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Freedom, Purpose, and Morality in The Sirens of Titan
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All Listings filter applied. Condition see all Condition. Among other things, we turn to music, its muse and alchemy. The reason for this is as primal as it is mysterious: Music is part of who we are, and we know its impact when we hear it: We know it most familiarly with regard to love: This is nonsense; they may help, but no words can speak the pulsating virility of a sinewy, sweaty and salacious James Brown song, or match the silken lure in a promise sung by Diana Ross.
Louder than bombs: my journey in war and music
No words can speak the aqueous purity of love, resolved into sublime transcendence during a progression played by Gonzalo Rubalcaba on the piano. Music is not necessarily neutral, and much of the music in my life has been an intervention in the world I grew up in, a period in the late s, 60s and early 70s of tumultuous creativity in rock, blues, folk and jazz during which a generation was forged on the anvil of an idea that music can change the real world.
So there was the tangibility of what music does in the empowering glow of the organ, the unbowed pounding of the bass and the entry on guitar that opens Long Time Gone by Crosby, Stills and Nash — the impatient beckoning of a better world. It would appear an insane idea: The Haydn trio in Sarajevo did nothing to abate the slaughter.
Can a drop of water punch a hole in a rock? But can the Colorado River gouge out the Grand Canyon? Even if music cannot change the world, might not enough good music be able to change the landscape?
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Some were not without a macabre logic: Others were downright weird, including Ob-la-di, Ob-la-da by the Beatles. The musical backdrop to my years in New York was jazz at the Sweet Basil, Lenox Lounge and Village Vanguard clubs — some of the happiest and most instructive evenings of my life. The concert on the cusp of —3 could not have been more different.
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Her —3 concert opened with my favourite song in her repertoire, Waiting Underground, which described how we felt on the eve of the catastrophe to come, followed by When Doves Cry, with all its poignancy. On the dot of midnight, to ring in a tumultuous new year, she drove into People Have the Power and then, when I heard guitarists Lenny Kaye and Oliver Ray crash the chords to the next song, my heart missed a beat: In conversation Graham Nash ponders, looking back: George Herbert Bush, the father, realised that if this world was going to be the way he wanted it, then he needed to install as vice president, next to his son, a man who understood what we want: That man was Dick Cheney.
So Neil, Stephen, David and I set out to impart our view on that. And these people came to listen. Now, why would you buy a ticket to see us four, playing from an album called Living With War , and be upset? Because we are talking about the situation? What did they expect?