Squandered Lives - Confrontation - Dead Against The War (Vinyl)


Download Squandered Lives - Confrontation - Dead Against The War (Vinyl)
1991

You exist in a moment in time where everything is still possible. Pleasure disappoints, not possibility. But if it is the case that sometimes people, as they get older, leave music — it is equally the case that sometimes music leaves people. Consider classical music, for example. Ostensibly, classical music has enjoyed something of a renaissance. In recent times there has been a growing demand, partially stimulated by a large number of East Europeans and, more recently, Asians who have become great conductors or musicians in orchestras across the world.

Particularly in China, Korea and Japan, there has been a developing trend among the middle classes to educate their children from an early age in the art of classical music. Partly this is to do with the elitism of the middle classes more broadly; to have your little darling rattle off a Beethoven sonata at seven years old, even if it means working his or her fingers to the bone, becomes an emblem of social status, conferring the aura of precociousness, of genius even, on the child.

More generally, a background in classical music provides an excellent skill or achievement on the college application form of someone who is being primed to go to one of the more venerable and prestigious universities like Oxford or Cambridge.

And, of course, there is the simple fact of the pristine beauty of a Beethoven sonata and the deep abiding joy which comes from being able to play one. At the elite Julliard School for music, one in five undergraduates—and one in three Ph.

Young, precocious children are being taught to play classical music to an incredible standard; they are being taught to interpret to the very highest degree the music of the masters but what is notably absent from their repertoire is the creation of the new. The intriguing question is to why this might be? The highest art is the art which encompasses the world spirit of any given age, which gives life and aesthetic expression to the social and political character of an epoch.

The majority of people had long since retreated back into the kind of bucolic existence they might have enjoyed millennia before, and those same people lost the ability to write, they even lost the memory of the cities themselves, now conceiving the old ruins to have been the creation of mythical creatures known as cyclopes. But at the same time, from this dark age was graduated the most luminous form of art, a poetic tradition infused with melancholy and grandeur, which described the lives and the deeds of the great kings and warriors who once stood at the head of the cities, and who were now no more.

This was an oral poetry which wandering minstrels, travelling from village to village, would sing out by the light of the flickering fires crackling gently in the night, and the stories were handed down, generation after generation, held together by the memory of their exquisite rhymes at a time when people no longer had the ability to put words on a page. It was an art which dwelled on the remembrance of things past, a longing to render vivid again that which had faded and disappeared in the mists of time.

Such art provided in some sense the spiritual aroma of the period, it was the form appropriate to a given historical content and would eventually culminate in the epic works put to page by Homer. The experience of classical music probably reached its height at the time of the French Revolution, its greatest protagonists being Mozart and Beethoven, though a host of geniuses were spawned during the nineteenth century and the early part of the twentieth.

The music of Beethoven condenses into the most haunting and ethereal sounds the joy and melancholy which comes from great historical shifts and the twists of fate as vast numbers of people rise up, fall back, rise up again. It is a music which is universal in its tenor and scope. But our world has given impetus to a different musical form. The foundation of modern pop music was in some way built around the process of adolescence.

Teenagers, particularly in the US, from the s onwards, more and more cultivated a level of independence in and through part-time jobs, the ability to own a car which allowed for much more social and romantic freedoms, the possibilities opening up from the increasing number of expanding colleges and universities.

With some level of independent income they also had access to mass produced vinyl records on an increasingly global scale; they became the basis for a new market, but more than this, they became the basis of a new set of social experiences to be mediated by the rock and roll artists who were attaining prominence at the time.

In Bill Hailey released his version of one of the earliest rock and roll records, a version which was to become the anthem of a new generation. The movie too was part of a new breed; it depicted the lives of rebellious teenagers from a diverse set of backgrounds attending an inner city school; it was, for the time stark — almost socially realist — given to gritty depictions of anti-social behaviour, but more than this, it provided a study in the tumultuous and volatile nature of adolescence itself as the teenage protagonists fought to discover new bonds and new identities.

Rock and roll became fused with adolescent yearning and desire, and the need for the teenager to experience new freedoms. It cannot describe the inner feelings of the subjective individual — the joys and inadequacies which relate to romantic awakening, the psycho-sexual dimension if you will; and even in the places where the classical motif can utilise dialogue and voice as opposed to something which is purely instrumental, the overall effect is often very similar.

It is very much the theme of liberty in the French revolution writ large — a more universal theme embodied in and through individual characters and their struggle. It does not open up the deep, gapping abyss of the subjective psyche, the innermost thoughts and feelings — the elemental impulses and submerged desires — which a heady, throbbing rock and roll track makes palpable.

Simply put, one went to bed one day still a child, and woke up on the next an adult — i. And this has a powerful bearing on the issue. Kerry was greeted with applause from CodePink anti-war demonstrators as he hobbled into the hearing room on crutches. A defiant Kerry launched a furious counterattack against critics of the Iran nuclear deal, telling skeptical lawmakers it would be fantasy to think the United States could simply 'bomb away' Tehran's atomic know-how.

Testifying before Congress for the first time since world powers reached the landmark accord with Iran last week, America's top diplomat found himself on the receiving end of vitriolic exchanges reflecting a hardening of positions as Congress opened a day review of the deal considered crucial to its fate. Iranian hardliners are already trying to undermine the pact, and U. Washington suspects Tehran of having worked to build nuclear weapons but Iran says its program is peaceful.

Kerry insisted that critics of the deal, which curbs Iran's nuclear program in return for sanctions relief, are pushing an unrealistic alternative that he dismissed as a 'sort of unicorn arrangement involving Iran's complete capitulation. Nor can we sanction that knowledge away. Kerry dismissed the idea that the U.

Not their whole program. But in testimony two years ago before the House Foreign Affairs Committee, Kerry said the purpose of the sanctions against the rogue regime was to 'help Iran dismantle its nuclear program. That was the whole point of the [sanctions] regime. Kerry said that if Congress rejects the agreement reached in Vienna, 'the result will be the United States of America walking away from every one of the restrictions we have achieved and a great big green light for Iran to double the pace of its uranium enrichment.

Opening the hearing, Corker offered scathing criticism of Kerry for the terms he secured in negotiating the deal. Corker chided Kerry and other administration officials for their line of argument that the only alternative to the accord would be more war in the Middle East, saying that the real alternative would be a better deal. Senator Marco Rubio faulted President Barack Obama for striking a 'terrible deal,' saying it rewarded Iran for 'its atrocious human rights record.

Rubio, a Republican presidential candidate, said: 'This is a deal whose survival is not guaranteed beyond the current term of the president. Senator Ben Cardin, the top Democrat on the committee, said he has not yet decided how he would vote but said he felt U. Under a bill Obama signed into law in May, Congress has until Sept. Republicans control majorities in both houses of Congress, and many have come out strongly against the pact, which they say will empower Iran and threaten Israel.

Comments 37 Share what you think. View all. More top stories. Bing Site Web Enter search term: Search. Today's headlines Most Read 'When the Queen speaks it's accepted she has a clear field': Palace brands rapping Harry's interview Teachers and police will NOT jump Covid vaccine queue when roll-out is expanded: Health officials will stick Ministers are drawing up plans for a night-time Covid jab drive for Muslims during Ramadan in April amid Max Clifford boasted in unheard tapes that he was the 'ringmaster' at orgies that were like a 'toy shop' and Emmerdale's Claire King claims cancer is 'nature's payback for mistreating the planet' after co-star Leah Alex Salmond lashes out at Nicola Sturgeon for 'astonishing' attacks on him as he kicks off bombshell Boris Johnson rules out second independence referendum for Scotland as he launches new drive to keep the Final protester is pulled from HS2 tunnels as rail scheme bosses claim their staff were victims of theft and Key Boris aide Baroness Finn launches vicious attack on 'incapable' civil service saying it is risk-averse Parks and 'essential' recreation!

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To become something of a hero again, at least in his eyes and my own. It was also for my brothers past. I wear a copper bracelet etched with their names, and I can no longer stand imagining my own alongside theirs.

But I also want this to be something of a rebound. To fight for a career in the written word. To fight for something of childhood and what I left behind.

To gain back control. To love and fear and want this world again. I cannot move alone. The weight is not carried easily anymore when the conflict of life is too heavy to contain in a single mind.

It starts with these words. With seeking refuge. With the acceptance of the environment that produces the veterans I now walk with. With a community brought together by shared memories. So I march with my fellow veterans, and my body hurts with the effort.



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