCK, STRANGE MAGIC, HOTEL CALIFORNIA, DESPERADO, TURN TO STONE, I'M ALIVE, ALL OVER THE WORLD, I'M STILL STANDING, IN NEON, A WORD IN SPANISH, BELIEVE, YELLOW BRICK ROAD, AFRICA, LAYLA, FOREVER MAN, GOOD THING TINY DANCER, SACRIFICE, EVERYDAY I WRITE THE BOOK, ORINOCO FLOW, CHANGE THE WORLD, BELL BOTTOM BLUES, COLD AS ICE, DREAMWEAVER, BEWARE OF DARKNESS, SILVER SPRING, GYPSY, DREAMS, THE CHAIN, RHIANNON, I WANT TO KNOW WHAT LOVE IS, ONLY ONE, TOUT EST BLEU, I WANT A NEW DRUG, GUANTANAMERA, LARA'S THEME, GUENIVERE, MELLOW YELLOW, BARABAJAGLE, THE WIND CRIES MARY, IT'S ALL OVER NOW BABY BLUE, SUBTERRANEAN HOMESICK BLUES, JOKERMAN, HIGHWAY 61 REVISITED, JUST LIKE A WOMAN, POWER OF LOVE, FOR THE LOVE OF YOU, RUNNING ON EMPTY, LIKE A ROLLING STONE, NEW MINGLEWOOD BLUES, BRANDY, CREAM PUFF WAR, COLD RAIN AND SNOW, SARA SMILE, PRIVATE EYES, BAD IS BAD, POWER OF LOVE, RUNNING ON EMPTY HAPPY XMAS, (WAR IS OVER) SOMEONE SAVED MY LIFE TONIGHT,. MELLOW YELLOW, SUNNY GOODGE STREET, ALBATROSS, TRAIL OF BROKEN HEARTS, CONSTANT CRAVING,TIME OF THE SEASON, TIRED OF WAITING FOR YOU, COME DANCING, LOLA, JOANNA, MINUTE BY MINUTE, DOO WOP (THAT THING) YOU MAKE ME FEEL LIKE DANCING, THE WIND CRIES MARY, PURPLE HAZE (BOTH VERSIONS) JUMPIN' JACK FLASH, TWELVE THIRTY. LOWDOWN. HEART OF MINE
BEAT IT, BREAK MY STRIDE, MONDAY MONDAY, DEDICATED TO THE ONE I LOVE, KIKO AND THE LAVENDER MOON, LAND DOWN UNDER BODHISATTVA, BLACK COW, REELIN' IN THE YEARS, DEACON BLUE, FAMILY AFFAIR, EVERYBODY IS A STAR, SUMMER BREEZE, PLAY WITH FIRE, LEATHER AND LACE, CROSSFIRE, TIGHTROPE, SEND ONE YOUR LOVE, SIR DUKE, SUPERSTITION, PLUSH, YOU MAKE ME FEEL BRAND NEW, RIBBON IN THE SKY, BOOGIE ON REGGAE WOMAN, JOSIE, GAUCHO,. LOVE IN NEED OF LOVE, SIGNED SEALED DELIVERED, FRAGILE, BAREFOOT IN BALTIMORE, WHAT IS HIP. MEET VIRGINIA, WHITER SHADE OF PALE, THE TAO OF LOVE, LOW SPARK OF HIGH HEELED BOYS, TELSTAR, LAST DANCE WITH MARY JANE, SOLID AS A ROCK, BEHIND BLUE EYES, WEREWOLVES OF LONDON, MAGNET AND STEEL, DON'T STAND SO CLOSE TO ME, OWNER OF A LONELY HEART, RIKKI DON'T LOSE THAT NUMBER, ROSANNA, TRADER, BABYLON SISTER, YELLOW MAN, SOUTHERN MAN, A NIGHT IN TUNISIA, BLINDED BY THE LILGHT, LIGHTNIN' STRIKES, THESE DREAMS, CANDY, STILL YOU TURN ME ON,
INDIVIDUAL CHOICE, IF YOU DON'T KNOW ME BY NOW, STONE SOULD PICNIC, LYIN' EYES, BEST OF MY LOVE, WALK AWAY RENEE, YOU REALLY GOT ME, COME TOGETHER, AFTER MIDNIGHT, MAKE THAT MOVE, ELI'S COMING, ONE IS THE LONELIEST NUMBER, WATERMELON MAN HIGHWAY 61, YOU CAN'T HURRY LOVE, NORTHERN LIGHTS, SAVE A PRAYER, SAD SONGS SAY SO MUCH LANDSLIDE, FUNKYTOWN DANIEL, ISLAND GIRL, PINBALL WIZARD, NIKITA, ROCKET MAN, SWEET HOME ALABAMA, SOUTHERN MAN. GOODBYE TO LOVE, FOR THE LOVE OF YOU, KILLER JOE, UP UP AND AWAY, BROWN SUGAR, DO FOR LOVE, BLACKBIRD, SOWING THE SEEDS OF LOVE, LOOK OUT MY WINDOW. STRAIGHT SHOOTER. FAMILY AFFAIR, EXPECTING TO FLY, TOTAL ECLIPSE OF THE HEART, JUST LIKE A WONMAN, DON'T HANG UP, THIS IS NOT AMERICA, LAST TRAIN HOME, SEND ME FORGET ME NOTS, JUNGLE LOVE, NIGHTS IN WHITE SATIN, COOL, BACK STABBERS, LOVE TRAIN, BAD TO THE BONE, HEART OF ROCK AND ROLL, PRIVATE EYES, COLD RAIN AND SNOW, SITTIN' ON TOP OF THE WORLD, POWER OF LOVE, IRON BUTTERFLY THEME, STRANGE MAGIC, AFTER THE LOVE HAS GONE, BENNY AND THE JETS. SHINING STAR, EVERYBODY IS A STAR, TAKE IT TO THE LIMIT,
ARETHA FRANKLYN. CHAIN OF FOOLS, HEARD IT THROUGH THE GRAPEVINE. GOOD VIBRATIONS, TRADER, SURF'S UP, HEROES AND VILLAINS, FOUR CORNERED ROOM, ONLY A DREAM IN RIO, HOLD THEM UP. CHAMPAGNE JAM, GOD ONLY KNOWS, SOMETHING, I WANT TO TELL YOU, MICHELLE, BECAUSE, KOKOMO, SAIL ON SAILOR, FEEL FLOWS, HEY JUDE, HELLO GOODBYE, HELP, I SAW HER STANDING THERE,
IN MY LIFE, NORWEGIAN WOOD, REAL LOVE, YOUR MOTHER SHOULD KNOW. EIGHT DAYS A WEEK, PENNY LANE, HERE THERE AND EVERYWHERE, HEARTBREAKER, DO YOU WANT TO DANCE, STRANGE BREW, WORLD IN CHANGES, NIGHT MOVES, MR. BOJANGLES, THE WEIGHT, I SAW HER AGAIN, CAN'T HURRY LOVE, DANGLIN' CONVERSATION, STOP IN THE NAME OF LOVE, DANCIN' IN THE STREET, BROWN EYED GIRL,
STORMY, TO KNOW HIM IS TO LOVE HIM, DREAM, HERE THERE AND EVERYWHERE, JUMPIN' JACK FLASH, WHITE RABBIT, BAD BAD LEROY BROWN, CALIFORNIA GIRLS, HOT FUN IN THE SUMMERTIME, I SAW HER AGAIN, EL CONDOR PASA, DO YOU BELIEVE IN MAGIC, YOUNGER GIRL, HOUSE OF THE RISIN' SON, SATISFACTION, LOLA, ALL DAY AND ALL OF THE NIGHT, ALONG COMES MARY, I SHOULD HAVE KNOWN BETTER, WE CAN WORK IT OUT, GOOD VIBRATIONS, HOLY MOSES, SUNSHINE SUPERMAN, TIME IS ON MY SIDE, TIME HAS COME TODAY, INCENSE AND PEPPERMINTS,
TUESDAY AFTERNOON, WALK AWAY RENEE, TINY DANCER, AIN'T GOT NOTHING YET. LIAR, ONE IS THE LONLIEST NUMBER, IF I FELL, THINGS WE SAID TODAY, LAZIN ON A SUMMER AFTERNOON, MR. TAMBOURINE MAN, WHAT A DAY FOR A DAYDREAM,.UNDER MY THUMB, YOU ARE MY BEST FRIEND, TELEPHONE LINE, SOUL MAN, MACARTHUR PARK , DOWN BY THE RIVER IN MY LIFE, MOTHER NATURE'S SON, MAGICAL MYSTERY TOUR, I'VE JUST SEEN A FACE, WITH A LITTLE HELP FROM MY FRIENDS, THE NIGHT BEFORE, HELP, HELLO GOODBYE, HARD DAYS NIGHT, DRIVE MY CAR, THE FOOL ON THE HILL, CAN'T BUY ME LOVE, BLACKBIRD, I'LL FOLLOW THE SUN, LEAN ON ME, LADY JANE, BABY COME BACK, MISS SUN, GREEN ONIONS, LOVE AND MERCY, ALL ALONG THE WATCHTOWER, IT'S ALL OVER NOW BABY BLUE, HEART OF MINE, LOWDOWN, LAY LADY LAY,. HEART OF GLASS, RIDE LIKE THE WIND, THE FUTURE, DON'T LET IT LINGER, SUNSHINE OF YOUR LOVE, TALES OF BRAVE ULYSSES, FORTUNATE SON, WOODEN SHIPS , THE WINDOWS OF THE WORLD, HEY JOE, BLUE JEAN, LET'S DANCE, HOW LONG HAS THIS BEEN GOING ON MODERN LOVE, HEY JOE, HARBOR LIGHTS, COULD IT BE I'M FALLING IN LOVE, SOUTHERN CROSS, WOODSTOCK, STRANGE MAGIC, HOTEL CALIFORNIA, DESPERADO, TURN TO STONE, I'M ALIVE, ALL OVER THE WORLD, I'M STILL STANDING, IN NEON, A WORD IN SPANISH, BELIEVE, YELLOW BRICK ROAD, AFRICA, LAYLA, FOREVER MAN, GOOD THING TINY DANCER, SACRIFICE, EVERYDAY I WRITE THE BOOK, ORINOCO FLOW, CHANGE THE WORLD, BELL BOTTOM BLUES, COLD AS ICE, DREAMWEAVER, BEWARE OF DARKNESS, SILVER SPRING, GYPSY, DREAMS, THE CHAIN, RHIANNON, I WANT TO KNOW WHAT LOVE IS, ONLY ONE, TOUT EST BLEU, I WANT A NEW DRUG, GUANTANAMERA, LARA'S THEME, GUENIVERE, MELLOW YELLOW, BARABAJAGLE, THE WIND CRIES MARY, IT'S ALL OVER NOW BABY BLUE, SUBTERRANEAN HOMESICK BLUES, JOKERMAN, HIGHWAY 61 REVISITED, JUST LIKE A WOMAN, POWER OF LOVE, FOR THE LOVE OF YOU, RUNNING ON EMPTY, LIKE A ROLLING STONE, NEW MINGLEWOOD BLUES, BRANDY, CREAM PUFF WAR, COLD RAIN AND SNOW, SARA SMILE, PRIVATE EYES, BAD IS BAD, POWER OF LOVE, RUNNING ON EMPTY HAPPY XMAS, (WAR IS OVER) SOMEONE SAVED MY LIFE TONIGHT,. MELLOW YELLOW, SUNNY GOODGE STREET, ALBATROSS, TRAIL OF BROKEN HEARTS, CONSTANT CRAVING,TIME OF THE SEASON, TIRED OF WAITING FOR YOU, COME DANCING, LOLA, JOANNA, MINUTE BY MINUTE, DOO WOP (THAT THING) YOU MAKE ME FEEL LIKE DANCING, THE WIND CRIES MARY, PURPLE HAZE (BOTH VERSIONS) JUMPIN' JACK FLASH, TWELVE THIRTY. LOWDOWN. HEART OF MINE
BEAT IT, BREAK MY STRIDE, MONDAY MONDAY, DEDICATED TO THE ONE I LOVE, KIKO AND THE LAVENDER MOON, LAND DOWN UNDER BODHISATTVA, BLACK COW, REELIN' IN THE YEARS, DEACON BLUE, FAMILY AFFAIR, EVERYBODY IS A STAR, SUMMER BREEZE, PLAY WITH FIRE, LEATHER AND LACE, CROSSFIRE, TIGHTROPE, SEND ONE YOUR LOVE, SIR DUKE, SUPERSTITION, PLUSH, YOU MAKE ME FEEL BRAND NEW, RIBBON IN THE SKY, BOOGIE ON REGGAE WOMAN, JOSIE, GAUCHO,. LOVE IN NEED OF LOVE, SIGNED SEALED DELIVERED, FRAGILE, BAREFOOT IN BALTIMORE, WHAT IS HIP. MEET VIRGINIA, WHITER SHADE OF PALE, THE TAO OF LOVE, LOW SPARK OF HIGH HEELED BOYS, TELSTAR, LAST DANCE WITH MARY JANE, SOLID AS A ROCK, BEHIND BLUE EYES, WEREWOLVES OF LONDON, MAGNET AND STEEL, DON'T STAND SO CLOSE TO ME, OWNER OF A LONELY HEART, RIKKI DON'T LOSE THAT NUMBER, ROSANNA, TRADER, BABYLON SISTER, YELLOW MAN, SOUTHERN MAN, A NIGHT IN TUNISIA, BLINDED BY THE LILGHT, LIGHTNIN' STRIKES, THESE DREAMS, CANDY, STILL YOU TURN ME ON,
INDIVIDUAL CHOICE, IF YOU DON'T KNOW ME BY NOW, STONE SOULD PICNIC, LYIN' EYES, BEST OF MY LOVE, WALK AWAY RENEE, YOU REALLY GOT ME, COME TOGETHER, AFTER MIDNIGHT, MAKE THAT MOVE, ELI'S COMING, ONE IS THE LONELIEST NUMBER, WATERMELON MAN HIGHWAY 61, YOU CAN'T HURRY LOVE, NORTHERN LIGHTS, SAVE A PRAYER, SAD SONGS SAY SO MUCH LANDSLIDE, FUNKYTOWN DANIEL, ISLAND GIRL, PINBALL WIZARD, NIKITA, ROCKET MAN, SWEET HOME ALABAMA, SOUTHERN MAN. GOODBYE TO LOVE, FOR THE LOVE OF YOU, KILLER JOE, UP UP AND AWAY, BROWN SUGAR, DO FOR LOVE, BLACKBIRD, SOWING THE SEEDS OF LOVE, LOOK OUT MY WINDOW. STRAIGHT SHOOTER. FAMILY AFFAIR, EXPECTING TO FLY, TOTAL ECLIPSE OF THE HEART, JUST LIKE A WONMAN, DON'T HANG UP, THIS IS NOT AMERICA, LAST TRAIN HOME, SEND ME FORGET ME NOTS, JUNGLE LOVE, NIGHTS IN WHITE SATIN, COOL, BACK STABBERS, LOVE TRAIN, BAD TO THE BONE, HEART OF ROCK AND ROLL, PRIVATE EYES, COLD RAIN AND SNOW, SITTIN' ON TOP OF THE WORLD, POWER OF LOVE, IRON BUTTERFLY THEME, STRANGE MAGIC, AFTER THE LOVE HAS GONE, BENNY AND THE JETS. SHINING STAR, EVERYBODY IS A STAR, TAKE IT TO THE LIMIT,
List of Songs
YESTERDAY, YOUR MOTHER SHOULD KNOW, GOOD DAY SUNSHINE, RUBY TUESDAY, WILD HORSES, SYMPATHY FOR THE DEVIL, THE LONG AND WINDING ROAD, ME AND BABY BROTHER OR BRIDGE OVER TROUBLED WATERS, LADY MADONNA, CHANGES, GOLDEN YEARS, CONNECTION, PAINT IT BLACK,. SPIDER AND THE FLY, TICKET TO RIDE, WE CAN WORK IT OUT, TAXMAN, I AM THE WALRUS, SHE'S LEAVING HOME, STAND, TEXAS CADILLAC, AGUA DE BEBER, GIRL FROM IPANEMA, LOVE AND HAPPINESS, CHAIN OF FOOLS, PICTURES OF MATCHSTICK MEN, BAREFOOT IN BALTIMORE, TAKE IT TO THE LIMIT, WRECK OF THE EDMUND FITZGERALD, DOWN BY THE RIVER, HANGMAN,
ARETHA FRANKLYN. CHAIN OF FOOLS, HEARD IT THROUGH THE GRAPEVINE. GOOD VIBRATIONS, TRADER, SURF'S UP, HEROES AND VILLAINS, FOUR CORNERED ROOM, ONLY A DREAM IN RIO, HOLD THEM UP. CHAMPAGNE JAM, GOD ONLY KNOWS, SOMETHING, I WANT TO TELL YOU, MICHELLE, BECAUSE, KOKOMO, SAIL ON SAILOR, FEEL FLOWS, HEY JUDE, HELLO GOODBYE, HELP, I SAW HER STANDING THERE,
IN MY LIFE, NORWEGIAN WOOD, REAL LOVE, YOUR MOTHER SHOULD KNOW. EIGHT DAYS A WEEK, PENNY LANE, HERE THERE AND EVERYWHERE, HEARTBREAKER, DO YOU WANT TO DANCE, STRANGE BREW, WORLD IN CHANGES, NIGHT MOVES, MR. BOJANGLES, THE WEIGHT, I SAW HER AGAIN, CAN'T HURRY LOVE, DANGLIN' CONVERSATION, STOP IN THE NAME OF LOVE, DANCIN' IN THE STREET, BROWN EYED GIRL,
STORMY, TO KNOW HIM IS TO LOVE HIM, DREAM, HERE THERE AND EVERYWHERE, JUMPIN' JACK FLASH, WHITE RABBIT, BAD BAD LEROY BROWN, CALIFORNIA GIRLS, HOT FUN IN THE SUMMERTIME, I SAW HER AGAIN, EL CONDOR PASA, DO YOU BELIEVE IN MAGIC, YOUNGER GIRL, HOUSE OF THE RISIN' SON, SATISFACTION, LOLA, ALL DAY AND ALL OF THE NIGHT, ALONG COMES MARY, I SHOULD HAVE KNOWN BETTER, WE CAN WORK IT OUT, GOOD VIBRATIONS, HOLY MOSES, SUNSHINE SUPERMAN, TIME IS ON MY SIDE, TIME HAS COME TODAY, INCENSE AND PEPPERMINTS,
TUESDAY AFTERNOON, WALK AWAY RENEE, TINY DANCER, AIN'T GOT NOTHING YET. LIAR, ONE IS THE LONLIEST NUMBER, IF I FELL, THINGS WE SAID TODAY, LAZIN ON A SUMMER AFTERNOON, MR. TAMBOURINE MAN, WHAT A DAY FOR A DAYDREAM,.UNDER MY THUMB, YOU ARE MY BEST FRIEND, TELEPHONE LINE, SOUL MAN, MACARTHUR PARK , DOWN BY THE RIVER IN MY LIFE, MOTHER NATURE'S SON, MAGICAL MYSTERY TOUR, I'VE JUST SEEN A FACE, WITH A LITTLE HELP FROM MY FRIENDS, THE NIGHT BEFORE, HELP, HELLO GOODBYE, HARD DAYS NIGHT, DRIVE MY CAR, THE FOOL ON THE HILL, CAN'T BUY ME LOVE, BLACKBIRD, I'LL FOLLOW THE SUN, LEAN ON ME, LADY JANE, BABY COME BACK, MISS SUN, GREEN ONIONS, LOVE AND MERCY, ALL ALONG THE WATCHTOWER, IT'S ALL OVER NOW BABY BLUE, HEART OF MINE, LOWDOWN, LAY LADY LAY,. HEART OF GLASS, RIDE LIKE THE WIND, THE FUTURE, DON'T LET IT LINGER, SUNSHINE OF YOUR LOVE, TALES OF BRAVE ULYSSES, FORTUNATE SON, WOODEN SHIPS , THE WINDOWS OF THE WORLD, HEY JOE, BLUE JEAN, LET'S DANCE, HOW LONG HAS THIS BEEN GOING ON MODERN LOVE, HEY JOE, HARBOR LIGHTS, COULD IT BE I'M FALLING IN LOVE, SOUTHERN CROSS, WOODSTOCK, STRANGE MAGIC, HOTEL CALIFORNIA, DESPERADO, TURN TO STONE, I'M ALIVE, ALL OVER THE WORLD, I'M STILL STANDING, IN NEON, A WORD IN SPANISH, BELIEVE, YELLOW BRICK ROAD, AFRICA, LAYLA, FOREVER MAN, GOOD THING TINY DANCER, SACRIFICE, EVERYDAY I WRITE THE BOOK, ORINOCO FLOW, CHANGE THE WORLD, BELL BOTTOM BLUES, COLD AS ICE, DREAMWEAVER, BEWARE OF DARKNESS, SILVER SPRING, GYPSY, DREAMS, THE CHAIN, RHIANNON, I WANT TO KNOW WHAT LOVE IS, ONLY ONE, TOUT EST BLEU, I WANT A NEW DRUG, GUANTANAMERA, LARA'S THEME, GUENIVERE, MELLOW YELLOW, BARABAJAGLE, THE WIND CRIES MARY, IT'S ALL OVER NOW BABY BLUE, SUBTERRANEAN HOMESICK BLUES, JOKERMAN, HIGHWAY 61 REVISITED, JUST LIKE A WOMAN, POWER OF LOVE, FOR THE LOVE OF YOU, RUNNING ON EMPTY, LIKE A ROLLING STONE, NEW MINGLEWOOD BLUES, BRANDY, CREAM PUFF WAR, COLD RAIN AND SNOW, SARA SMILE, PRIVATE EYES, BAD IS BAD, POWER OF LOVE, RUNNING ON EMPTY HAPPY XMAS, (WAR IS OVER) SOMEONE SAVED MY LIFE TONIGHT,. MELLOW YELLOW, SUNNY GOODGE STREET, ALBATROSS, TRAIL OF BROKEN HEARTS, CONSTANT CRAVING,TIME OF THE SEASON, TIRED OF WAITING FOR YOU, COME DANCING, LOLA, JOANNA, MINUTE BY MINUTE, DOO WOP (THAT THING) YOU MAKE ME FEEL LIKE DANCING, THE WIND CRIES MARY, PURPLE HAZE (BOTH VERSIONS) JUMPIN' JACK FLASH, TWELVE THIRTY. LOWDOWN. HEART OF MINE
BEAT IT, BREAK MY STRIDE, MONDAY MONDAY, DEDICATED TO THE ONE I LOVE, KIKO AND THE LAVENDER MOON, LAND DOWN UNDER BODHISATTVA, BLACK COW, REELIN' IN THE YEARS, DEACON BLUE, FAMILY AFFAIR, EVERYBODY IS A STAR, SUMMER BREEZE, PLAY WITH FIRE, LEATHER AND LACE, CROSSFIRE, TIGHTROPE, SEND ONE YOUR LOVE, SIR DUKE, SUPERSTITION, PLUSH, YOU MAKE ME FEEL BRAND NEW, RIBBON IN THE SKY, BOOGIE ON REGGAE WOMAN, JOSIE, GAUCHO,. LOVE IN NEED OF LOVE, SIGNED SEALED DELIVERED, FRAGILE, BAREFOOT IN BALTIMORE, WHAT IS HIP. MEET VIRGINIA, WHITER SHADE OF PALE, THE TAO OF LOVE, LOW SPARK OF HIGH HEELED BOYS, TELSTAR, LAST DANCE WITH MARY JANE, SOLID AS A ROCK, BEHIND BLUE EYES, WEREWOLVES OF LONDON, MAGNET AND STEEL, DON'T STAND SO CLOSE TO ME, OWNER OF A LONELY HEART, RIKKI DON'T LOSE THAT NUMBER, ROSANNA, TRADER, BABYLON SISTER, YELLOW MAN, SOUTHERN MAN, A NIGHT IN TUNISIA, BLINDED BY THE LILGHT, LIGHTNIN' STRIKES, THESE DREAMS, CANDY, STILL YOU TURN ME ON,
INDIVIDUAL CHOICE, IF YOU DON'T KNOW ME BY NOW, STONE SOULD PICNIC, LYIN' EYES, BEST OF MY LOVE, WALK AWAY RENEE, YOU REALLY GOT ME, COME TOGETHER, AFTER MIDNIGHT, MAKE THAT MOVE, ELI'S COMING, ONE IS THE LONELIEST NUMBER, WATERMELON MAN HIGHWAY 61, YOU CAN'T HURRY LOVE, NORTHERN LIGHTS, SAVE A PRAYER, SAD SONGS SAY SO MUCH LANDSLIDE, FUNKYTOWN DANIEL, ISLAND GIRL, PINBALL WIZARD, NIKITA, ROCKET MAN, SWEET HOME ALABAMA, SOUTHERN MAN. GOODBYE TO LOVE, FOR THE LOVE OF YOU, KILLER JOE, UP UP AND AWAY, BROWN SUGAR, DO FOR LOVE, BLACKBIRD, SOWING THE SEEDS OF LOVE, LOOK OUT MY WINDOW. STRAIGHT SHOOTER. FAMILY AFFAIR, EXPECTING TO FLY, TOTAL ECLIPSE OF THE HEART, JUST LIKE A WONMAN, DON'T HANG UP, THIS IS NOT AMERICA, LAST TRAIN HOME, SEND ME FORGET ME NOTS, JUNGLE LOVE, NIGHTS IN WHITE SATIN, COOL, BACK STABBERS, LOVE TRAIN, BAD TO THE BONE, HEART OF ROCK AND ROLL, PRIVATE EYES, COLD RAIN AND SNOW, SITTIN' ON TOP OF THE WORLD, POWER OF LOVE, IRON BUTTERFLY THEME, STRANGE MAGIC, AFTER THE LOVE HAS GONE, BENNY AND THE JETS. SHINING STAR, EVERYBODY IS A STAR, TAKE IT TO THE LIMIT, HOTEL CALIFORNIA,
ARETHA FRANKLYN. CHAIN OF FOOLS, HEARD IT THROUGH THE GRAPEVINE. GOOD VIBRATIONS, TRADER, SURF'S UP, HEROES AND VILLAINS, FOUR CORNERED ROOM, ONLY A DREAM IN RIO, HOLD THEM UP. CHAMPAGNE JAM, GOD ONLY KNOWS, SOMETHING, I WANT TO TELL YOU, MICHELLE, BECAUSE, KOKOMO, SAIL ON SAILOR, FEEL FLOWS, HEY JUDE, HELLO GOODBYE, HELP, I SAW HER STANDING THERE,
IN MY LIFE, NORWEGIAN WOOD, REAL LOVE, YOUR MOTHER SHOULD KNOW. EIGHT DAYS A WEEK, PENNY LANE, HERE THERE AND EVERYWHERE, HEARTBREAKER, DO YOU WANT TO DANCE, STRANGE BREW, WORLD IN CHANGES, NIGHT MOVES, MR. BOJANGLES, THE WEIGHT, I SAW HER AGAIN, CAN'T HURRY LOVE, DANGLIN' CONVERSATION, STOP IN THE NAME OF LOVE, DANCIN' IN THE STREET, BROWN EYED GIRL,
STORMY, TO KNOW HIM IS TO LOVE HIM, DREAM, HERE THERE AND EVERYWHERE, JUMPIN' JACK FLASH, WHITE RABBIT, BAD BAD LEROY BROWN, CALIFORNIA GIRLS, HOT FUN IN THE SUMMERTIME, I SAW HER AGAIN, EL CONDOR PASA, DO YOU BELIEVE IN MAGIC, YOUNGER GIRL, HOUSE OF THE RISIN' SON, SATISFACTION, LOLA, ALL DAY AND ALL OF THE NIGHT, ALONG COMES MARY, I SHOULD HAVE KNOWN BETTER, WE CAN WORK IT OUT, GOOD VIBRATIONS, HOLY MOSES, SUNSHINE SUPERMAN, TIME IS ON MY SIDE, TIME HAS COME TODAY, INCENSE AND PEPPERMINTS,
TUESDAY AFTERNOON, WALK AWAY RENEE, TINY DANCER, AIN'T GOT NOTHING YET. LIAR, ONE IS THE LONLIEST NUMBER, IF I FELL, THINGS WE SAID TODAY, LAZIN ON A SUMMER AFTERNOON, MR. TAMBOURINE MAN, WHAT A DAY FOR A DAYDREAM,.UNDER MY THUMB, YOU ARE MY BEST FRIEND, TELEPHONE LINE, SOUL MAN, MACARTHUR PARK , DOWN BY THE RIVER IN MY LIFE, MOTHER NATURE'S SON, MAGICAL MYSTERY TOUR, I'VE JUST SEEN A FACE, WITH A LITTLE HELP FROM MY FRIENDS, THE NIGHT BEFORE, HELP, HELLO GOODBYE, HARD DAYS NIGHT, DRIVE MY CAR, THE FOOL ON THE HILL, CAN'T BUY ME LOVE, BLACKBIRD, I'LL FOLLOW THE SUN, LEAN ON ME, LADY JANE, BABY COME BACK, MISS SUN, GREEN ONIONS, LOVE AND MERCY, ALL ALONG THE WATCHTOWER, IT'S ALL OVER NOW BABY BLUE, HEART OF MINE, LOWDOWN, LAY LADY LAY,. HEART OF GLASS, RIDE LIKE THE WIND, THE FUTURE, DON'T LET IT LINGER, SUNSHINE OF YOUR LOVE, TALES OF BRAVE ULYSSES, FORTUNATE SON, WOODEN SHIPS , THE WINDOWS OF THE WORLD, HEY JOE, BLUE JEAN, LET'S DANCE, HOW LONG HAS THIS BEEN GOING ON MODERN LOVE, HEY JOE, HARBOR LIGHTS, COULD IT BE I'M FALLING IN LOVE, SOUTHERN CROSS, WOODSTOCK, STRANGE MAGIC, HOTEL CALIFORNIA, DESPERADO, TURN TO STONE, I'M ALIVE, ALL OVER THE WORLD, I'M STILL STANDING, IN NEON, A WORD IN SPANISH, BELIEVE, YELLOW BRICK ROAD, AFRICA, LAYLA, FOREVER MAN, GOOD THING TINY DANCER, SACRIFICE, EVERYDAY I WRITE THE BOOK, ORINOCO FLOW, CHANGE THE WORLD, BELL BOTTOM BLUES, COLD AS ICE, DREAMWEAVER, BEWARE OF DARKNESS, SILVER SPRING, GYPSY, DREAMS, THE CHAIN, RHIANNON, I WANT TO KNOW WHAT LOVE IS, ONLY ONE, TOUT EST BLEU, I WANT A NEW DRUG, GUANTANAMERA, LARA'S THEME, GUENIVERE, MELLOW YELLOW, BARABAJAGLE, THE WIND CRIES MARY, IT'S ALL OVER NOW BABY BLUE, SUBTERRANEAN HOMESICK BLUES, JOKERMAN, HIGHWAY 61 REVISITED, JUST LIKE A WOMAN, POWER OF LOVE, FOR THE LOVE OF YOU, RUNNING ON EMPTY, LIKE A ROLLING STONE, NEW MINGLEWOOD BLUES, BRANDY, CREAM PUFF WAR, COLD RAIN AND SNOW, SARA SMILE, PRIVATE EYES, BAD IS BAD, POWER OF LOVE, RUNNING ON EMPTY HAPPY XMAS, (WAR IS OVER) SOMEONE SAVED MY LIFE TONIGHT,. MELLOW YELLOW, SUNNY GOODGE STREET, ALBATROSS, TRAIL OF BROKEN HEARTS, CONSTANT CRAVING,TIME OF THE SEASON, TIRED OF WAITING FOR YOU, COME DANCING, LOLA, JOANNA, MINUTE BY MINUTE, DOO WOP (THAT THING) YOU MAKE ME FEEL LIKE DANCING, THE WIND CRIES MARY, PURPLE HAZE (BOTH VERSIONS) JUMPIN' JACK FLASH, TWELVE THIRTY. LOWDOWN. HEART OF MINE
BEAT IT, BREAK MY STRIDE, MONDAY MONDAY, DEDICATED TO THE ONE I LOVE, KIKO AND THE LAVENDER MOON, LAND DOWN UNDER BODHISATTVA, BLACK COW, REELIN' IN THE YEARS, DEACON BLUE, FAMILY AFFAIR, EVERYBODY IS A STAR, SUMMER BREEZE, PLAY WITH FIRE, LEATHER AND LACE, CROSSFIRE, TIGHTROPE, SEND ONE YOUR LOVE, SIR DUKE, SUPERSTITION, PLUSH, YOU MAKE ME FEEL BRAND NEW, RIBBON IN THE SKY, BOOGIE ON REGGAE WOMAN, JOSIE, GAUCHO,. LOVE IN NEED OF LOVE, SIGNED SEALED DELIVERED, FRAGILE, BAREFOOT IN BALTIMORE, WHAT IS HIP. MEET VIRGINIA, WHITER SHADE OF PALE, THE TAO OF LOVE, LOW SPARK OF HIGH HEELED BOYS, TELSTAR, LAST DANCE WITH MARY JANE, SOLID AS A ROCK, BEHIND BLUE EYES, WEREWOLVES OF LONDON, MAGNET AND STEEL, DON'T STAND SO CLOSE TO ME, OWNER OF A LONELY HEART, RIKKI DON'T LOSE THAT NUMBER, ROSANNA, TRADER, BABYLON SISTER, YELLOW MAN, SOUTHERN MAN, A NIGHT IN TUNISIA, BLINDED BY THE LILGHT, LIGHTNIN' STRIKES, THESE DREAMS, CANDY, STILL YOU TURN ME ON,
INDIVIDUAL CHOICE, IF YOU DON'T KNOW ME BY NOW, STONE SOULD PICNIC, LYIN' EYES, BEST OF MY LOVE, WALK AWAY RENEE, YOU REALLY GOT ME, COME TOGETHER, AFTER MIDNIGHT, MAKE THAT MOVE, ELI'S COMING, ONE IS THE LONELIEST NUMBER, WATERMELON MAN HIGHWAY 61, YOU CAN'T HURRY LOVE, NORTHERN LIGHTS, SAVE A PRAYER, SAD SONGS SAY SO MUCH LANDSLIDE, FUNKYTOWN DANIEL, ISLAND GIRL, PINBALL WIZARD, NIKITA, ROCKET MAN, SWEET HOME ALABAMA, SOUTHERN MAN. GOODBYE TO LOVE, FOR THE LOVE OF YOU, KILLER JOE, UP UP AND AWAY, BROWN SUGAR, DO FOR LOVE, BLACKBIRD, SOWING THE SEEDS OF LOVE, LOOK OUT MY WINDOW. STRAIGHT SHOOTER. FAMILY AFFAIR, EXPECTING TO FLY, TOTAL ECLIPSE OF THE HEART, JUST LIKE A WONMAN, DON'T HANG UP, THIS IS NOT AMERICA, LAST TRAIN HOME, SEND ME FORGET ME NOTS, JUNGLE LOVE, NIGHTS IN WHITE SATIN, COOL, BACK STABBERS, LOVE TRAIN, BAD TO THE BONE, HEART OF ROCK AND ROLL, PRIVATE EYES, COLD RAIN AND SNOW, SITTIN' ON TOP OF THE WORLD, POWER OF LOVE, IRON BUTTERFLY THEME, STRANGE MAGIC, AFTER THE LOVE HAS GONE, BENNY AND THE JETS. SHINING STAR, EVERYBODY IS A STAR, TAKE IT TO THE LIMIT, HOTEL CALIFORNIA,
List of Songs
YESTERDAY, YOUR MOTHER SHOULD KNOW, GOOD DAY SUNSHINE, RUBY TUESDAY, WILD HORSES (COULDN'T DRAG ME AWAY) SYMPATHY FOR THE DEVIL, THE LONG AND WINDING ROAD, ME AND BABY BROTHER OR BRIDGE OVER TROUBLED WATERS, LADY MADONNA, CHANGES, GOLDEN YEARS, CONNECTION, PAINT IT BLACK,. SPIDER AND THE FLY, TICKET TO RIDE, WE CAN WORK IT OUT, TAXMAN, I AM THE WALRUS, SHE'S LEAVING HOME, STAND, TEXAS CADILLAC, AGUA DE BEBER, GIRL FROM IPANEMA, LOVE AND HAPPINESS, CHAIN OF FOOLS, PICTURES OF MATCHSTICK MEN, BAREFOOT IN BALTIMORE, TAKE IT TO THE LIMIT, WRECK OF THE EDMUND FITZGERALD, DOWN BY THE RIVER (I SHOT MY BABY) HANGMAN,
ARETHA FRANKLYN. CHAIN OF FOOLS.
HEARD IT THROUGH THE GRAPEVINE. GOOD VIBRATIONS, TRADER, SURF'S UP, HEROES AND VILLAINS, FOUR CORNERED ROOM, JAMES TAYLOR ONLY A DREAM IN RIO, HOLD THEM UP. CHAMPAGNE JAM, GOD ONLY KNOWS, SOMETHING, I WANT TO TELL YOU, MICHELLE, BECAUSE, KOKOMO, SAIL ON SAILOR, FEEL FLOWS, HEY JUDE, HELLO GOODBYE, HELP, I SAW HER STANDING THERE,
IN MY LIFE, NORWEGIAN WOOD, REAL LOVE, YOUR MOTHER SHOULD KNOW. EIGHT DAYS A WEEK, PENNY LANE, HERE THERE AND EVERYWHERE, HEARTBREAKER, DO YOU WANT TO DANCE, STRANGE BRES, WORLD IN CHANGES, NIGHT MOVES, MR. BOJANGLES, THE WEIGHT, I SAW HER AGAIN, CAN'T HURRY LOVE, DANGLIN' CONVERSATION, STOP IN THE NAME OF LOVE, DANCIN' IN THE STREET, BROWN EYED GIRL,
STORMY, TO KNOW HIM IS TO LOVE HIM, DREAM, HERE THERRE AND EVERYWHERE, JUMPIN' JACK FLASH, WHITE RA BBIT, BAD BAD LEROY BROWN, CALIFORNIA GIRLS, HOT FUN IN THE SUMMERTIME, I SAW HER AGAIN, EL CONDOR PASA, DO YOU BELIEV IN MAGIC, YOUNGER GIR. HOUSE OF THE RISIN' SON,. SATISFACTION, LOLA, ALOLO DAY AND ALL OF THE NIGHT, ALONG COMES MARY, I SHOULD HAVE KNOWN BETTER, WE CAN WORK IT OUT, GOOD VIBRATIONS, HOLY MOSES, SUNSHINE SUPERMAN, TIME IS ON MY SIDE, TIME HAS COME TODAY, INCENSE AND PEPPERMINTS (THE COLOR OF TIME)
TUESDAY AFTERNOON, WALK AWAY RENEE, TINY DANCER, AIN'T GOT NOTHING YET. LIAR, ONE IS THE LONLIEST NUMBER, IF I FELL, THINGS WE SAID TODAY, LAZIN ON A SUMMER AFTERNOON, MR. TAMBOURINE MAN, WHAT A DAY FOR A DAYDREAM,.UNDER MY THUMB, YOU ARE MY BEST FRIEND, TELEPHONE LINE, SOUL MAN, MACARTHUR PARK , WALK AWAY RENEE, DOWN BY THE RIVER IN MY LIFE, MOTHER NATURE'S SON, MAGICAL MYSTERY TOUR, I'VE JUST SEEN A FACE, WITH A LITTLE HELP FROM MY FRIENDS, THE NIGHT BEFORE, HELP, HELLO GOODBYE, HARD DAYS NIGHT, DRIVE MY CAR, THE FOOL ON THE HILL, CAN'T BUY ME LOVE, BLACKBIRD, I'LL FOLLOW THE SUN, LEAN ON ME, LADY JANE,
BABY COME BACK MISS SUN, GREEN ONIONS, LOVE AND MERCY, ALL ALONG THE WATCHTOWER, IT'S ALL OVER NOW BABY BLUE, HEART OF MINE, LOWDOWN, LAY LADY LAY,. HEART OF GLASS, RIDE LIKE THE WIND, THE FUTURE, DON'T LET IT LINGER, SUNSHINE OF YOUR LOVE, TALES OF BRAVE ULYSSES, FORTUNATE SON, WOODEN SHIPS , THE WINDOWS OF THE WORLD, HEY JOE, BLUE JEAN, LET'S DANCE, HOW LONG HAS THIS BEEN GOING ON MODERN LOVE, HEY JOE, HARBOR LIGHTS, COULD IT BE I'M FALLING IN LOVE, SOUTHERN CROSS, WOODSTOCK, STRANGE MAGIC, HOTEL CALIFORNIA, DESPERADO, TURN TO STONE, I'M ALIVE, ALL OVER THE WORLD, I'M STILL STANDING, IN NEON, A WORD IN SPANISH, BELIEVE, YELLOW BRICK ROAD, AFRICA, LAYLA, FOREVER MAN, GOOD THING TINY DANCER, SACRIFICE, EVER4YDAY I WRITE THE BOOK, ORINOCO FLOW, CHANGE THE WORLD, GBELL BOTTOM BLUES, COLD AS ICE, DREAMWEAVER, BEWARD OF DARKNESS SILVER SPRING, GYPSY, DREAMS, THE CHAIN, RHIANNON, I WANT TO KNOW WHAT LOVE IS, ONLY ONE, TOUT EST BLEU, I WANT A NEW DRUG, GUANTANAMERA, LARA'S THEME, GUENIVERE, MELLOW YELLOW, BARABAJAGLE, THE WIND CRIES MARY, IT'S ALL OVER NOW BABY BLUE, SUBTERRANEAN HOMESICK BLUES, JOKERMAN, HIGHWAY 61 REVISITED, JUST LIKE A WOMAN
POWER OF LOVE, FOR THE LOVE OF YOU, TICKET SMILE, RUNNING ON EMPTY, LIKE A ROLLING STONE NEW MINGLEWOOD BLUES, BRANDY, CREAM PUFF WAR, COLD RAIN AND SNOW, SARA SMILE, PRIVATE EYES, BAD IS BAD, POWER OF LOVE, RUNNING ON EMPTY HAPPY XMAS, (WAR IS OVER) SOMEONE SAVED MY LIFE TONIGHT,. MELLOW YELLOW, SUNNY GOODGE STREET, ALBATROSS, TRAIL OF BROKEN HEARTS, CONSTANT CRAVING,TIME OF THE SEASON, TIRED OF WAITING FOR YHOU, COME DANCING, LOLA, JOANNA, MINUTE BY MINUTE, DOO WOP (THAT THING) YOU MAKE ME FEEL LIKE DANCING, THE WIND CRIES MARY, PURPLE HAZE (BOTH VERSIONS) JUMPIN' JACK FLASH, TWELVE THIRTY. LOWDOWN. HEART OF MINE
BEAT IT, BREAK MY STRIDE, MONDAY MONDAY, DEDICATED TO THE ONE I LOVE, KIKO AND THE LAVENDER MOON, LAND DOWN UNDER BODHISATTVA, BLACK COW, REELIN' IN THE YEARS, DEACON BLUE, FAMILY AFFAIR, EVERYBODY IS A STAR, SUMMER BREEZE, PLAY WITH FIRE, LEATHER AND LACE, CROSSFIRE, TIGHTROPE, SEND ONE YOUR LOVE, SIR DUKE, SUPERSTITION, PLUSH, YOU MAKE ME FEEL BRAND NEW, RIBBON IN THE SKY, BOOGIE ON REGGAE WOMAN, JOSIE, GAUCHO,. LOVE;S IN NEED OF LOVE TODAY, SIGNED SEALED DELIVERED, FRAGILE, BAREFOOT IN BALTIMORE, WHAT IS HIP. MEET VIRGINIA, WHITER SHADE OF PAIL THE TAO OF LIVE, LOW SPARK OF HIGH HEELED BOYS, TELSTAR, LAST DANCE WITH MARY JANE, SOLID AS AROCK, BEHIND BLUE EYES, WEREWOLVES OF LONDON, MAGNET AND STEEL, DON'T STAND SO CLOSE TO ME, OWNER OF A LONELY HEART, RIKKI DON'T LOSE THAT NUMBER, ROSANNA, TRADER, BABYLON SISTER, YELLOW MAN, SOUTHERN MAN, A NIGHT IN TUNISIA, BLINDED BY THE LILGHT, LIGHTNIN' STRIKES, THESE DREAMS, CANDY, STILL YOU TURN ME ON,
INDIVIDUAL CHOICE, IF YOU DON'T KNOW ME BY NOW, STONE SOULD PICNIC, LYIN' EYES, BEST OF MY LOVE, WALK AWAY RENEE, YOU REALLY GOT ME, COME TOGETHER, AFTER MIDNIGHT, MAKE THAT MOVE, ELI'S COMING, ONE IS THE LONELIEST NUMBER, WATERMELON MAN HIGHWAY 61, YOU CAN'T HURRY LOVE, NORTHERN LIGHTS, SAVE A PRAYER, SAD SONGS SAY SO MUCH LANDSLIDE, FUNKYTOWN DANIEL, ISLAND GIRL, PINBALL WIZARD, NIKITA, ROCKET MAN, SWEET HOME ALABAMA, SOUTHERN MAN. GOODBYE TO LOVE, FOR THE LOVE OF YOU, KILLER JOE, UP UP AND AWAY, BROWN SUGAR, DO FOR LOVE, BLACKBIRD, SOWING THE SEEDS OF LOVE, LOOK OUT MY WINDOW. STRAIGHT SHOOTER. FAMILY AFFAIR, EXPECTING TO FLY, TOTAL ECLIPSE OF THE HEART, JUST LIKE A WONMAN, DON'T HANG UP, THIS IS NOT AMERICA, LAST TRAIN HOME FROGET ME NOTS, JUNGLE LOVE, NIGHTS IN WHITE SATIN, COOL, BACK STABBERS, LOVE TRAIN, BAD TO THE BONE, HEART OF ROCK AND ROLL, PRIVATE EYES, COLD RAIN AND SNOW, SITTIN' ON TOP OF THE WORLD, POWER OF LOVE, IRON BUTTERFLY THEME,
STRANGE MAGIC, AFTER THE LOVE HAS GONE, BENNY AND THE JETS. SHINING STAR, EVERYBODY IS A STAR, TAKE IT TO THE LIMIT, HOTEL CALIFORNIA,
ARETHA FRANKLYN. CHAIN OF FOOLS.
HEARD IT THROUGH THE GRAPEVINE. GOOD VIBRATIONS, TRADER, SURF'S UP, HEROES AND VILLAINS, FOUR CORNERED ROOM, JAMES TAYLOR ONLY A DREAM IN RIO, HOLD THEM UP. CHAMPAGNE JAM, GOD ONLY KNOWS, SOMETHING, I WANT TO TELL YOU, MICHELLE, BECAUSE, KOKOMO, SAIL ON SAILOR, FEEL FLOWS, HEY JUDE, HELLO GOODBYE, HELP, I SAW HER STANDING THERE,
IN MY LIFE, NORWEGIAN WOOD, REAL LOVE, YOUR MOTHER SHOULD KNOW. EIGHT DAYS A WEEK, PENNY LANE, HERE THERE AND EVERYWHERE, HEARTBREAKER, DO YOU WANT TO DANCE, STRANGE BRES, WORLD IN CHANGES, NIGHT MOVES, MR. BOJANGLES, THE WEIGHT, I SAW HER AGAIN, CAN'T HURRY LOVE, DANGLIN' CONVERSATION, STOP IN THE NAME OF LOVE, DANCIN' IN THE STREET, BROWN EYED GIRL,
STORMY, TO KNOW HIM IS TO LOVE HIM, DREAM, HERE THERRE AND EVERYWHERE, JUMPIN' JACK FLASH, WHITE RA BBIT, BAD BAD LEROY BROWN, CALIFORNIA GIRLS, HOT FUN IN THE SUMMERTIME, I SAW HER AGAIN, EL CONDOR PASA, DO YOU BELIEV IN MAGIC, YOUNGER GIR. HOUSE OF THE RISIN' SON,. SATISFACTION, LOLA, ALOLO DAY AND ALL OF THE NIGHT, ALONG COMES MARY, I SHOULD HAVE KNOWN BETTER, WE CAN WORK IT OUT, GOOD VIBRATIONS, HOLY MOSES, SUNSHINE SUPERMAN, TIME IS ON MY SIDE, TIME HAS COME TODAY, INCENSE AND PEPPERMINTS (THE COLOR OF TIME)
TUESDAY AFTERNOON, WALK AWAY RENEE, TINY DANCER, AIN'T GOT NOTHING YET. LIAR, ONE IS THE LONLIEST NUMBER, IF I FELL, THINGS WE SAID TODAY, LAZIN ON A SUMMER AFTERNOON, MR. TAMBOURINE MAN, WHAT A DAY FOR A DAYDREAM,.UNDER MY THUMB, YOU ARE MY BEST FRIEND, TELEPHONE LINE, SOUL MAN, MACARTHUR PARK , WALK AWAY RENEE, DOWN BY THE RIVER IN MY LIFE, MOTHER NATURE'S SON, MAGICAL MYSTERY TOUR, I'VE JUST SEEN A FACE, WITH A LITTLE HELP FROM MY FRIENDS, THE NIGHT BEFORE, HELP, HELLO GOODBYE, HARD DAYS NIGHT, DRIVE MY CAR, THE FOOL ON THE HILL, CAN'T BUY ME LOVE, BLACKBIRD, I'LL FOLLOW THE SUN, LEAN ON ME, LADY JANE,
BABY COME BACK MISS SUN, GREEN ONIONS, LOVE AND MERCY, ALL ALONG THE WATCHTOWER, IT'S ALL OVER NOW BABY BLUE, HEART OF MINE, LOWDOWN, LAY LADY LAY,. HEART OF GLASS, RIDE LIKE THE WIND, THE FUTURE, DON'T LET IT LINGER, SUNSHINE OF YOUR LOVE, TALES OF BRAVE ULYSSES, FORTUNATE SON, WOODEN SHIPS , THE WINDOWS OF THE WORLD, HEY JOE, BLUE JEAN, LET'S DANCE, HOW LONG HAS THIS BEEN GOING ON MODERN LOVE, HEY JOE, HARBOR LIGHTS, COULD IT BE I'M FALLING IN LOVE, SOUTHERN CROSS, WOODSTOCK, STRANGE MAGIC, HOTEL CALIFORNIA, DESPERADO, TURN TO STONE, I'M ALIVE, ALL OVER THE WORLD, I'M STILL STANDING, IN NEON, A WORD IN SPANISH, BELIEVE, YELLOW BRICK ROAD, AFRICA, LAYLA, FOREVER MAN, GOOD THING TINY DANCER, SACRIFICE, EVER4YDAY I WRITE THE BOOK, ORINOCO FLOW, CHANGE THE WORLD, GBELL BOTTOM BLUES, COLD AS ICE, DREAMWEAVER, BEWARD OF DARKNESS SILVER SPRING, GYPSY, DREAMS, THE CHAIN, RHIANNON, I WANT TO KNOW WHAT LOVE IS, ONLY ONE, TOUT EST BLEU, I WANT A NEW DRUG, GUANTANAMERA, LARA'S THEME, GUENIVERE, MELLOW YELLOW, BARABAJAGLE, THE WIND CRIES MARY, IT'S ALL OVER NOW BABY BLUE, SUBTERRANEAN HOMESICK BLUES, JOKERMAN, HIGHWAY 61 REVISITED, JUST LIKE A WOMAN
POWER OF LOVE, FOR THE LOVE OF YOU, TICKET SMILE, RUNNING ON EMPTY, LIKE A ROLLING STONE NEW MINGLEWOOD BLUES, BRANDY, CREAM PUFF WAR, COLD RAIN AND SNOW, SARA SMILE, PRIVATE EYES, BAD IS BAD, POWER OF LOVE, RUNNING ON EMPTY HAPPY XMAS, (WAR IS OVER) SOMEONE SAVED MY LIFE TONIGHT,. MELLOW YELLOW, SUNNY GOODGE STREET, ALBATROSS, TRAIL OF BROKEN HEARTS, CONSTANT CRAVING,TIME OF THE SEASON, TIRED OF WAITING FOR YHOU, COME DANCING, LOLA, JOANNA, MINUTE BY MINUTE, DOO WOP (THAT THING) YOU MAKE ME FEEL LIKE DANCING, THE WIND CRIES MARY, PURPLE HAZE (BOTH VERSIONS) JUMPIN' JACK FLASH, TWELVE THIRTY. LOWDOWN. HEART OF MINE
BEAT IT, BREAK MY STRIDE, MONDAY MONDAY, DEDICATED TO THE ONE I LOVE, KIKO AND THE LAVENDER MOON, LAND DOWN UNDER BODHISATTVA, BLACK COW, REELIN' IN THE YEARS, DEACON BLUE, FAMILY AFFAIR, EVERYBODY IS A STAR, SUMMER BREEZE, PLAY WITH FIRE, LEATHER AND LACE, CROSSFIRE, TIGHTROPE, SEND ONE YOUR LOVE, SIR DUKE, SUPERSTITION, PLUSH, YOU MAKE ME FEEL BRAND NEW, RIBBON IN THE SKY, BOOGIE ON REGGAE WOMAN, JOSIE, GAUCHO,. LOVE;S IN NEED OF LOVE TODAY, SIGNED SEALED DELIVERED, FRAGILE, BAREFOOT IN BALTIMORE, WHAT IS HIP. MEET VIRGINIA, WHITER SHADE OF PAIL THE TAO OF LIVE, LOW SPARK OF HIGH HEELED BOYS, TELSTAR, LAST DANCE WITH MARY JANE, SOLID AS AROCK, BEHIND BLUE EYES, WEREWOLVES OF LONDON, MAGNET AND STEEL, DON'T STAND SO CLOSE TO ME, OWNER OF A LONELY HEART, RIKKI DON'T LOSE THAT NUMBER, ROSANNA, TRADER, BABYLON SISTER, YELLOW MAN, SOUTHERN MAN, A NIGHT IN TUNISIA, BLINDED BY THE LILGHT, LIGHTNIN' STRIKES, THESE DREAMS, CANDY, STILL YOU TURN ME ON,
INDIVIDUAL CHOICE, IF YOU DON'T KNOW ME BY NOW, STONE SOULD PICNIC, LYIN' EYES, BEST OF MY LOVE, WALK AWAY RENEE, YOU REALLY GOT ME, COME TOGETHER, AFTER MIDNIGHT, MAKE THAT MOVE, ELI'S COMING, ONE IS THE LONELIEST NUMBER, WATERMELON MAN HIGHWAY 61, YOU CAN'T HURRY LOVE, NORTHERN LIGHTS, SAVE A PRAYER, SAD SONGS SAY SO MUCH LANDSLIDE, FUNKYTOWN DANIEL, ISLAND GIRL, PINBALL WIZARD, NIKITA, ROCKET MAN, SWEET HOME ALABAMA, SOUTHERN MAN. GOODBYE TO LOVE, FOR THE LOVE OF YOU, KILLER JOE, UP UP AND AWAY, BROWN SUGAR, DO FOR LOVE, BLACKBIRD, SOWING THE SEEDS OF LOVE, LOOK OUT MY WINDOW. STRAIGHT SHOOTER. FAMILY AFFAIR, EXPECTING TO FLY, TOTAL ECLIPSE OF THE HEART, JUST LIKE A WONMAN, DON'T HANG UP, THIS IS NOT AMERICA, LAST TRAIN HOME FROGET ME NOTS, JUNGLE LOVE, NIGHTS IN WHITE SATIN, COOL, BACK STABBERS, LOVE TRAIN, BAD TO THE BONE, HEART OF ROCK AND ROLL, PRIVATE EYES, COLD RAIN AND SNOW, SITTIN' ON TOP OF THE WORLD, POWER OF LOVE, IRON BUTTERFLY THEME,
STRANGE MAGIC, AFTER THE LOVE HAS GONE, BENNY AND THE JETS. SHINING STAR, EVERYBODY IS A STAR, TAKE IT TO THE LIMIT, HOTEL CALIFORNIA,
List of Songs
YESTERDAY, YOUR MOTHER SHOULD KNOW, GOOD DAY SUNSHINE, RUBY TUESDAY, WILD HORSES (COULDN'T DRAG ME AWAY) SYMPATHY FOR THE DEVIL, THE LONG AND WINDING ROAD, ME AND BABY BROTHER OR BRIDGE OVER TROUBLED WATERS, LADY MADONNA, CHANGES, GOLDEN YEARS, CONNECTION, PAINT IT BLACK,. SPIDER AND THE FLY, TICKET TO RIDE, WE CAN WORK IT OUT, TAXMAN, I AM THE WALRUS, SHE'S LEAVING HOME, STAND, TEXAS CADILLAC, AGUA DE BEBER, GIRL FROM IPANEMA, LOVE AND HAPPINESS, CHAIN OF FOOLS, PICTURES OF MATCHSTICK MEN, BAREFOOT IN BALTIMORE, TAKE IT TO THE LIMIT, WRECK OF THE EDMUND FITZGERALD, DOWN BY THE RIVER (I SHOT MY BABY) HANGMAN,
ARETHA FRANKLYN. CHAIN OF FOOLS.
HEARD IT THROUGH THE GRAPEVINE. GOOD VIBRATIONS, TRADER, SURF'S UP, HEROES AND VILLAINS, FOUR CORNERED ROOM, JAMES TAYLOR ONLY A DREAM IN RIO, HOLD THEM UP. CHAMPAGNE JAM, GOD ONLY KNOWS, SOMETHING, I WANT TO TELL YOU, MICHELLE, BECAUSE, KOKOMO, SAIL ON SAILOR, FEEL FLOWS, HEY JUDE, HELLO GOODBYE, HELP, I SAW HER STANDING THERE,
IN MY LIFE, NORWEGIAN WOOD, REAL LOVE, YOUR MOTHER SHOULD KNOW. EIGHT DAYS A WEEK, PENNY LANE, HERE THERE AND EVERYWHERE, HEARTBREAKER, DO YOU WANT TO DANCE, STRANGE BRES, WORLD IN CHANGES, NIGHT MOVES, MR. BOJANGLES, THE WEIGHT, I SAW HER AGAIN, CAN'T HURRY LOVE, DANGLIN' CONVERSATION, STOP IN THE NAME OF LOVE, DANCIN' IN THE STREET, BROWN EYED GIRL,
STORMY, TO KNOW HIM IS TO LOVE HIM, DREAM, HERE THERRE AND EVERYWHERE, JUMPIN' JACK FLASH, WHITE RA BBIT, BAD BAD LEROY BROWN, CALIFORNIA GIRLS, HOT FUN IN THE SUMMERTIME, I SAW HER AGAIN, EL CONDOR PASA, DO YOU BELIEV IN MAGIC, YOUNGER GIR. HOUSE OF THE RISIN' SON,. SATISFACTION, LOLA, ALOLO DAY AND ALL OF THE NIGHT, ALONG COMES MARY, I SHOULD HAVE KNOWN BETTER, WE CAN WORK IT OUT, GOOD VIBRATIONS, HOLY MOSES, SUNSHINE SUPERMAN, TIME IS ON MY SIDE, TIME HAS COME TODAY, INCENSE AND PEPPERMINTS (THE COLOR OF TIME)
TUESDAY AFTERNOON, WALK AWAY RENEE, TINY DANCER, AIN'T GOT NOTHING YET. LIAR, ONE IS THE LONLIEST NUMBER, IF I FELL, THINGS WE SAID TODAY, LAZIN ON A SUMMER AFTERNOON, MR. TAMBOURINE MAN, WHAT A DAY FOR A DAYDREAM,.UNDER MY THUMB, YOU ARE MY BEST FRIEND, TELEPHONE LINE, SOUL MAN, MACARTHUR PARK , WALK AWAY RENEE, DOWN BY THE RIVER IN MY LIFE, MOTHER NATURE'S SON, MAGICAL MYSTERY TOUR, I'VE JUST SEEN A FACE, WITH A LITTLE HELP FROM MY FRIENDS, THE NIGHT BEFORE, HELP, HELLO GOODBYE, HARD DAYS NIGHT, DRIVE MY CAR, THE FOOL ON THE HILL, CAN'T BUY ME LOVE, BLACKBIRD, I'LL FOLLOW THE SUN, LEAN ON ME, LADY JANE,
BABY COME BACK MISS SUN, GREEN ONIONS, LOVE AND MERCY, ALL ALONG THE WATCHTOWER, IT'S ALL OVER NOW BABY BLUE, HEART OF MINE, LOWDOWN, LAY LADY LAY,. HEART OF GLASS, RIDE LIKE THE WIND, THE FUTURE, DON'T LET IT LINGER, SUNSHINE OF YOUR LOVE, TALES OF BRAVE ULYSSES, FORTUNATE SON, WOODEN SHIPS , THE WINDOWS OF THE WORLD, HEY JOE, BLUE JEAN, LET'S DANCE, HOW LONG HAS THIS BEEN GOING ON MODERN LOVE, HEY JOE, HARBOR LIGHTS, COULD IT BE I'M FALLING IN LOVE, SOUTHERN CROSS, WOODSTOCK, STRANGE MAGIC, HOTEL CALIFORNIA, DESPERADO, TURN TO STONE, I'M ALIVE, ALL OVER THE WORLD, I'M STILL STANDING, IN NEON, A WORD IN SPANISH, BELIEVE, YELLOW BRICK ROAD, AFRICA, LAYLA, FOREVER MAN, GOOD THING TINY DANCER, SACRIFICE, EVER4YDAY I WRITE THE BOOK, ORINOCO FLOW, CHANGE THE WORLD, GBELL BOTTOM BLUES, COLD AS ICE, DREAMWEAVER, BEWARD OF DARKNESS SILVER SPRING, GYPSY, DREAMS, THE CHAIN, RHIANNON, I WANT TO KNOW WHAT LOVE IS, ONLY ONE, TOUT EST BLEU, I WANT A NEW DRUG, GUANTANAMERA, LARA'S THEME, GUENIVERE, MELLOW YELLOW, BARABAJAGLE, THE WIND CRIES MARY, IT'S ALL OVER NOW BABY BLUE, SUBTERRANEAN HOMESICK BLUES, JOKERMAN, HIGHWAY 61 REVISITED, JUST LIKE A WOMAN
POWER OF LOVE, FOR THE LOVE OF YOU, TICKET SMILE, RUNNING ON EMPTY, LIKE A ROLLING STONE NEW MINGLEWOOD BLUES, BRANDY, CREAM PUFF WAR, COLD RAIN AND SNOW, SARA SMILE, PRIVATE EYES, BAD IS BAD, POWER OF LOVE, RUNNING ON EMPTY HAPPY XMAS, (WAR IS OVER) SOMEONE SAVED MY LIFE TONIGHT,. MELLOW YELLOW, SUNNY GOODGE STREET, ALBATROSS, TRAIL OF BROKEN HEARTS, CONSTANT CRAVING,TIME OF THE SEASON, TIRED OF WAITING FOR YHOU, COME DANCING, LOLA, JOANNA, MINUTE BY MINUTE, DOO WOP (THAT THING) YOU MAKE ME FEEL LIKE DANCING, THE WIND CRIES MARY, PURPLE HAZE (BOTH VERSIONS) JUMPIN' JACK FLASH, TWELVE THIRTY. LOWDOWN. HEART OF MINE
BEAT IT, BREAK MY STRIDE, MONDAY MONDAY, DEDICATED TO THE ONE I LOVE, KIKO AND THE LAVENDER MOON, LAND DOWN UNDER BODHISATTVA, BLACK COW, REELIN' IN THE YEARS, DEACON BLUE, FAMILY AFFAIR, EVERYBODY IS A STAR, SUMMER BREEZE, PLAY WITH FIRE, LEATHER AND LACE, CROSSFIRE, TIGHTROPE, SEND ONE YOUR LOVE, SIR DUKE, SUPERSTITION, PLUSH, YOU MAKE ME FEEL BRAND NEW, RIBBON IN THE SKY, BOOGIE ON REGGAE WOMAN, JOSIE, GAUCHO,. LOVE;S IN NEED OF LOVE TODAY, SIGNED SEALED DELIVERED, FRAGILE, BAREFOOT IN BALTIMORE, WHAT IS HIP. MEET VIRGINIA, WHITER SHADE OF PAIL THE TAO OF LIVE, LOW SPARK OF HIGH HEELED BOYS, TELSTAR, LAST DANCE WITH MARY JANE, SOLID AS AROCK, BEHIND BLUE EYES, WEREWOLVES OF LONDON, MAGNET AND STEEL, DON'T STAND SO CLOSE TO ME, OWNER OF A LONELY HEART, RIKKI DON'T LOSE THAT NUMBER, ROSANNA, TRADER, BABYLON SISTER, YELLOW MAN, SOUTHERN MAN, A NIGHT IN TUNISIA, BLINDED BY THE LILGHT, LIGHTNIN' STRIKES, THESE DREAMS, CANDY, STILL YOU TURN ME ON,
INDIVIDUAL CHOICE, IF YOU DON'T KNOW ME BY NOW, STONE SOULD PICNIC, LYIN' EYES, BEST OF MY LOVE, WALK AWAY RENEE, YOU REALLY GOT ME, COME TOGETHER, AFTER MIDNIGHT, MAKE THAT MOVE, ELI'S COMING, ONE IS THE LONELIEST NUMBER, WATERMELON MAN HIGHWAY 61, YOU CAN'T HURRY LOVE, NORTHERN LIGHTS, SAVE A PRAYER, SAD SONGS SAY SO MUCH LANDSLIDE, FUNKYTOWN DANIEL, ISLAND GIRL, PINBALL WIZARD, NIKITA, ROCKET MAN, SWEET HOME ALABAMA, SOUTHERN MAN. GOODBYE TO LOVE, FOR THE LOVE OF YOU, KILLER JOE, UP UP AND AWAY, BROWN SUGAR, DO FOR LOVE, BLACKBIRD, SOWING THE SEEDS OF LOVE, LOOK OUT MY WINDOW. STRAIGHT SHOOTER. FAMILY AFFAIR, EXPECTING TO FLY, TOTAL ECLIPSE OF THE HEART, JUST LIKE A WONMAN, DON'T HANG UP, THIS IS NOT AMERICA, LAST TRAIN HOME FROGET ME NOTS, JUNGLE LOVE, NIGHTS IN WHITE SATIN, COOL, BACK STABBERS, LOVE TRAIN, BAD TO THE BONE, HEART OF ROCK AND ROLL, PRIVATE EYES, COLD RAIN AND SNOW, SITTIN' ON TOP OF THE WORLD, POWER OF LOVE, IRON BUTTERFLY THEME,
STRANGE MAGIC, AFTER THE LOVE HAS GONE, BENNY AND THE JETS. SHINING STAR, EVERYBODY IS A STAR, TAKE IT TO THE LIMIT, HOTEL FUCKING CALIFORNIA??
ARETHA FRANKLYN. CHAIN OF FOOLS.
HEARD IT THROUGH THE GRAPEVINE. GOOD VIBRATIONS, TRADER, SURF'S UP, HEROES AND VILLAINS, FOUR CORNERED ROOM, JAMES TAYLOR ONLY A DREAM IN RIO, HOLD THEM UP. CHAMPAGNE JAM, GOD ONLY KNOWS, SOMETHING, I WANT TO TELL YOU, MICHELLE, BECAUSE, KOKOMO, SAIL ON SAILOR, FEEL FLOWS, HEY JUDE, HELLO GOODBYE, HELP, I SAW HER STANDING THERE,
IN MY LIFE, NORWEGIAN WOOD, REAL LOVE, YOUR MOTHER SHOULD KNOW. EIGHT DAYS A WEEK, PENNY LANE, HERE THERE AND EVERYWHERE, HEARTBREAKER, DO YOU WANT TO DANCE, STRANGE BRES, WORLD IN CHANGES, NIGHT MOVES, MR. BOJANGLES, THE WEIGHT, I SAW HER AGAIN, CAN'T HURRY LOVE, DANGLIN' CONVERSATION, STOP IN THE NAME OF LOVE, DANCIN' IN THE STREET, BROWN EYED GIRL,
STORMY, TO KNOW HIM IS TO LOVE HIM, DREAM, HERE THERRE AND EVERYWHERE, JUMPIN' JACK FLASH, WHITE RA BBIT, BAD BAD LEROY BROWN, CALIFORNIA GIRLS, HOT FUN IN THE SUMMERTIME, I SAW HER AGAIN, EL CONDOR PASA, DO YOU BELIEV IN MAGIC, YOUNGER GIR. HOUSE OF THE RISIN' SON,. SATISFACTION, LOLA, ALOLO DAY AND ALL OF THE NIGHT, ALONG COMES MARY, I SHOULD HAVE KNOWN BETTER, WE CAN WORK IT OUT, GOOD VIBRATIONS, HOLY MOSES, SUNSHINE SUPERMAN, TIME IS ON MY SIDE, TIME HAS COME TODAY, INCENSE AND PEPPERMINTS (THE COLOR OF TIME)
TUESDAY AFTERNOON, WALK AWAY RENEE, TINY DANCER, AIN'T GOT NOTHING YET. LIAR, ONE IS THE LONLIEST NUMBER, IF I FELL, THINGS WE SAID TODAY, LAZIN ON A SUMMER AFTERNOON, MR. TAMBOURINE MAN, WHAT A DAY FOR A DAYDREAM,.UNDER MY THUMB, YOU ARE MY BEST FRIEND, TELEPHONE LINE, SOUL MAN, MACARTHUR PARK , WALK AWAY RENEE, DOWN BY THE RIVER IN MY LIFE, MOTHER NATURE'S SON, MAGICAL MYSTERY TOUR, I'VE JUST SEEN A FACE, WITH A LITTLE HELP FROM MY FRIENDS, THE NIGHT BEFORE, HELP, HELLO GOODBYE, HARD DAYS NIGHT, DRIVE MY CAR, THE FOOL ON THE HILL, CAN'T BUY ME LOVE, BLACKBIRD, I'LL FOLLOW THE SUN, LEAN ON ME, LADY JANE,
BABY COME BACK MISS SUN, GREEN ONIONS, LOVE AND MERCY, ALL ALONG THE WATCHTOWER, IT'S ALL OVER NOW BABY BLUE, HEART OF MINE, LOWDOWN, LAY LADY LAY,. HEART OF GLASS, RIDE LIKE THE WIND, THE FUTURE, DON'T LET IT LINGER, SUNSHINE OF YOUR LOVE, TALES OF BRAVE ULYSSES, FORTUNATE SON, WOODEN SHIPS , THE WINDOWS OF THE WORLD, HEY JOE, BLUE JEAN, LET'S DANCE, HOW LONG HAS THIS BEEN GOING ON MODERN LOVE, HEY JOE, HARBOR LIGHTS, COULD IT BE I'M FALLING IN LOVE, SOUTHERN CROSS, WOODSTOCK, STRANGE MAGIC, HOTEL CALIFORNIA, DESPERADO, TURN TO STONE, I'M ALIVE, ALL OVER THE WORLD, I'M STILL STANDING, IN NEON, A WORD IN SPANISH, BELIEVE, YELLOW BRICK ROAD, AFRICA, LAYLA, FOREVER MAN, GOOD THING TINY DANCER, SACRIFICE, EVER4YDAY I WRITE THE BOOK, ORINOCO FLOW, CHANGE THE WORLD, GBELL BOTTOM BLUES, COLD AS ICE, DREAMWEAVER, BEWARD OF DARKNESS SILVER SPRING, GYPSY, DREAMS, THE CHAIN, RHIANNON, I WANT TO KNOW WHAT LOVE IS, ONLY ONE, TOUT EST BLEU, I WANT A NEW DRUG, GUANTANAMERA, LARA'S THEME, GUENIVERE, MELLOW YELLOW, BARABAJAGLE, THE WIND CRIES MARY, IT'S ALL OVER NOW BABY BLUE, SUBTERRANEAN HOMESICK BLUES, JOKERMAN, HIGHWAY 61 REVISITED, JUST LIKE A WOMAN
POWER OF LOVE, FOR THE LOVE OF YOU, TICKET SMILE, RUNNING ON EMPTY, LIKE A ROLLING STONE NEW MINGLEWOOD BLUES, BRANDY, CREAM PUFF WAR, COLD RAIN AND SNOW, SARA SMILE, PRIVATE EYES, BAD IS BAD, POWER OF LOVE, RUNNING ON EMPTY HAPPY XMAS, (WAR IS OVER) SOMEONE SAVED MY LIFE TONIGHT,. MELLOW YELLOW, SUNNY GOODGE STREET, ALBATROSS, TRAIL OF BROKEN HEARTS, CONSTANT CRAVING,TIME OF THE SEASON, TIRED OF WAITING FOR YHOU, COME DANCING, LOLA, JOANNA, MINUTE BY MINUTE, DOO WOP (THAT THING) YOU MAKE ME FEEL LIKE DANCING, THE WIND CRIES MARY, PURPLE HAZE (BOTH VERSIONS) JUMPIN' JACK FLASH, TWELVE THIRTY. LOWDOWN. HEART OF MINE
BEAT IT, BREAK MY STRIDE, MONDAY MONDAY, DEDICATED TO THE ONE I LOVE, KIKO AND THE LAVENDER MOON, LAND DOWN UNDER BODHISATTVA, BLACK COW, REELIN' IN THE YEARS, DEACON BLUE, FAMILY AFFAIR, EVERYBODY IS A STAR, SUMMER BREEZE, PLAY WITH FIRE, LEATHER AND LACE, CROSSFIRE, TIGHTROPE, SEND ONE YOUR LOVE, SIR DUKE, SUPERSTITION, PLUSH, YOU MAKE ME FEEL BRAND NEW, RIBBON IN THE SKY, BOOGIE ON REGGAE WOMAN, JOSIE, GAUCHO,. LOVE;S IN NEED OF LOVE TODAY, SIGNED SEALED DELIVERED, FRAGILE, BAREFOOT IN BALTIMORE, WHAT IS HIP. MEET VIRGINIA, WHITER SHADE OF PAIL THE TAO OF LIVE, LOW SPARK OF HIGH HEELED BOYS, TELSTAR, LAST DANCE WITH MARY JANE, SOLID AS AROCK, BEHIND BLUE EYES, WEREWOLVES OF LONDON, MAGNET AND STEEL, DON'T STAND SO CLOSE TO ME, OWNER OF A LONELY HEART, RIKKI DON'T LOSE THAT NUMBER, ROSANNA, TRADER, BABYLON SISTER, YELLOW MAN, SOUTHERN MAN, A NIGHT IN TUNISIA, BLINDED BY THE LILGHT, LIGHTNIN' STRIKES, THESE DREAMS, CANDY, STILL YOU TURN ME ON,
INDIVIDUAL CHOICE, IF YOU DON'T KNOW ME BY NOW, STONE SOULD PICNIC, LYIN' EYES, BEST OF MY LOVE, WALK AWAY RENEE, YOU REALLY GOT ME, COME TOGETHER, AFTER MIDNIGHT, MAKE THAT MOVE, ELI'S COMING, ONE IS THE LONELIEST NUMBER, WATERMELON MAN HIGHWAY 61, YOU CAN'T HURRY LOVE, NORTHERN LIGHTS, SAVE A PRAYER, SAD SONGS SAY SO MUCH LANDSLIDE, FUNKYTOWN DANIEL, ISLAND GIRL, PINBALL WIZARD, NIKITA, ROCKET MAN, SWEET HOME ALABAMA, SOUTHERN MAN. GOODBYE TO LOVE, FOR THE LOVE OF YOU, KILLER JOE, UP UP AND AWAY, BROWN SUGAR, DO FOR LOVE, BLACKBIRD, SOWING THE SEEDS OF LOVE, LOOK OUT MY WINDOW. STRAIGHT SHOOTER. FAMILY AFFAIR, EXPECTING TO FLY, TOTAL ECLIPSE OF THE HEART, JUST LIKE A WONMAN, DON'T HANG UP, THIS IS NOT AMERICA, LAST TRAIN HOME FROGET ME NOTS, JUNGLE LOVE, NIGHTS IN WHITE SATIN, COOL, BACK STABBERS, LOVE TRAIN, BAD TO THE BONE, HEART OF ROCK AND ROLL, PRIVATE EYES, COLD RAIN AND SNOW, SITTIN' ON TOP OF THE WORLD, POWER OF LOVE, IRON BUTTERFLY THEME,
STRANGE MAGIC, AFTER THE LOVE HAS GONE, BENNY AND THE JETS. SHINING STAR, EVERYBODY IS A STAR, TAKE IT TO THE LIMIT, HOTEL FUCKING CALIFORNIA??
Lincoln a racist
"I am not now nor ever have been in favor of making voters or jurors of Negroes, nor of qualifying them to hold office, nor to intermarry with white people; and I will say in addition to this that there is a physical difference between the races which I believe will for ever forbid the two races living together on terms of social and political equality."
Thursday, October 20, 2011
Hello, how are you in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW
Shalom. Ma Aylin ha? (female)
Shalom. Ma shlom ha? (male)
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
Hello, how are you, in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shook ha? (male)
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
CHINESE
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo. (g as in get)
HEBREW:
Shalom. Ma Aylin ha? (female)
Shalom. Ma shook ha? (male)
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
CHINESE
Hello how are you, in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Chao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
Hello, how are you in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
Hello, how arenyou? In ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
Parev, vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
Hello, how are you in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
Hello, how are you in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
Salam, a me sa genalo
HEBREW:
Shalom. Ma Aylin ha?
GERMAN:
Guten tag, vie geiten zie?
YIDDISH;
RUSSIAN:
POLISH:
SPANISH:
FRENCH
Lincoln a racist
"I am not now nor ever have been in favor of making voters or jurors of Negroes, nor of qualifying them to hold office, nor to intermarry with white people; and I will say in addition to this that there is a physical difference between the races which I believe will for ever forbid the two races living together on terms of social and political equality."
Abraham Lincoln, Sept. 18, 1858, at Charleston, Illinois.
Abraham Lincoln, Sept. 18, 1858, at Charleston, Illinois.
Midnight in Paris
The Lost Generation
I mentioned before that I was in Europe. It's not the first time that I was in Europe, I was in Europe many years ago with Ernest Hemingway. Hemingway had just written his first novel, and Gertrude Stein and I read it, and we said that is was a good novel, but not a great one, and that it needed some work, but it could be a fine book. And we laughed over it. Hemingway punched me in the mouth.
That winter Picasso lived on the Rue d'Barque, and he had just painted a picture of a naked dental hygenist in the middle of the Gobi Desert. Gertrude Stein said it was a good picture, but not a great one, and I said it could be a fine picture. We laughed over it and Hemingway punched me in the mouth.
Francis Scott and Zelda Fitzgerald came home from their wild new years eve party. It was April. Scott had just written Great Expectations, and Gertrude Stein and I read it, and we said it was a good book, but there was no need to have written it, 'cause Charles Dickens had already written it. We laughed over it, and Hemingway punched me in the mouth.
That winter we went to Spain to see Manolete fight, and he was... looked to be eighteen, and Gertrude Stein said no, he was nineteen, but that he only looked eighteen, and I said sometimes a boy of eighteen will look nineteen, whereas other times a nineteen year old can easily look eighteen. That's the way it is with a true Spaniard. We laughed over that and Gertrude Stein punched me in the mouth.
I mentioned before that I was in Europe. It's not the first time that I was in Europe, I was in Europe many years ago with Ernest Hemingway. Hemingway had just written his first novel, and Gertrude Stein and I read it, and we said that is was a good novel, but not a great one, and that it needed some work, but it could be a fine book. And we laughed over it. Hemingway punched me in the mouth.
That winter Picasso lived on the Rue d'Barque, and he had just painted a picture of a naked dental hygenist in the middle of the Gobi Desert. Gertrude Stein said it was a good picture, but not a great one, and I said it could be a fine picture. We laughed over it and Hemingway punched me in the mouth.
Francis Scott and Zelda Fitzgerald came home from their wild new years eve party. It was April. Scott had just written Great Expectations, and Gertrude Stein and I read it, and we said it was a good book, but there was no need to have written it, 'cause Charles Dickens had already written it. We laughed over it, and Hemingway punched me in the mouth.
That winter we went to Spain to see Manolete fight, and he was... looked to be eighteen, and Gertrude Stein said no, he was nineteen, but that he only looked eighteen, and I said sometimes a boy of eighteen will look nineteen, whereas other times a nineteen year old can easily look eighteen. That's the way it is with a true Spaniard. We laughed over that and Gertrude Stein punched me in the mouth.
Hello, in ten languages.
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay? Just kidding.
ARMENIAN:
vonts ek? Just kidding.
VIETNAMESE:
Tgao, yaah, qwaya comb. Just kidding.
ETHIOPIAN:
HEBREW:
YIDDISH;
RUSSIAN:
POLISH:
GERMAN;
SPANISH:
TAGALOG:
KamuSTA, ang buhay? Just kidding.
ARMENIAN:
vonts ek? Just kidding.
VIETNAMESE:
Tgao, yaah, qwaya comb. Just kidding.
ETHIOPIAN:
HEBREW:
YIDDISH;
RUSSIAN:
POLISH:
GERMAN;
SPANISH:
Hello, how are you, in ten languages
HELLO, HOW ARE YOU
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
HEBREW:
YIDDISH;
RUSSIAN:
POLISH:
GERMAN;
SPANISH:
TAGALOG:
KamuSTA, ang buhay?
ARMENIAN:
vonts ek?
VIETNAMESE:
Tgao, yaah, qwaya comb.
ETHIOPIAN:
HEBREW:
YIDDISH;
RUSSIAN:
POLISH:
GERMAN;
SPANISH:
Rock Hiatory
Let us turn to another site in the West, some seventy years after Wilde's visit to Colorado. The time is September 1958; the place, a recording studio in Clovis, New Mexico. There is a cowboy and there is a dandy. One is Buddy Holly, singing a tune called "Reminiscing"; the other is "King" Curtis Ousley, tenor saxophonist from New York and inventor of yakety sax, joining Buddy for the recording session. A tight, foxy oompah tune written by Curtis (it was released under Holly's name only posthumously, in August of 1962), "Reminiscing" requires an almost electric crispness from the horn, and Curtis discovers a yakety way to deliver it with a remarkable and surprising freshness, very different from the honk-heavy repetitions of early rock and roll sax, and a style formalized by Curtis's lead horn on the Coasters' hit single "Yakety Yak" earlier in the same year. To say that Curtis dresses up Buddy's sound (as he did the sound of so many artists, including that of Aretha Franklin, the Shirelles, and Wilson Pickett) is an apt and historically exact metaphor to use to describe both the tune and the larger genesis of Curtis's horn.
What were King Curtis and Buddy Holly doing together in Clovis in 1958? Norman Perry's studio in Clovis was a fairly booming recording center in its own right (Gillett 1970, 96 ff.), although it is Holly who had invited Curtis to join him in New Mexico after they had worked together on a tour with the disc jockey Alan Freed in 1957 (see Norman 1996, 220; see also Goldrosen and Beecher 1986, 108). The act of imagination involved in bringing rock and roll together so completely is astonishing. Rock and roll history already shows its full hand of determinations, and out West to boot. Here two masters meet: the hiccuppy cowboy at one extreme, and, at the other, the dandy, the suave Manhattanite. What is most striking about King Curtis's horn on "Reminiscing" is in fact its urbanity. By contrast, Buddy's voice is, albeit in high manner, the voice of a hick, a yokel, a wailing swain. Country and western, rhythm and blues, cowboy and dandy, voice and horn all conjoin here. Lubbock, Texas, Buddy's birthplace, is across the border from Clovis and is high plains cowboy country. Buddy was himself a product of Texas swing, rockabilly, and bluegrass. He had learned banjo and mandolin as a youngster, as well as Hank Williams's style of yodeling, the precursor sound to his own vocal signature. Of course, like Southern Baptist religion (see Bloom 1992), country music is inconceivable without a central African-American influence, however repressed or obscured (see Malone 1985). Country reconstitutes its principal European sources--spirituals, English and Irish ballad and jig, and Central European polka--by strongly misreading them through an otherwise silent African-American presence (the gospel phrasing is where it is overt; see Jones 1963, 46-47), a presence that becomes obvious only after Texas swing starts using saxophones in the 1930s. No wonder the Grand Ole Opry radio broadcasts were as popular among black audiences as among white (see Guralnick 1979). Common labor of the oppressed, country music and rhythm and blues have always enjoyed, as the saying goes, the same gospel and Delta roots; Waylon Jennings was even a member of Buddy's band.
It is, of course, a staple of rock criticism to observe that rock and roll is the crossing of country and blues traditions (see, for example, Marcus 1975, 162 ff.), although now the larger and stricter historical logic behind the proposition--and behind rock and roll's relation to Romanticism--also comes into focus. Rock and roll is the crossing of cowboy and dandy. If you grew up on Westerns and Sherlock Holmes, your destiny was rock and roll. And if the outwardness and aggression of the cowboy had a historical counterpart, it was, not surprisingly in retrospect, the inwardness and languor of the dandy. Dandy foppishness relieves and controls what strength there is in cowboy panache. Each leavens the other. You can see both at play in the semiotics as well as in the music of rock and roll. Little Richard, Jimi Hendrix, Prince--all balance in a single style the cowboy's strength, the dandy's charm; the cowboy's rage, the dandy's melancholia. Even the British opposition between fashionable mods and tough rockers in the mid-Sixties recapitulates it. Chuck Berry shows how central and enabling the crossing is by using "country guitar lines adapted," in Robert Christgau's words, "to blues-style picking" (1972, 143). Like Elvis before him, Dylan, too, combines country with urban--a double lineage of Woody Guthrie and white folk on the one hand and Muddy Waters and the blues on the other--in an equally decisive instance of the crossing, especially after he decided to work with an electric band at the Newport Folk Festival in 1965. With their cowboy boots and dandy scarves, how like Wilde in Colorado Dylan and Elvis both are! Simply put, the blend of cowboy and dandy is suddenly unavoidable in rock and roll. Group monikers like Guns 'N Roses or the Sex Pistols only formalize what is already at play in the prehistory of a discourse so overdetermined as to produce both the Beatle boot and an extended meditation on the leopard-skin pillbox hat (see Dylan 1966).
But wait. Rock and roll as a crossing or combination of cowboy and dandy may be a sweet enough conjecture from the point of view of dominant or Romantic culture. But is it true from the point of view of African-American culture, especially if country and blues alike are forms of African-American music? By the same token, if country and blues are both part of blues tradition, then rock and roll as a crossing of cowboy and dandy is an altogether fair way to describe the manner in which it crosses two strands within blues tradition itself, country on the one hand and blues proper on the other. Then again, why is King Curtis in the role of dandy at Clovis next to Buddy the cowboy? Is some imperial misadventure afoot in such a formulation? Are cowboy and dandy even reasonable terms with which to describe African-American culture and its products? Here a whole new history emerges side by side with that of a dominant Romanticism and its vocabulary, and with it a whole new paradigm with which to organize rock and roll, its history, and its structure. The new paradigm, of course, is different from the Romantic one--I shall examine Romanticism in detail beginning in the next chapter--but it is also very similar to it. Like the Romantic paradigm, it is preoccupied with boundaries and with the way in which they get fashioned. Unlike the Romantic paradigm, however, its terms are drawn from a different kind of historical perspective. Let us follow King Curtis's route through the history of jazz to see just what it is before attending to the Romantic paradigm that is its analog or counterpart.
Curtis is responding to a crisis in jazz history that splits swing into two major strains after World War II. From its beginnings through swing, jazz was institutionally one thing, a form of public entertainment in which virtuosity was prized. After World War II, the legacy of swing divided this history into two new branches: bop or modern jazz, emphasizing the combo rather than the orchestra or big band; and rhythm and blues, which spirited away the big band sound and turned it, through many permutations, into rock and roll. Bop, of course, transformed jazz into a self-conscious art project that retained, God knows, its hard, swinging power, even though it encouraged--indeed, lionized--the emergence of the visionary soloist, allowing him "to fly," as Ira Gitler describes it, "with eighth-note constructions and extend [his] lines to include bursts of sixteenth and thirty-second notes" (1985, 5). The structure of bop chord changes added Euro-harmonics and modes to blues logic (see Russell 1960), and Charlie' Parker's influence as a soloist and a harmonic thinker became, except for Louis Armstrong's, unparalleled in the history of jazz. Like Dizzy Gillespie's beret, Parker's jesting use of an English accent on the bandstand or on outtakes in the studio underscores the irony with which European tropes and stances were appropriated by the boppers, even though such poses were also the logical extension of Armstrong's morning coat and spats, or Cab Calloway's tails and white tie. By the same token, of course, Parker's Western side is so decisive a factor in the elements out of which he is made that this native of Kansas who had woodshedded in the Ozarks (not for nothing was his nickname Yardbird) had turned down Duke Ellington's offer to join his orchestra to work instead with the rawer Kansas City bandleader Jay McShann. Indeed, bebop itself is, at least in a Romantic vocabulary, a colossal crossing of cowboy and dandy, even though its imaginative power inspired as much anxiety as it did influence.
Rhythm and blues and its rock and roll progeny, by contrast, restored jazz to the level of pop entertainment from which it eventually fell thanks to jazz modernism. Rhythm and blues is a term for which many folks have taken credit, but it designates something clear and simple: a jump sound that people danced to beginning in the 1940s that often featured rocking saxophone leads free from the calculus of bop. The initial model for this jump sound is Louis Jordan, bandleader, altoist, and singer, who is, retrospectively, the great alternative to Parker, and who is the Great Divide between swing and an emergent rhythm and blues or rock and roll that is the second of swing's two children. "For the masses of blacks," writes Nelson George, "after bebop's emergence, jazz was respected, but in times of leisure and relaxation they turned to Louis Jordan" (1988, 25). George cites Jordan's growing slew of hit records from 1943 to 1947 to document the shift (1988, 5; for a similar account by three producers, see Hammond 1977; Wexler 1993; and Gordy 1994; see also Shaw 1978, 61.ff.). By the early 1950s, however, Jordan's sales on Decca begin to decline, and Earl Bostic's on King begin to rise as he eventually records more hits than Jordan in the same r & b mode, inheriting and expanding Jordan's audience and codifying the alto style associated with Jordan's band.
Although to compare Parker to Jordan and Bostic is to compare a mortal god with a pair of sergeant-majors, it is still fair to say that Jordan and Bostic are the line in the sand between bop and rock and roll itself. While Jordan forms the Tympany Five in 1938, late in the swing era (the bop jams at Minton's in Harlem begin in the early 1940s), the model of the small group playing rocking ensemble music rather than featuring the clash of soloing Titans establishes for the generation after swing an alterative to the bop combo and an alternative to the bop use of the solo horn. A variety of alto players handled the soloing in Jordan's orchestra, among them Jordan himself, and it is Bostic who goes on to stabilize under a single signature the solo sax sound that Jordan and his band introduce. From this point of view, rock and roll is, belatedly, really a reaction to bebop, a swerve from its anxieties (Jones locates another, less truculent reaction in the hard bop of Horace Silver and Art Blakey in the second half of the 1950s, following Parker's death in 1955 [1963, 216-17]). While rhythm and blues may have misread bebop by overestimating its intellectualism (some rockers still share the misapprehension), it nonetheless provided a way to steer clear of Parker's influence, either as a buffer against it (as in the funkier, Southern tradition of the chicken-shack combo featuring tenor and B-3 organ), or as a knowing choice, as the young John Coltrane's appearance with Eddie "Cleanhead" Vinson at the Apollo in 1947 may suggest. Indeed, after apprentice work as Dizzy's alto sideman, Coltrane thickens the plot of his own reaction to Parker by joining the funk organist Jimmy Smith for two weeks in 1955 and then the organist Shirley Scott for two months, completing his tour with Scott only one month before joining Miles Davis as a tenorman later in the same year. He even records some standards with Bostic himself at a session in Cincinnati in April of 1952.
What is the technology of the Jordan sound that Bostic formalizes? Like Parker, Jordan and Bostic play alto with no vibrato, the sign of a common starting point as revisions of the same precursor, swing tenorman Lester Young (on Parker and vibrato, see Crouch 1983, 258), and of their different swerves from him. With Parker, the swerve is rhetorical and percussive alike; with Jordan and Bostic, however, the swerve is almost altogether percussive and the rhetoric a sparse version of the swing vocabulary they share with Parker. Like a blues shouter rather than a jazz singer, the tone and accent of Jordan's or Bostic's horn are notable more for their rhythmic timing than for their lyrical elaboration, reinventing phrasing in as epochal a reassignment as bop but with a very different kind of influence behind--and before--it. Jordan's vocal strategy, too, is knowingly bound, presaging James Brown and Sly Stone in the refusal of an easy liquidity. If Parker drives saxophone forward, beyond Lester Young, then Jordan and Bostic take it back within the Lester Young tradition but curtail and sharpen it, not unlike those honkdown saxophonists who predated or resisted the discipleship to Parker and who prefigure Curtis himself, Illinois Jacquet in particular. Even more than Jordan, Bostic is a genuine crossover figure who spans the hyperbolic vibrato of swing saxophone and the shocking brashness of the rock and roll instrument that emerges out of it, sometimes actually narrating the movement from one mode to the other over the course of a single tune, as he does on "What, No Pearls?," an original composition in which vibrato is isolated and converted into a yelping growl.
King Curtis perfects the Jordan-Bostic line--he doubtless knew Bostic in New York once he had settled there as a young session aspirant in the early 1950s--and shows how rock and roll can take the logic that invented jazz itself another step further. Long before his death in 1971, when he was fatally stabbed outside his home in Manhattan, Curtis had already transformed saxophone into a true rock and roll instrument because he had helped to solve the crisis of bop influence in jazz. As a youngster, he had toured with Lionel Hampton's orchestra, a gig thick with influences (Jacquet had played with Hampton, as had Bostic), and an atmosphere in which he came to recall jazz's own earlier state. Curtis puts this mode of recollection to work at the very center of his own sound. The result is not only still durable; it remains the paradigm for rock and roll saxophone even today, as the example of David Sanborn and other saxophonists more and more popular since the late 1970s makes plain (on Curtis's customary neglect, see Wexler 1993, 249).
The secret of Curtis's sound derives, ironically, from its use of country, and country and western, materials. Its urbanity is a paradoxical effect of its exploitation of rural styles, its suave city sound begotten, as it turns out, in Texas. King Curtis was originally from Fort Worth, and his yakety horn is an audacious transformation of what is customarily called Texas tenor, a broad, open sound like Jacquet's, a sound more stomping than the beboppers' despite their own profound bluesiness, and the jazz counterpart to the big, open stance of the cowboy himself. The dandy from New York has a country background and his horn a Texas pedigree. Buddy Holly and King Curtis are both from Texas, and the country influences central to Holly are central, too, in King Curtis's different use of them. Searching for an escape from bop, Curtis makes as radical a swerve from Parker as Coltrane does, although even the yakety style is itself a version of one of Parker's mannerisms that Sonny Rollins once called "pecking" (Davis 1989, 79). The direction is the style of the banjo, fiddle, and picking guitar--bluegrass styles adapted to horn usage. Fiddle and banjo had been widely used by African-American musicians before the Civil War, while in jazz bands in the twentieth century, banjo had been superseded by guitar by the late 1920s (Barlow 1989, 29-30). Fiddle and banjo alike were part of early Dixieland instrumentation, but both instruments were left largely behind to enjoy their presumably separate destiny in country music.
Curtis's stroke of insight is astonishing, and valued far less than it should be. If Parker becomes a dandy--learned, urban--to lift swing into a world of advanced harmonics that he can use jazz logic to transform, then Curtis becomes a cowboy--a hick, a stomping Texan all over again--to counter Parker's own urbanity and the overwhelming power of its influence upon jazz phrasing and changes. The country mode also allows Curtis to push the horn beyond Jordan's and Bostic's example, too, into a simpler, sharper, and more pointed percussive relation to a rocking rhythm section. It thereby opens up a new lyrical space for an otherwise merely rhythmic or percussive horn (there is also a touch of classical oboe tone that eases the percussive and the country alike). While on the one hand Curtis's horn is jagged, on the other it is so sweet, so vocal, and sometimes so lyrical--"Soul Serenade" (1964) is the best example--that its project may seem self-divided. This self-division, however, is a rock and roll strategy born of jazz necessity. Unlike Junior Walker, his nearest contemporary, Curtis doesn't just sweeten up Texas tenor; he also gives it a shear edge beyond Walker's dismissive growls. He does so by crossing the size of Texas tenor tone with the bite and timbre of Jordan's or Bostic's alto. In the process of resolving the influence of Texas tenor, he also resolves the influence of rhythm and blues alto, using one to deflect the other. Both nonbop descendants of swing saxophone, Curtis breeds them to move beyond bop and rhythm and blues alike, and as a means of attuning his own horn to the brassier country earliness he has in mind.
The stakes here are high, and they extend beyond jazz history proper. The (re)turn to country materials is not just an example of Curtis's swerve from bop. It is also an example of an imaginative strategy in black culture that blues tradition registers with particular clarity and that jazz and rock and roll each register in specific ways. Like Romantic imagination, it is, of course, a mode of crossing, although it is a crossing not of cowboy and dandy, East and West, but of city and country, North and South. Unlike the structure of Romantic imagination, it derives from a structure at work in the history of African-American culture, the difference between country and city engendered by the great migrations from South to North that move into high gear during World War I, when the need for industrial labor in a North deprived of its steady flow of European immigrants combines with the mechanization of cotton picking in the South and the deterioration of race relations there to attract Southern blacks to urban centers in ever increasing numbers. In 1900, 90 percent of all African Americans lived in the South (Davis 1991, 7); in 1940, the figure was 77 percent, and, by 1970, it was only half (Lemann 1991, 6; see also Douglas 1995, 312 ff.). And while the large migrations after World War II from the Southwest to the cities of California may not obey the literal geography of South and North, they also recapitulate the paradigm, since the mythos attending them is likewise informed not only by the opposition between bondage and freedom but by the urban disappointments that the West, too, can provide black Americans.
The migrations to the cities has the double and unsettling effect of disillusion in the promise of the North and a changed, newly self-conscious relation to the rural South, a relation possible only through the memory and imagination that estrangement from it ironically provides. Like black settlements in the West after the Civil War (see Katz 1971), the migrations North evacuate a typology even as they fulfill it. Moving North means nothing at all, except the clarification of a grim perspective. The structure of the geography, however, presents opportunities that the geography itself does not. It prompts a fresh cultural stance based on the new tie of association between North and South, a stance based on the structure of the relation or ambivalence between the two rather than on its resolution, and one that better estimates history than the typological stance of suffering and deliverance that experience has shown to be empty. The solution to the anxieties that accompany it is the imagination or invention of a new kind of urbanity, often by importing country styles to city modes, a way of suspending rather than reconciling the split or opposition between them. Dialectical or crossing, black urbanity is a Southern mode of Northerliness, a Northern mode of Southerliness, a kind of trick played at the crossroads that fends off the tension produced by being in an otherwise groundless situation. Banjo and fiddle styles are transferred to the urbanity of the saxophone, while saxophone welcomes its country cousins the banjo and the fiddle.
The invention and durability of a black urbanity based upon country styles is an achievement central to black imagination and to American imagination at large. The emergence of jazz in the 1920s is its first signature, and King Curtis's achievement in the 1950s is representative of black urbanity in a specifically rock and roll mode. To use the signifying title of a LaVern Baker tune upon which King Curtis also appeared, black urbanity produces a style of identity that exchanges Jim Crow for "Jim Dandy" (1956) and that is part of a tradition that produced band names like Zack White's Chocolate Beau Brummells in the mid-1920s, or the Chocolate Dandies in the late 1920s, a band more often known as McKinney's Cotton Pickers. The cowboy and the dandy play their dialectical game in black culture, too, although they do so under the name of country and city. Curtis's use of country, for example, and his allegiance to the pop mode of rhythm and blues make him, like Jordan or Bostic before him, the cowboy next to Parker's dandy, the man of the people rather than the urban artist. But, of course, Parker himself is the American roughneck cowboy--the Kansas City stomper--next to the urban Euro-harmonics that are, like Henry James's or Willa Cather's English and French influences, his own dandy side as an American artist. Next to Buddy Holly, however, Curtis is not a cowboy, but is himself a dandy. Then again, Buddy, too, has crossed over, and more than once: he overcomes the influence of Hank Williams by hearing the blues, and he overcomes the influence of the blues by hearing Dean Martin (see Tosches 1992). Clovis presents us with a paradigm for rock and roll in 1958 that actually allows Curtis and Buddy each to play both roles, cowboy and dandy, at once, to control both perspectives by exploiting the structure of black urbanity that engenders rock and roll as a form, and whose earlier manifestation as jazz now takes a heightened turn. If Armstrong in the 1920s brings the country to the city, then postwar blues and rhythm and blues bring the city back to the country--the North, as it were, back to the South--in an even more self-conscious exercise of urban imagination upon country materials. By virtue of the comparisons that time itself provides, Armstrong's own journey from the country to the city is now more than ever the start of an endless dialectic between the two poles, not simply a passage from the one to the other.
As an ideological operation, of course, black urbanity also redacts the customary racial positioning of black in relation to white (see, for example, Fanon 1952) by casting white as brutish and black as civilized. At Clovis, with Curtis as dandy and Buddy as cowboy, black culture is no longer a preserve of savage energy managed, as in the Beatnik version, by a colonialist bohemia (see, for example, Mailer 1957; Kerouac 1958, 1959). No goad for drawing out raw, spontaneous energy in otherwise docile white folks, here black culture is instead the very sign of the city, of culture, while white culture is the sign of nature and lack of civilized control. By the same token, however, Clovis is parabolic because it doesn't simply reverse the customary roles; it also rearticulates the way in which structure itself may be said to function. Let us glance at how country and city structure black American culture and how they can raise questions about cultural signification in the process--before turning to the nature of black urbanity as a compensatory mode of imagination and as a model for the emergence of rock and roll.
The course of blues tradition registers the history of the migrations with extraordinary clarity and even shows how major population shifts parallel key movements in the history of music. The period between 1900 and 1930 that changed the structure of the American census also changed the texture of American culture (Katznelson 1973, 310); it frames the new hegemony of blues music in an urban mode--jazz--that crystallizes with the conversion of country blues into classic blues. When the New Orleans native Louis Armstrong joined the Fletcher Henderson orchestra in 1924, "he taught New York," in Gary Giddins's words, "to swing" (1988, 81). The period between the two world wars saw the birth of a black metropolis in Chicago (see Drake and Cayton 1945) and the emergence of swing in Kansas City (for an account, see Russell 1971). Between 1940 and 1970, the population profile changed drastically again, and once again the "paradigm shift," as Nicholas Lemann calls the uneasiness of country and city (1991, 40), was reflected on the stages of Chicago's own clubs: "Musically," writes Lemann, "the South Side of Chicago was ruled by the dapper, mustachioed, pomaded Muddy Waters, the West Side by the raw, overwhelming, enormous Howlin' Wolf" (83), both sons of the Delta and between them structuring Chicago cultural life as a play between electric blues versions of dandy and cowboy.
The stance of a rugged, cowboy dandyism, the new urbanity leads, of course, to the creation of African-American show business (Morgan and Barlow 1992) and rewrites a prehistory in minstrelsy that jazz manner and costume have already evoked (see also Stearns and Stearns 1968). Black urbanity reappropriates and reimagines the caricatured rivalry between "plantation" and "dandy" blacks as depicted in white minstrel shows as early as the 1820s (Southern 1971, 89) and opens an entire field of mythographic construction to the needs of reinvention (for Stephen Foster's response beginning in the 1840s, see Emerson 1995). Indeed, later nineteenth-century black minstrelsy and black independent theater (see Johnson 1930) feature a tradition of ironic performance whose mimicries, parodies, and mockeries of Romantic culture also raise central questions about the very status of familiar tropes within our historical materials themselves, especially when we ask whether such Romantic mythologies as cowboy and dandy apply to a historiography of the oppressed, and what it means to say that country and city are versions of cowboy and dandy when Howlin' Wolf and Muddy Waters are playing (see, for example, Bhabha 1994). One is reminded of Henry Louis Gates, Jr.'s, notion that black culture disrupts the very logic of normative signification by using it in a new way (1988, 47 ff.).
To raise the question of whether it is fair to assign to African-American culture a position of revising Romantic culture is, of course, also to raise the opposite question: whether it is fair to read African-American culture through the tropes of Romanticism. These are the signature preoccupations of W. E. B. Du Bois, and they structure both the questions he asks and the ways in which he asks them. Du Bois's paradigmatic discovery of the country in The Souls of Black Folk (1903) is an ironic function of his urbanity as both a Northerner and an intellectual. Like the Latin phrases used to praise Africa in his speeches, the Romantic invocations of the rural folk here serve to heighten the contrasts out of which the book's extraordinary textures are made, chief among them a system of double epigraphs for each chapter that juxtaposes musical notations from black spirituals and texts from Romantic or late-Romantic literature. Even Du Bois's invention of a pan-African identity over the later course of his career is the durable sign of his Euromodernism, based as it is on both his training in German philosophy and his estrangement from it.
But like the paradox of country and city, Du Bois's paradoxes are structures of oppression that he converts into salutary new structures of imaginative power. The "double-consciousness" that is the notorious problem--"this sense of always looking at one's self through the eyes of others" (1903, 5)--becomes the ground for its own solution. "What was initially felt to be a curse," as Gilroy describes it, "gets repossessed" (1993, III). There is, alas, no "true self-consciousness" in the first place, only "double-consciousness" from the start; no primary self, only a social self made up of reflection. Like Romanticism--we shall see this at length later on--it exposes the split subjectivity of master and slave alike (see Habermas 1985; see also Zizek 1989). Mastery is subdued, to use the sound-recording metaphor, by remastering, and the ego itself is subdued into ecstasy. If the historical "humiliation" that has produced the situation is "studied," as a punning Du Bois puts it (174), then the yield is this new kind of learning.
Du Bois's paradoxical preoccupations structure the history of African-American studies (see Baker 1984) and the ideological split between Eurocentrism and Afrocentrism that presumably divides it despite the obvious complementarity of the two approaches. Indeed, Du Bois's early criticisms of Booker T. Washington include Washington's inability to see paradox as constitutive in historical process. Paradox, however, is also central, as it were, to Washington himself, whose autobiography is structured from its very beginning by a crossing that gives it its logic and its force as it moves toward a remarkable and uncanny conclusion. "Born near a cross-roads post-office" as a slave (1901, 1), Washington the elderly gentleman discovers an edition of Frederick Douglass's autobiography in the library of a steamship at book's close (288). Washington's achievement ironically narrates the return to a precursor. Nor is the return immediate; the earlier comes in the form of a text. The primary and the secondary are functions of one another. The latecomer is not burdened by the pioneer, nor the pioneer by the latecomer. The relation itself is the enabling invention, not a choice between one or the other of the alternatives it presents. Washington, too, is paradigmatic. The interdependence of past and present is the interdependence of country and city in another key, and it renders the proverbial debate about country and city, urban and folk in black culture and black studies a structural inevitability rather than a debate about real choices.
Or consider Langston Hughes's poem "Aesthete in Harlem" (1930). Hughes gives us a title that already has us wondering whether an impulse to read its signifiers as a juxtaposition is justified, and whether the ambiguity says as much about the reader as it does about the text. Does the poem go on, then, to banish the aesthetic, or does it reinvent it? Are "aesthete" and "Harlem" at odds, or are they put into relation in a new way? It is not, after all, until the poet comes to "this near street" (6)--in Harlem, a metonym, presumably--that he finds the "life" (7) that he cannot find in "places gentler speaking" (5). Country and city seem to reappear in the midst of the city itself as the difference between uptown and downtown. But this is an easy reading of the poem, and one that it does not sustain. A newer, rawer sense of life is already available to the poet here precisely because it "step[s]" on his "feet" (7). The play on words--"feet" are also poetic figures--prompts the recognition that the sanctification of the quotidian is an achievement in the very forms it appears to spurn. The poem cannot sustain either of its terms without the other. Whichever sense we give the poem requires that we exile--hence include, however negatively or silently--its rejoinder. The poem's structure is really the rotation of possibilities in an endless crossing back and forth. Like the opposition of cowboy and dandy, the opposition of country and city, funky and falutin', constantly turns inside out, each pole a function or a foil of the other.
This doubleness or interdependence of country and city is perhaps most familiar in the history of African-American fiction. The African-American novel as a rule brings to bear any series of Eurocentric techniques upon black mythoi and experience, and simultaneously takes the results straightforwardly and ironically. Much as King Curtis combines country and city, so Zora Neale Hurston, for example, reflects on country materials in Their Eyes Were Watching God (1937) with an anthropologist's zeal and the resources of American modernism. The power of Richard Wright's Native Son (1940) derives in no small measure from its ironic reimagination of black experience through the tradition of naturalism from Zola to Dreiser, a way of really driving the nature of Bigger's predicament home by showing it to be at bottom the function of an aesthetic inevitability with which the political is, outrageously enough, actually identical. Ralph Ellison's Invisible Man (1950) is not only an equivalent reimagination of black experience through the techniques of Kafkan modernism. It is also a reimagination of the way Wright himself reveals the identity of the aesthetic and the existential, the formal and the political. In all three cases, the difference between country and city, life and literature, reality and myth is simultaneously maintained and dismantled. This tendency abides, of course, in Alice Walker and Toni Morrison, although Ishmael Reed takes the strategy much further by breaking down exponential versions of these oppositions, whether between the rival discursive regimes of cowboy and dandy, Loop Garoo and Hoodoo Too, in Yellow Back Radio BrokeDown (1969), or between fixity and crossover as the rival interpretative modes of Aton and Jes Grew in Mumbo Jumbo (1972). Even James Baldwin's stark oppositions of country and city, cowboy and dandy, black and white in Another Country (1962) turn out to be vengefully reciprocal. The presumable purity of white is, of course, the function of comparison, too.
But whatever black urbanity's undecidable relation to Romanticism--a revision of it or an entirely separate growth--it redoubles Romanticism in structure and dynamic. Black urbanity is an empowering imaginative invention that controls both perspectives, the country and the city, at once and, like Romantic imagination, takes its power from a crossing or contamination of perspectives that lends each perspective its effect. Like Romanticism, it, too, is a mode of imaginative compensation that bestows a leverage in power upon the fortunate latecomer by providing an instrument of memorial mastery or control of the past from a combination of two otherwise powerless points of view. The structure of black urbanity is one of deferred action, to use Freud's term (1918, 17:45), a structure designed to reestimate the past from the point of view of later experience and, in the process, to gain a new and empowering perspective over historical materials. It is a mode of "re-memory" or "re-membering," as Toni Morrison's narrator calls it in Beloved (1987, passim), the production of "new pictures" (95) to "beat ... back the past" (73), a way to "change the leaving" (223), making "coming ... the reverse route of going" (263). Curtis's tune is not called "Reminiscing" for nothing. The mastery of memory reevaluates the South and the past by seeing, after the fact and from the point of view of the North and the future, what value there was in country experience as distinct from its overwhelming miseries and the endless shadows they cast. The result is an endorsement of neither North nor South, but the discovery of double or crossing perspective itself. "[T]here is the world of comparisons," writes Alice Walker, "between town and country," the "double vision" of the black artist (1970, 18, 19). When Albert Murray writes of the sweetness of the South--a "cozy and cuddly time Down South all over the world" (1971, 27)--it is as a place in the mind, not, finally, as a real territory, bell hooks even splits her narrator between two pronouns--"I" and "she"--in a memoir recalling her Southern girlhood (1996). Simultaneous country and city vision suspends the calamitous force of Southern historical experience while also preserving the cultural forms that emerged from it, especially blues tradition and an originary sense of community that grew imperiled in the moves North.
The South signifies what the historian Pierre Nora calls a lieu de memoire, or site of memory, the term favored to describe the mechanism of black urbanity by Genevieve Fabre and Robert O'Meally in their collection History and Memory in African-American Culture (1994). Black urbanity structures the way in which a site of memory may, in Melvin Dixon's words, "contribute to the process of cultural recovery" (1994, 19) by "deconstructing," as the editors put it, "a subversive lieu de memoire and now constructing another" to replace it (1994, 12). Black urbanity at one and the same time cancels and preserves history, taking advantage of the temporality that resituates the South from the belated point of view of the North. In an example of what Nora calls the "reciprocal overdetermination" of "memory and history" that creates lieux de memoire (1994, 295), Hurston, for example, "define[s] ... a rural folk," as Hazel Carby describes it, by "measur[ing] them and their cultural forms against an urban, mass culture." Indeed, "[t]he creation of a discourse of the `folk' as a rural people in Hurston's work in the twenties and thirties displaces the migration of black people to cities" (1994, 31). Like a collective version of Freud's primal scene (1918, 17:39), the lieu de memoire is a retroactively generated origin, an earlier place that comes into being as a function of the distance that estranges you from it. Hence its liberating as well as symptomological possibilities. "Tradition," writes Nora, "is memory that has become historically aware of itself" (1992, ix).
The opposition between country and city is also equivalent to the crucial opposition in black culture between sacred and secular, another opposition that black urbanity topples by crossing its poles. Of the terms and images available to describe the movement from South to North historically, the biblical ones are, of course, most frequently used, even though--or perhaps because--"the sacred world," as Lawrence Levine puts it, was "never again to occupy the central position of the antebellum years" (1977, 191). Citing Bercovitch (1978), Baker notes the extent to which biblical typology informs African-American as well as colonial experience (1984, 20-21), especially, so the remarkable implication goes, as a means of overcoming the putatively Greek mythos of the plantation tradition (130). Typology and geography can, however, also lead to confusion and to a recognition of the extraordinary pliability of typological tradition. Country and city do not, alas, apply to the structure of East and West in American Romanticism. Here two interpretations of biblical protocol vie for priority as to whose version of secular correspondence is correct. In American Romanticism and its typological tradition, it is the West, the country, that is free, and the East, the city, that is bondage. In African-American culture, it is the South, the country, that is bondage, and the North, the city, that is free. Here Frederick Douglass's famous narrative of 1845 prefigures our entire paradigm, with innocence and knowledge taking the roles of country and city under the cloak of typology. The fall from the primacy of the Edenic rural South into the history embodied by the cities is the fall from a plenitude that never existed in the first place. Douglass's rhetoric contests the very myth of origins that it presumably (re)presents, "a symbolically inverted account," as Baker puts it, "of the Fall of Man" (1984, 42; see also Gates 1978). Douglass's "fall" into writing actually reverses the categorical structures of normative representation because it reorganizes the customary relationship between nature and culture or country and city--by crossing or exchanging their qualities.
It is, of course, rock and roll's marriage of gospel and blues, especially gospel singing over blues rhythms, that best represents its urbane solution to the differences that country and city characteristically represent. Hence another crossing, and one that also accounts for what we think of as an originary rock and roll sound. Rock and roll is gospel, or religious, vocal phrasing over blues, or secular, rhythm sections, a fusion--and, simultaneously, an undoing--of the opposition between sacred and secular, country and city, nature and culture, a way of being in both places at the same time. Hence, too, the revisionary use of the big sound of the Hammond B-3 organ (together with tenor saxophone and drums) in chickenshack roadhouses in the religious South, a fine swerve from church organ and an emblem for the new climate that blends swing or jazz protocols with sacred ones.
Ray Charles is a more familiar and decisive figure than King Curtis himself, and his sound is the fullest measure of the success of crossing gospel voice and blues rhythms, a crossing structurally equivalent to the crossing of country and blues (Charles's country mode now looks more logical, too). "Ray broke down the division between pulpit and bandstand," writes George (1988, 70); Murray argues that such secularization goes at least as far back as Armstrong (1976, 30 ff). Like Curtis's retrograde synthesis of two presumably opposed modes or vocabularies, Charles's achievement is based squarely on the use of gospel or country phrasing over swing or city time. It is also an example of how he overcomes Nat Cole's enabling jazz influence by flight to another mode, much as Curtis overcomes Parker's by a similar strategy. Charles's vocal genius also stages the breakdown of another critical opposition that will become more and more central to us as rock and roll history progresses, the difference between voice and instrument. Like the difference between secular and sacred, gospel and blues, cowboy and dandy, this customary difference, too, gets crossed or undone by the fact that Charles's voice, like Armstrong's, is itself an instrument of surpassing technique. It also suggests the active strategy of rock and roll imagination to be the calculated confusion of any series of familiar oppositions, usually or particularly musical ones, and including, as we shall see, epistemological ones extraordinarily similar to those at work in Romanticism.
The logic of black urbanity is even plain in the invention of the backbeat, another example of how rock and roll takes black urbanity a step further than jazz. The new rock and roll or funk rhythms that emerge in the 1950s enact a dynamic of influence that joins not just city and country or North and South but also North America and Latin, specifically Caribbean, America. Connie Kay, jazz and session drummer, tells the story of a rock and roll recording date that required him, when the piano player didn't show, to add a second beat on the bass drum (Giddins 1995). The result: the (d)evolution of the swing beat into the funk beat. But how? The extra beat that was added to the swing beat by the bass drum was in fact the sound of conga. Afro-Cuban in origin, conga had often been used with bop swing rhythms by Dizzy Gillespie. Now, however, bop's use of conga is transformed by rock and roll. Rock and roll incorporates conga more drastically, more decisively into the rhythm by having the bass drum play the conga's quarter notes. This is the other side of the bass drum's mimicry of Sousa, the addition of the Afro-Cuban double beat to a swing bottom; it brings cultural compensation full circle and makes the backbeat a genuinely cosmopolitan achievement, far more than bop's colonization of conga under the sign of the swinging ride cymbal. Jazz and session drummer Panama Francis observes that the bass drum keeps time in swing but not in bop, where the ride cymbal predominates as a metric device (Deffaa 1989, 175 ff.). In rock and roll, however, the bass drum regains its central position, although now with a difference in accent, the likely result of incorporating the sound of the conga into the trap set and its transistorization of the marching band. The rhythm section on the Beatles' "Nowhere Man" (1966a) well exemplifies Francis's point: McCartney's bass both walks and accents the second beat of the 2/4 time (Ringo accents on the bass drum along with Paul only on the second beat, too), simultaneously preserving a swing bottom while also overthrowing it in favor of a backbeat stress.
Black urbanity's ironic strength is what makes rock and roll mechanisms so supple and what allows rock and roll to take blues tradition into a kind of overdrive. Whether country and city, sacred and secular, North and South, or voice and instrument, the very crossing of the opposition also undoes or unties it. In Charles's case, vocal technique actually exchanges the very terms of the opposition as it exercises them. This crossing dynamic is the key to black culture's simultaneous cancellation and preservation of dominant ideological modes and the mechanism that rock and roll takes particular advantage of as an imaginative strategy. Jones even remarks that the emergence of rhythm and blues is the later symbol of the same "urban tradition" that Armstrong originally represents (1963, 155 ff.). If jazz comes to the city from the country, then rock and roll comes back to the country from an experience of the city. It crosses back again. The words of "I Shall Be Released" apply to city and country, cowboy and dandy alike: "I see the light come shining / From the West down to the East" (1968). Rock and roll's very belatedness--its coming after jazz, especially after bop--is what gives it its earliness. If jazz brought the South to the North, now rock and roll brings the North back to the South, after the fact. To cross to the country from the city, from the West back to the East, is, in a manner of speaking, to dandify the cowboy, to acknowledge influence, to orchestrate an irony.
What were King Curtis and Buddy Holly doing together in Clovis in 1958? Norman Perry's studio in Clovis was a fairly booming recording center in its own right (Gillett 1970, 96 ff.), although it is Holly who had invited Curtis to join him in New Mexico after they had worked together on a tour with the disc jockey Alan Freed in 1957 (see Norman 1996, 220; see also Goldrosen and Beecher 1986, 108). The act of imagination involved in bringing rock and roll together so completely is astonishing. Rock and roll history already shows its full hand of determinations, and out West to boot. Here two masters meet: the hiccuppy cowboy at one extreme, and, at the other, the dandy, the suave Manhattanite. What is most striking about King Curtis's horn on "Reminiscing" is in fact its urbanity. By contrast, Buddy's voice is, albeit in high manner, the voice of a hick, a yokel, a wailing swain. Country and western, rhythm and blues, cowboy and dandy, voice and horn all conjoin here. Lubbock, Texas, Buddy's birthplace, is across the border from Clovis and is high plains cowboy country. Buddy was himself a product of Texas swing, rockabilly, and bluegrass. He had learned banjo and mandolin as a youngster, as well as Hank Williams's style of yodeling, the precursor sound to his own vocal signature. Of course, like Southern Baptist religion (see Bloom 1992), country music is inconceivable without a central African-American influence, however repressed or obscured (see Malone 1985). Country reconstitutes its principal European sources--spirituals, English and Irish ballad and jig, and Central European polka--by strongly misreading them through an otherwise silent African-American presence (the gospel phrasing is where it is overt; see Jones 1963, 46-47), a presence that becomes obvious only after Texas swing starts using saxophones in the 1930s. No wonder the Grand Ole Opry radio broadcasts were as popular among black audiences as among white (see Guralnick 1979). Common labor of the oppressed, country music and rhythm and blues have always enjoyed, as the saying goes, the same gospel and Delta roots; Waylon Jennings was even a member of Buddy's band.
It is, of course, a staple of rock criticism to observe that rock and roll is the crossing of country and blues traditions (see, for example, Marcus 1975, 162 ff.), although now the larger and stricter historical logic behind the proposition--and behind rock and roll's relation to Romanticism--also comes into focus. Rock and roll is the crossing of cowboy and dandy. If you grew up on Westerns and Sherlock Holmes, your destiny was rock and roll. And if the outwardness and aggression of the cowboy had a historical counterpart, it was, not surprisingly in retrospect, the inwardness and languor of the dandy. Dandy foppishness relieves and controls what strength there is in cowboy panache. Each leavens the other. You can see both at play in the semiotics as well as in the music of rock and roll. Little Richard, Jimi Hendrix, Prince--all balance in a single style the cowboy's strength, the dandy's charm; the cowboy's rage, the dandy's melancholia. Even the British opposition between fashionable mods and tough rockers in the mid-Sixties recapitulates it. Chuck Berry shows how central and enabling the crossing is by using "country guitar lines adapted," in Robert Christgau's words, "to blues-style picking" (1972, 143). Like Elvis before him, Dylan, too, combines country with urban--a double lineage of Woody Guthrie and white folk on the one hand and Muddy Waters and the blues on the other--in an equally decisive instance of the crossing, especially after he decided to work with an electric band at the Newport Folk Festival in 1965. With their cowboy boots and dandy scarves, how like Wilde in Colorado Dylan and Elvis both are! Simply put, the blend of cowboy and dandy is suddenly unavoidable in rock and roll. Group monikers like Guns 'N Roses or the Sex Pistols only formalize what is already at play in the prehistory of a discourse so overdetermined as to produce both the Beatle boot and an extended meditation on the leopard-skin pillbox hat (see Dylan 1966).
But wait. Rock and roll as a crossing or combination of cowboy and dandy may be a sweet enough conjecture from the point of view of dominant or Romantic culture. But is it true from the point of view of African-American culture, especially if country and blues alike are forms of African-American music? By the same token, if country and blues are both part of blues tradition, then rock and roll as a crossing of cowboy and dandy is an altogether fair way to describe the manner in which it crosses two strands within blues tradition itself, country on the one hand and blues proper on the other. Then again, why is King Curtis in the role of dandy at Clovis next to Buddy the cowboy? Is some imperial misadventure afoot in such a formulation? Are cowboy and dandy even reasonable terms with which to describe African-American culture and its products? Here a whole new history emerges side by side with that of a dominant Romanticism and its vocabulary, and with it a whole new paradigm with which to organize rock and roll, its history, and its structure. The new paradigm, of course, is different from the Romantic one--I shall examine Romanticism in detail beginning in the next chapter--but it is also very similar to it. Like the Romantic paradigm, it is preoccupied with boundaries and with the way in which they get fashioned. Unlike the Romantic paradigm, however, its terms are drawn from a different kind of historical perspective. Let us follow King Curtis's route through the history of jazz to see just what it is before attending to the Romantic paradigm that is its analog or counterpart.
Curtis is responding to a crisis in jazz history that splits swing into two major strains after World War II. From its beginnings through swing, jazz was institutionally one thing, a form of public entertainment in which virtuosity was prized. After World War II, the legacy of swing divided this history into two new branches: bop or modern jazz, emphasizing the combo rather than the orchestra or big band; and rhythm and blues, which spirited away the big band sound and turned it, through many permutations, into rock and roll. Bop, of course, transformed jazz into a self-conscious art project that retained, God knows, its hard, swinging power, even though it encouraged--indeed, lionized--the emergence of the visionary soloist, allowing him "to fly," as Ira Gitler describes it, "with eighth-note constructions and extend [his] lines to include bursts of sixteenth and thirty-second notes" (1985, 5). The structure of bop chord changes added Euro-harmonics and modes to blues logic (see Russell 1960), and Charlie' Parker's influence as a soloist and a harmonic thinker became, except for Louis Armstrong's, unparalleled in the history of jazz. Like Dizzy Gillespie's beret, Parker's jesting use of an English accent on the bandstand or on outtakes in the studio underscores the irony with which European tropes and stances were appropriated by the boppers, even though such poses were also the logical extension of Armstrong's morning coat and spats, or Cab Calloway's tails and white tie. By the same token, of course, Parker's Western side is so decisive a factor in the elements out of which he is made that this native of Kansas who had woodshedded in the Ozarks (not for nothing was his nickname Yardbird) had turned down Duke Ellington's offer to join his orchestra to work instead with the rawer Kansas City bandleader Jay McShann. Indeed, bebop itself is, at least in a Romantic vocabulary, a colossal crossing of cowboy and dandy, even though its imaginative power inspired as much anxiety as it did influence.
Rhythm and blues and its rock and roll progeny, by contrast, restored jazz to the level of pop entertainment from which it eventually fell thanks to jazz modernism. Rhythm and blues is a term for which many folks have taken credit, but it designates something clear and simple: a jump sound that people danced to beginning in the 1940s that often featured rocking saxophone leads free from the calculus of bop. The initial model for this jump sound is Louis Jordan, bandleader, altoist, and singer, who is, retrospectively, the great alternative to Parker, and who is the Great Divide between swing and an emergent rhythm and blues or rock and roll that is the second of swing's two children. "For the masses of blacks," writes Nelson George, "after bebop's emergence, jazz was respected, but in times of leisure and relaxation they turned to Louis Jordan" (1988, 25). George cites Jordan's growing slew of hit records from 1943 to 1947 to document the shift (1988, 5; for a similar account by three producers, see Hammond 1977; Wexler 1993; and Gordy 1994; see also Shaw 1978, 61.ff.). By the early 1950s, however, Jordan's sales on Decca begin to decline, and Earl Bostic's on King begin to rise as he eventually records more hits than Jordan in the same r & b mode, inheriting and expanding Jordan's audience and codifying the alto style associated with Jordan's band.
Although to compare Parker to Jordan and Bostic is to compare a mortal god with a pair of sergeant-majors, it is still fair to say that Jordan and Bostic are the line in the sand between bop and rock and roll itself. While Jordan forms the Tympany Five in 1938, late in the swing era (the bop jams at Minton's in Harlem begin in the early 1940s), the model of the small group playing rocking ensemble music rather than featuring the clash of soloing Titans establishes for the generation after swing an alterative to the bop combo and an alternative to the bop use of the solo horn. A variety of alto players handled the soloing in Jordan's orchestra, among them Jordan himself, and it is Bostic who goes on to stabilize under a single signature the solo sax sound that Jordan and his band introduce. From this point of view, rock and roll is, belatedly, really a reaction to bebop, a swerve from its anxieties (Jones locates another, less truculent reaction in the hard bop of Horace Silver and Art Blakey in the second half of the 1950s, following Parker's death in 1955 [1963, 216-17]). While rhythm and blues may have misread bebop by overestimating its intellectualism (some rockers still share the misapprehension), it nonetheless provided a way to steer clear of Parker's influence, either as a buffer against it (as in the funkier, Southern tradition of the chicken-shack combo featuring tenor and B-3 organ), or as a knowing choice, as the young John Coltrane's appearance with Eddie "Cleanhead" Vinson at the Apollo in 1947 may suggest. Indeed, after apprentice work as Dizzy's alto sideman, Coltrane thickens the plot of his own reaction to Parker by joining the funk organist Jimmy Smith for two weeks in 1955 and then the organist Shirley Scott for two months, completing his tour with Scott only one month before joining Miles Davis as a tenorman later in the same year. He even records some standards with Bostic himself at a session in Cincinnati in April of 1952.
What is the technology of the Jordan sound that Bostic formalizes? Like Parker, Jordan and Bostic play alto with no vibrato, the sign of a common starting point as revisions of the same precursor, swing tenorman Lester Young (on Parker and vibrato, see Crouch 1983, 258), and of their different swerves from him. With Parker, the swerve is rhetorical and percussive alike; with Jordan and Bostic, however, the swerve is almost altogether percussive and the rhetoric a sparse version of the swing vocabulary they share with Parker. Like a blues shouter rather than a jazz singer, the tone and accent of Jordan's or Bostic's horn are notable more for their rhythmic timing than for their lyrical elaboration, reinventing phrasing in as epochal a reassignment as bop but with a very different kind of influence behind--and before--it. Jordan's vocal strategy, too, is knowingly bound, presaging James Brown and Sly Stone in the refusal of an easy liquidity. If Parker drives saxophone forward, beyond Lester Young, then Jordan and Bostic take it back within the Lester Young tradition but curtail and sharpen it, not unlike those honkdown saxophonists who predated or resisted the discipleship to Parker and who prefigure Curtis himself, Illinois Jacquet in particular. Even more than Jordan, Bostic is a genuine crossover figure who spans the hyperbolic vibrato of swing saxophone and the shocking brashness of the rock and roll instrument that emerges out of it, sometimes actually narrating the movement from one mode to the other over the course of a single tune, as he does on "What, No Pearls?," an original composition in which vibrato is isolated and converted into a yelping growl.
King Curtis perfects the Jordan-Bostic line--he doubtless knew Bostic in New York once he had settled there as a young session aspirant in the early 1950s--and shows how rock and roll can take the logic that invented jazz itself another step further. Long before his death in 1971, when he was fatally stabbed outside his home in Manhattan, Curtis had already transformed saxophone into a true rock and roll instrument because he had helped to solve the crisis of bop influence in jazz. As a youngster, he had toured with Lionel Hampton's orchestra, a gig thick with influences (Jacquet had played with Hampton, as had Bostic), and an atmosphere in which he came to recall jazz's own earlier state. Curtis puts this mode of recollection to work at the very center of his own sound. The result is not only still durable; it remains the paradigm for rock and roll saxophone even today, as the example of David Sanborn and other saxophonists more and more popular since the late 1970s makes plain (on Curtis's customary neglect, see Wexler 1993, 249).
The secret of Curtis's sound derives, ironically, from its use of country, and country and western, materials. Its urbanity is a paradoxical effect of its exploitation of rural styles, its suave city sound begotten, as it turns out, in Texas. King Curtis was originally from Fort Worth, and his yakety horn is an audacious transformation of what is customarily called Texas tenor, a broad, open sound like Jacquet's, a sound more stomping than the beboppers' despite their own profound bluesiness, and the jazz counterpart to the big, open stance of the cowboy himself. The dandy from New York has a country background and his horn a Texas pedigree. Buddy Holly and King Curtis are both from Texas, and the country influences central to Holly are central, too, in King Curtis's different use of them. Searching for an escape from bop, Curtis makes as radical a swerve from Parker as Coltrane does, although even the yakety style is itself a version of one of Parker's mannerisms that Sonny Rollins once called "pecking" (Davis 1989, 79). The direction is the style of the banjo, fiddle, and picking guitar--bluegrass styles adapted to horn usage. Fiddle and banjo had been widely used by African-American musicians before the Civil War, while in jazz bands in the twentieth century, banjo had been superseded by guitar by the late 1920s (Barlow 1989, 29-30). Fiddle and banjo alike were part of early Dixieland instrumentation, but both instruments were left largely behind to enjoy their presumably separate destiny in country music.
Curtis's stroke of insight is astonishing, and valued far less than it should be. If Parker becomes a dandy--learned, urban--to lift swing into a world of advanced harmonics that he can use jazz logic to transform, then Curtis becomes a cowboy--a hick, a stomping Texan all over again--to counter Parker's own urbanity and the overwhelming power of its influence upon jazz phrasing and changes. The country mode also allows Curtis to push the horn beyond Jordan's and Bostic's example, too, into a simpler, sharper, and more pointed percussive relation to a rocking rhythm section. It thereby opens up a new lyrical space for an otherwise merely rhythmic or percussive horn (there is also a touch of classical oboe tone that eases the percussive and the country alike). While on the one hand Curtis's horn is jagged, on the other it is so sweet, so vocal, and sometimes so lyrical--"Soul Serenade" (1964) is the best example--that its project may seem self-divided. This self-division, however, is a rock and roll strategy born of jazz necessity. Unlike Junior Walker, his nearest contemporary, Curtis doesn't just sweeten up Texas tenor; he also gives it a shear edge beyond Walker's dismissive growls. He does so by crossing the size of Texas tenor tone with the bite and timbre of Jordan's or Bostic's alto. In the process of resolving the influence of Texas tenor, he also resolves the influence of rhythm and blues alto, using one to deflect the other. Both nonbop descendants of swing saxophone, Curtis breeds them to move beyond bop and rhythm and blues alike, and as a means of attuning his own horn to the brassier country earliness he has in mind.
The stakes here are high, and they extend beyond jazz history proper. The (re)turn to country materials is not just an example of Curtis's swerve from bop. It is also an example of an imaginative strategy in black culture that blues tradition registers with particular clarity and that jazz and rock and roll each register in specific ways. Like Romantic imagination, it is, of course, a mode of crossing, although it is a crossing not of cowboy and dandy, East and West, but of city and country, North and South. Unlike the structure of Romantic imagination, it derives from a structure at work in the history of African-American culture, the difference between country and city engendered by the great migrations from South to North that move into high gear during World War I, when the need for industrial labor in a North deprived of its steady flow of European immigrants combines with the mechanization of cotton picking in the South and the deterioration of race relations there to attract Southern blacks to urban centers in ever increasing numbers. In 1900, 90 percent of all African Americans lived in the South (Davis 1991, 7); in 1940, the figure was 77 percent, and, by 1970, it was only half (Lemann 1991, 6; see also Douglas 1995, 312 ff.). And while the large migrations after World War II from the Southwest to the cities of California may not obey the literal geography of South and North, they also recapitulate the paradigm, since the mythos attending them is likewise informed not only by the opposition between bondage and freedom but by the urban disappointments that the West, too, can provide black Americans.
The migrations to the cities has the double and unsettling effect of disillusion in the promise of the North and a changed, newly self-conscious relation to the rural South, a relation possible only through the memory and imagination that estrangement from it ironically provides. Like black settlements in the West after the Civil War (see Katz 1971), the migrations North evacuate a typology even as they fulfill it. Moving North means nothing at all, except the clarification of a grim perspective. The structure of the geography, however, presents opportunities that the geography itself does not. It prompts a fresh cultural stance based on the new tie of association between North and South, a stance based on the structure of the relation or ambivalence between the two rather than on its resolution, and one that better estimates history than the typological stance of suffering and deliverance that experience has shown to be empty. The solution to the anxieties that accompany it is the imagination or invention of a new kind of urbanity, often by importing country styles to city modes, a way of suspending rather than reconciling the split or opposition between them. Dialectical or crossing, black urbanity is a Southern mode of Northerliness, a Northern mode of Southerliness, a kind of trick played at the crossroads that fends off the tension produced by being in an otherwise groundless situation. Banjo and fiddle styles are transferred to the urbanity of the saxophone, while saxophone welcomes its country cousins the banjo and the fiddle.
The invention and durability of a black urbanity based upon country styles is an achievement central to black imagination and to American imagination at large. The emergence of jazz in the 1920s is its first signature, and King Curtis's achievement in the 1950s is representative of black urbanity in a specifically rock and roll mode. To use the signifying title of a LaVern Baker tune upon which King Curtis also appeared, black urbanity produces a style of identity that exchanges Jim Crow for "Jim Dandy" (1956) and that is part of a tradition that produced band names like Zack White's Chocolate Beau Brummells in the mid-1920s, or the Chocolate Dandies in the late 1920s, a band more often known as McKinney's Cotton Pickers. The cowboy and the dandy play their dialectical game in black culture, too, although they do so under the name of country and city. Curtis's use of country, for example, and his allegiance to the pop mode of rhythm and blues make him, like Jordan or Bostic before him, the cowboy next to Parker's dandy, the man of the people rather than the urban artist. But, of course, Parker himself is the American roughneck cowboy--the Kansas City stomper--next to the urban Euro-harmonics that are, like Henry James's or Willa Cather's English and French influences, his own dandy side as an American artist. Next to Buddy Holly, however, Curtis is not a cowboy, but is himself a dandy. Then again, Buddy, too, has crossed over, and more than once: he overcomes the influence of Hank Williams by hearing the blues, and he overcomes the influence of the blues by hearing Dean Martin (see Tosches 1992). Clovis presents us with a paradigm for rock and roll in 1958 that actually allows Curtis and Buddy each to play both roles, cowboy and dandy, at once, to control both perspectives by exploiting the structure of black urbanity that engenders rock and roll as a form, and whose earlier manifestation as jazz now takes a heightened turn. If Armstrong in the 1920s brings the country to the city, then postwar blues and rhythm and blues bring the city back to the country--the North, as it were, back to the South--in an even more self-conscious exercise of urban imagination upon country materials. By virtue of the comparisons that time itself provides, Armstrong's own journey from the country to the city is now more than ever the start of an endless dialectic between the two poles, not simply a passage from the one to the other.
As an ideological operation, of course, black urbanity also redacts the customary racial positioning of black in relation to white (see, for example, Fanon 1952) by casting white as brutish and black as civilized. At Clovis, with Curtis as dandy and Buddy as cowboy, black culture is no longer a preserve of savage energy managed, as in the Beatnik version, by a colonialist bohemia (see, for example, Mailer 1957; Kerouac 1958, 1959). No goad for drawing out raw, spontaneous energy in otherwise docile white folks, here black culture is instead the very sign of the city, of culture, while white culture is the sign of nature and lack of civilized control. By the same token, however, Clovis is parabolic because it doesn't simply reverse the customary roles; it also rearticulates the way in which structure itself may be said to function. Let us glance at how country and city structure black American culture and how they can raise questions about cultural signification in the process--before turning to the nature of black urbanity as a compensatory mode of imagination and as a model for the emergence of rock and roll.
The course of blues tradition registers the history of the migrations with extraordinary clarity and even shows how major population shifts parallel key movements in the history of music. The period between 1900 and 1930 that changed the structure of the American census also changed the texture of American culture (Katznelson 1973, 310); it frames the new hegemony of blues music in an urban mode--jazz--that crystallizes with the conversion of country blues into classic blues. When the New Orleans native Louis Armstrong joined the Fletcher Henderson orchestra in 1924, "he taught New York," in Gary Giddins's words, "to swing" (1988, 81). The period between the two world wars saw the birth of a black metropolis in Chicago (see Drake and Cayton 1945) and the emergence of swing in Kansas City (for an account, see Russell 1971). Between 1940 and 1970, the population profile changed drastically again, and once again the "paradigm shift," as Nicholas Lemann calls the uneasiness of country and city (1991, 40), was reflected on the stages of Chicago's own clubs: "Musically," writes Lemann, "the South Side of Chicago was ruled by the dapper, mustachioed, pomaded Muddy Waters, the West Side by the raw, overwhelming, enormous Howlin' Wolf" (83), both sons of the Delta and between them structuring Chicago cultural life as a play between electric blues versions of dandy and cowboy.
The stance of a rugged, cowboy dandyism, the new urbanity leads, of course, to the creation of African-American show business (Morgan and Barlow 1992) and rewrites a prehistory in minstrelsy that jazz manner and costume have already evoked (see also Stearns and Stearns 1968). Black urbanity reappropriates and reimagines the caricatured rivalry between "plantation" and "dandy" blacks as depicted in white minstrel shows as early as the 1820s (Southern 1971, 89) and opens an entire field of mythographic construction to the needs of reinvention (for Stephen Foster's response beginning in the 1840s, see Emerson 1995). Indeed, later nineteenth-century black minstrelsy and black independent theater (see Johnson 1930) feature a tradition of ironic performance whose mimicries, parodies, and mockeries of Romantic culture also raise central questions about the very status of familiar tropes within our historical materials themselves, especially when we ask whether such Romantic mythologies as cowboy and dandy apply to a historiography of the oppressed, and what it means to say that country and city are versions of cowboy and dandy when Howlin' Wolf and Muddy Waters are playing (see, for example, Bhabha 1994). One is reminded of Henry Louis Gates, Jr.'s, notion that black culture disrupts the very logic of normative signification by using it in a new way (1988, 47 ff.).
To raise the question of whether it is fair to assign to African-American culture a position of revising Romantic culture is, of course, also to raise the opposite question: whether it is fair to read African-American culture through the tropes of Romanticism. These are the signature preoccupations of W. E. B. Du Bois, and they structure both the questions he asks and the ways in which he asks them. Du Bois's paradigmatic discovery of the country in The Souls of Black Folk (1903) is an ironic function of his urbanity as both a Northerner and an intellectual. Like the Latin phrases used to praise Africa in his speeches, the Romantic invocations of the rural folk here serve to heighten the contrasts out of which the book's extraordinary textures are made, chief among them a system of double epigraphs for each chapter that juxtaposes musical notations from black spirituals and texts from Romantic or late-Romantic literature. Even Du Bois's invention of a pan-African identity over the later course of his career is the durable sign of his Euromodernism, based as it is on both his training in German philosophy and his estrangement from it.
But like the paradox of country and city, Du Bois's paradoxes are structures of oppression that he converts into salutary new structures of imaginative power. The "double-consciousness" that is the notorious problem--"this sense of always looking at one's self through the eyes of others" (1903, 5)--becomes the ground for its own solution. "What was initially felt to be a curse," as Gilroy describes it, "gets repossessed" (1993, III). There is, alas, no "true self-consciousness" in the first place, only "double-consciousness" from the start; no primary self, only a social self made up of reflection. Like Romanticism--we shall see this at length later on--it exposes the split subjectivity of master and slave alike (see Habermas 1985; see also Zizek 1989). Mastery is subdued, to use the sound-recording metaphor, by remastering, and the ego itself is subdued into ecstasy. If the historical "humiliation" that has produced the situation is "studied," as a punning Du Bois puts it (174), then the yield is this new kind of learning.
Du Bois's paradoxical preoccupations structure the history of African-American studies (see Baker 1984) and the ideological split between Eurocentrism and Afrocentrism that presumably divides it despite the obvious complementarity of the two approaches. Indeed, Du Bois's early criticisms of Booker T. Washington include Washington's inability to see paradox as constitutive in historical process. Paradox, however, is also central, as it were, to Washington himself, whose autobiography is structured from its very beginning by a crossing that gives it its logic and its force as it moves toward a remarkable and uncanny conclusion. "Born near a cross-roads post-office" as a slave (1901, 1), Washington the elderly gentleman discovers an edition of Frederick Douglass's autobiography in the library of a steamship at book's close (288). Washington's achievement ironically narrates the return to a precursor. Nor is the return immediate; the earlier comes in the form of a text. The primary and the secondary are functions of one another. The latecomer is not burdened by the pioneer, nor the pioneer by the latecomer. The relation itself is the enabling invention, not a choice between one or the other of the alternatives it presents. Washington, too, is paradigmatic. The interdependence of past and present is the interdependence of country and city in another key, and it renders the proverbial debate about country and city, urban and folk in black culture and black studies a structural inevitability rather than a debate about real choices.
Or consider Langston Hughes's poem "Aesthete in Harlem" (1930). Hughes gives us a title that already has us wondering whether an impulse to read its signifiers as a juxtaposition is justified, and whether the ambiguity says as much about the reader as it does about the text. Does the poem go on, then, to banish the aesthetic, or does it reinvent it? Are "aesthete" and "Harlem" at odds, or are they put into relation in a new way? It is not, after all, until the poet comes to "this near street" (6)--in Harlem, a metonym, presumably--that he finds the "life" (7) that he cannot find in "places gentler speaking" (5). Country and city seem to reappear in the midst of the city itself as the difference between uptown and downtown. But this is an easy reading of the poem, and one that it does not sustain. A newer, rawer sense of life is already available to the poet here precisely because it "step[s]" on his "feet" (7). The play on words--"feet" are also poetic figures--prompts the recognition that the sanctification of the quotidian is an achievement in the very forms it appears to spurn. The poem cannot sustain either of its terms without the other. Whichever sense we give the poem requires that we exile--hence include, however negatively or silently--its rejoinder. The poem's structure is really the rotation of possibilities in an endless crossing back and forth. Like the opposition of cowboy and dandy, the opposition of country and city, funky and falutin', constantly turns inside out, each pole a function or a foil of the other.
This doubleness or interdependence of country and city is perhaps most familiar in the history of African-American fiction. The African-American novel as a rule brings to bear any series of Eurocentric techniques upon black mythoi and experience, and simultaneously takes the results straightforwardly and ironically. Much as King Curtis combines country and city, so Zora Neale Hurston, for example, reflects on country materials in Their Eyes Were Watching God (1937) with an anthropologist's zeal and the resources of American modernism. The power of Richard Wright's Native Son (1940) derives in no small measure from its ironic reimagination of black experience through the tradition of naturalism from Zola to Dreiser, a way of really driving the nature of Bigger's predicament home by showing it to be at bottom the function of an aesthetic inevitability with which the political is, outrageously enough, actually identical. Ralph Ellison's Invisible Man (1950) is not only an equivalent reimagination of black experience through the techniques of Kafkan modernism. It is also a reimagination of the way Wright himself reveals the identity of the aesthetic and the existential, the formal and the political. In all three cases, the difference between country and city, life and literature, reality and myth is simultaneously maintained and dismantled. This tendency abides, of course, in Alice Walker and Toni Morrison, although Ishmael Reed takes the strategy much further by breaking down exponential versions of these oppositions, whether between the rival discursive regimes of cowboy and dandy, Loop Garoo and Hoodoo Too, in Yellow Back Radio BrokeDown (1969), or between fixity and crossover as the rival interpretative modes of Aton and Jes Grew in Mumbo Jumbo (1972). Even James Baldwin's stark oppositions of country and city, cowboy and dandy, black and white in Another Country (1962) turn out to be vengefully reciprocal. The presumable purity of white is, of course, the function of comparison, too.
But whatever black urbanity's undecidable relation to Romanticism--a revision of it or an entirely separate growth--it redoubles Romanticism in structure and dynamic. Black urbanity is an empowering imaginative invention that controls both perspectives, the country and the city, at once and, like Romantic imagination, takes its power from a crossing or contamination of perspectives that lends each perspective its effect. Like Romanticism, it, too, is a mode of imaginative compensation that bestows a leverage in power upon the fortunate latecomer by providing an instrument of memorial mastery or control of the past from a combination of two otherwise powerless points of view. The structure of black urbanity is one of deferred action, to use Freud's term (1918, 17:45), a structure designed to reestimate the past from the point of view of later experience and, in the process, to gain a new and empowering perspective over historical materials. It is a mode of "re-memory" or "re-membering," as Toni Morrison's narrator calls it in Beloved (1987, passim), the production of "new pictures" (95) to "beat ... back the past" (73), a way to "change the leaving" (223), making "coming ... the reverse route of going" (263). Curtis's tune is not called "Reminiscing" for nothing. The mastery of memory reevaluates the South and the past by seeing, after the fact and from the point of view of the North and the future, what value there was in country experience as distinct from its overwhelming miseries and the endless shadows they cast. The result is an endorsement of neither North nor South, but the discovery of double or crossing perspective itself. "[T]here is the world of comparisons," writes Alice Walker, "between town and country," the "double vision" of the black artist (1970, 18, 19). When Albert Murray writes of the sweetness of the South--a "cozy and cuddly time Down South all over the world" (1971, 27)--it is as a place in the mind, not, finally, as a real territory, bell hooks even splits her narrator between two pronouns--"I" and "she"--in a memoir recalling her Southern girlhood (1996). Simultaneous country and city vision suspends the calamitous force of Southern historical experience while also preserving the cultural forms that emerged from it, especially blues tradition and an originary sense of community that grew imperiled in the moves North.
The South signifies what the historian Pierre Nora calls a lieu de memoire, or site of memory, the term favored to describe the mechanism of black urbanity by Genevieve Fabre and Robert O'Meally in their collection History and Memory in African-American Culture (1994). Black urbanity structures the way in which a site of memory may, in Melvin Dixon's words, "contribute to the process of cultural recovery" (1994, 19) by "deconstructing," as the editors put it, "a subversive lieu de memoire and now constructing another" to replace it (1994, 12). Black urbanity at one and the same time cancels and preserves history, taking advantage of the temporality that resituates the South from the belated point of view of the North. In an example of what Nora calls the "reciprocal overdetermination" of "memory and history" that creates lieux de memoire (1994, 295), Hurston, for example, "define[s] ... a rural folk," as Hazel Carby describes it, by "measur[ing] them and their cultural forms against an urban, mass culture." Indeed, "[t]he creation of a discourse of the `folk' as a rural people in Hurston's work in the twenties and thirties displaces the migration of black people to cities" (1994, 31). Like a collective version of Freud's primal scene (1918, 17:39), the lieu de memoire is a retroactively generated origin, an earlier place that comes into being as a function of the distance that estranges you from it. Hence its liberating as well as symptomological possibilities. "Tradition," writes Nora, "is memory that has become historically aware of itself" (1992, ix).
The opposition between country and city is also equivalent to the crucial opposition in black culture between sacred and secular, another opposition that black urbanity topples by crossing its poles. Of the terms and images available to describe the movement from South to North historically, the biblical ones are, of course, most frequently used, even though--or perhaps because--"the sacred world," as Lawrence Levine puts it, was "never again to occupy the central position of the antebellum years" (1977, 191). Citing Bercovitch (1978), Baker notes the extent to which biblical typology informs African-American as well as colonial experience (1984, 20-21), especially, so the remarkable implication goes, as a means of overcoming the putatively Greek mythos of the plantation tradition (130). Typology and geography can, however, also lead to confusion and to a recognition of the extraordinary pliability of typological tradition. Country and city do not, alas, apply to the structure of East and West in American Romanticism. Here two interpretations of biblical protocol vie for priority as to whose version of secular correspondence is correct. In American Romanticism and its typological tradition, it is the West, the country, that is free, and the East, the city, that is bondage. In African-American culture, it is the South, the country, that is bondage, and the North, the city, that is free. Here Frederick Douglass's famous narrative of 1845 prefigures our entire paradigm, with innocence and knowledge taking the roles of country and city under the cloak of typology. The fall from the primacy of the Edenic rural South into the history embodied by the cities is the fall from a plenitude that never existed in the first place. Douglass's rhetoric contests the very myth of origins that it presumably (re)presents, "a symbolically inverted account," as Baker puts it, "of the Fall of Man" (1984, 42; see also Gates 1978). Douglass's "fall" into writing actually reverses the categorical structures of normative representation because it reorganizes the customary relationship between nature and culture or country and city--by crossing or exchanging their qualities.
It is, of course, rock and roll's marriage of gospel and blues, especially gospel singing over blues rhythms, that best represents its urbane solution to the differences that country and city characteristically represent. Hence another crossing, and one that also accounts for what we think of as an originary rock and roll sound. Rock and roll is gospel, or religious, vocal phrasing over blues, or secular, rhythm sections, a fusion--and, simultaneously, an undoing--of the opposition between sacred and secular, country and city, nature and culture, a way of being in both places at the same time. Hence, too, the revisionary use of the big sound of the Hammond B-3 organ (together with tenor saxophone and drums) in chickenshack roadhouses in the religious South, a fine swerve from church organ and an emblem for the new climate that blends swing or jazz protocols with sacred ones.
Ray Charles is a more familiar and decisive figure than King Curtis himself, and his sound is the fullest measure of the success of crossing gospel voice and blues rhythms, a crossing structurally equivalent to the crossing of country and blues (Charles's country mode now looks more logical, too). "Ray broke down the division between pulpit and bandstand," writes George (1988, 70); Murray argues that such secularization goes at least as far back as Armstrong (1976, 30 ff). Like Curtis's retrograde synthesis of two presumably opposed modes or vocabularies, Charles's achievement is based squarely on the use of gospel or country phrasing over swing or city time. It is also an example of how he overcomes Nat Cole's enabling jazz influence by flight to another mode, much as Curtis overcomes Parker's by a similar strategy. Charles's vocal genius also stages the breakdown of another critical opposition that will become more and more central to us as rock and roll history progresses, the difference between voice and instrument. Like the difference between secular and sacred, gospel and blues, cowboy and dandy, this customary difference, too, gets crossed or undone by the fact that Charles's voice, like Armstrong's, is itself an instrument of surpassing technique. It also suggests the active strategy of rock and roll imagination to be the calculated confusion of any series of familiar oppositions, usually or particularly musical ones, and including, as we shall see, epistemological ones extraordinarily similar to those at work in Romanticism.
The logic of black urbanity is even plain in the invention of the backbeat, another example of how rock and roll takes black urbanity a step further than jazz. The new rock and roll or funk rhythms that emerge in the 1950s enact a dynamic of influence that joins not just city and country or North and South but also North America and Latin, specifically Caribbean, America. Connie Kay, jazz and session drummer, tells the story of a rock and roll recording date that required him, when the piano player didn't show, to add a second beat on the bass drum (Giddins 1995). The result: the (d)evolution of the swing beat into the funk beat. But how? The extra beat that was added to the swing beat by the bass drum was in fact the sound of conga. Afro-Cuban in origin, conga had often been used with bop swing rhythms by Dizzy Gillespie. Now, however, bop's use of conga is transformed by rock and roll. Rock and roll incorporates conga more drastically, more decisively into the rhythm by having the bass drum play the conga's quarter notes. This is the other side of the bass drum's mimicry of Sousa, the addition of the Afro-Cuban double beat to a swing bottom; it brings cultural compensation full circle and makes the backbeat a genuinely cosmopolitan achievement, far more than bop's colonization of conga under the sign of the swinging ride cymbal. Jazz and session drummer Panama Francis observes that the bass drum keeps time in swing but not in bop, where the ride cymbal predominates as a metric device (Deffaa 1989, 175 ff.). In rock and roll, however, the bass drum regains its central position, although now with a difference in accent, the likely result of incorporating the sound of the conga into the trap set and its transistorization of the marching band. The rhythm section on the Beatles' "Nowhere Man" (1966a) well exemplifies Francis's point: McCartney's bass both walks and accents the second beat of the 2/4 time (Ringo accents on the bass drum along with Paul only on the second beat, too), simultaneously preserving a swing bottom while also overthrowing it in favor of a backbeat stress.
Black urbanity's ironic strength is what makes rock and roll mechanisms so supple and what allows rock and roll to take blues tradition into a kind of overdrive. Whether country and city, sacred and secular, North and South, or voice and instrument, the very crossing of the opposition also undoes or unties it. In Charles's case, vocal technique actually exchanges the very terms of the opposition as it exercises them. This crossing dynamic is the key to black culture's simultaneous cancellation and preservation of dominant ideological modes and the mechanism that rock and roll takes particular advantage of as an imaginative strategy. Jones even remarks that the emergence of rhythm and blues is the later symbol of the same "urban tradition" that Armstrong originally represents (1963, 155 ff.). If jazz comes to the city from the country, then rock and roll comes back to the country from an experience of the city. It crosses back again. The words of "I Shall Be Released" apply to city and country, cowboy and dandy alike: "I see the light come shining / From the West down to the East" (1968). Rock and roll's very belatedness--its coming after jazz, especially after bop--is what gives it its earliness. If jazz brought the South to the North, now rock and roll brings the North back to the South, after the fact. To cross to the country from the city, from the West back to the East, is, in a manner of speaking, to dandify the cowboy, to acknowledge influence, to orchestrate an irony.
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