Since Abigail was born still certain music has had a very special place in my heart.  It was hard to plan a funeral service for a baby that we never got to know, or even meet, but songs helped to express what we were feeling on that special day.  And, in the months that followed I kept coming across new songs which made me think about my beautiful baby daughter and how much I missed her.

More recently, I made a playlist of songs that spoke to me about Abigail as a gift for my lovely wife.  This was a good way to honour both of the special girls in my life.

Around the first anniversary of Abigail’s death I felt so much emotion but not the release of tears.  It was music once again that broke through my emotional reserves as I eventually sobbed my heart out listening to one particular song.

Anyway, I thought I would share here some of the special music that reminds me of Abigail.  Since the web is not as joined up as it should be, you might not be able to play all the music linked here.  If so hopefully a quick internet search will bring you somewhere where you can hear them or failing that, try spotify or youtube.  If I have already posted on this blog about a song I will link to that otherwise I will try and find a version online.

Songs about stillbirth

Some songs that seem to me to be about stillbirth or the loss of a child include:

- Still by Gerrit Hofsink is a very powerful song – “lost you before I met, gone before you came”.  Thanks to Sian for introducing me to this song

- Heaven is the face by Steve Curtis Chapman – I love this song and also With Hope and Beauty will Rise by the same grieving father.  I happily recommend the whole album in fact.

- A little more of you by Ashley Chambliss is a recent discovery for me – thanks to In the land of Broken Hearts

- Daughter of heaven by Kate Rusby

- Gone too soon by Michael Jackson also seems very appropriate for a grieving parent but I am not sure if that is what it was originally about

- I will take you hope by the Grateful Dead of all people

- Somewhere over the rainbow always reminds me of heaven

Some love songs (which still do it for me)

Two songs by snow patrol which I only discovered recently include the haunting lyrics of Chasing Cars and the rising anthem of Run.

High by Lighthouse Family was a song we very nearly had at Abigail’s funeral but in the end we went for Friends by Michael W Smith, mainly for the first few lines “packing up the dreams God planted, in the fertile soil of you.  I can’t believe the hopes he’d granted, now a chapter in our lives is through.  But we’ll keep you close as always”.  I can’t bring myself to type the next line because it isn’t even remotely true!

I will always love you by Whitney Houston reduced me to an emotional pulp a few months after Abigail died when it came on the ipod on random shuffle.  I had a similar response to One more day by Diamond Rio – forgive the video! 

Unchained Melody by Righteous Brothers is another love song that is now forever about Abigail.  As is Without you by Dixie Chicks and 20 Good Reasons by Thirsty Merc.

The current ringtone on my mobile is Sweet Child O’Mine by Guns and Roses – just the guitar solo at the start – still no one had picked up on the relevance.

Heaven by Live is another song which has Abigail written all over it for me.

Annie’s song by John Denver is a song that I sometimes listen to when I climb the hill where we scattered Abigail’s ashes.  Another such song is Go rest high on this mountain by Vince Gill or To where you are sung by Josh Groban

A Father’s love song for his daughter which reminded me of all the potential lost when Abigail died and also spoke of our ongoing infertility troubles is Cinderella.

Christian worship songs

The old children’s song Jesus loves me seems very appropriate for Abigail – risk searching youtube at your peril for this one.

As high as the heavens (voice of hope) – a song pointed out to be by Andthroughthestorm who had this song at the thanksgiving service for their daughter Abi.

A song by Matt and Beth Redman (who have had three miscarriages) is Blessed be your name. Also by Matt Redman is You never let go, a song based on Psalm 23.  Also further down in the same link is At the foot of the cross (Beauty for ashes) which helped me to start thinking about looking for beauty and God in our grief.

Two songs which we sang at Abigail’s funeral were How deep the Father’s love for us (which speaks about how God was himself a bereaved parent) and God of Grace (I stand complete in you) which includes the line “strivings and all anguished dreams in rags lie at my feet, but only grace provides the way for me to stand complete.”  A song played at the end of Abigail’s funeral was There is a Day which I absolutely love as it has such hope in it.

More recently I came across Jesus, draw me ever nearer by Keith and Kristyn Getty which spoke to me about letting God into my grief.

So as you can see quite a lot of songs have really touched me over the past 14 months.

What songs have really impacted you during your journey of grief?

(for a similar post on stillbirth poems click here)

En av den konservativa, och inte sällan väldigt manliga, countryvärldens största artister är i Sverige. I måndags spelade Toby Keith med stort band på Cirkus i Stockholm. Aftonbladet förförs av Keiths “feta biffiga macho-country” och ger konserten fyra plus.

Inte för att man ska göra politik av allt bara för att det går…men det var dom som började… Keith befinner sig en smula höger ut på den politiska skalan, skulle man milt sagt kunna säga. Det betyder t ex stort vän av George W Bush. Det är han, skrämmande nog, förvisso inte ensam om. Men inom kultursvängen tycktes fler heja på demokraterna, eller åtminstone inte på W. Några av dessa är countrypoprocktrion Dixie Chicks, som ironiskt nog kommer just från W:s hemstat Texas.

2003 orsakade Dixie Chicks en liten vattendelare i patriot-USA när man dagarna före USA:s invasion i Irak kritiserade beslutet under en konsert i London. Under introduktionen till låten “Travellin’ Solider” sa sångerskan Natalie Maines till den brittiska publiken:

“Just so you know, we’re on the good side with y’all. We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas”

Aouch. Stort jubel från publiken, men tomater på bandet när de kom tillbaka hem till USA. Åtminstone från ganska många. Toby Keith var en av dem som gick i offentlig klinch med bandet, och sa att det var Dixie Chicks som skulle skämmas som inte respekterade utan snarare spottade de många amerikanska soldaterna rakt i ansiktet med sitt uttalande. Dixie Chicks är inte bandet som viker undan en fajt och ville inte vara sämre utan svarade med att kritisera Toby Keiths låt “Courtesy of the Red, White and Blue” och kallade honom “ignorant, och medverkar till att country musik uppfattas och låter ignorant”. Bråket tog inte slut där. Keith putsade fjädrarna, spände sig och firade iväg salvor som kallade Natalie Maines låtskrivarkvalitet pinsamt dålig och uppträdde på konserter med en backdrop som utgjordes av ett foto av Saddam Hussein bredvid Natalie Maines…

Aouch 2.0. Slut? Nä. I maj 2003 på Country Music Awards bar Maines en t-shirt med bokstäverna “FUTK”. Fritt för tolkning, sa bandet. De hävdade att det skulle kunna stå för Friends United in Truth and Kindness. Många gjorde en annan tolkning…

Fejden ska nu vara över, eller åtminstone lagd i malpåse. Men Dixie Chicks hade en tuff efterföljande tid. Det är kostsamt att kritisera presidenten när man är utomlands, för att inte tala om soldaternas insats, vilket bandet egentligen aldrig kritiserade. Maines bad senare om ursäkt för att hon hade kritiserat Bush och vidhåller att hon är stolt att komma från USA.

2006 släpper Dixie Chicks singeln “Not Ready To Make Nice” från det efterföljande albumet “Taking The Long Way” och tar något av en revansch. Låten är ett direkt svar på kontroversen och till de kritiker som gav sig på Maines personligen, där hon t o m fick ta emot dödshot. Hon ångrar inte sitt uttalande i sak och har inte haft några problem att sova på nätterna. Låten för  tillbaka Dixie Chicks i rampljuset och en ny typ av fans inom rock/pop-sfären hittar bandet och tar dem till sitt hjärta, utan att de riktigt lojala country-fansen har gått förlorade. Många har dock än idag inte “förlåtit” bandet och Natalie Maines, men förmodligen är det en oceaner större förlust för dem än för Dixie Chicks.

Lyssna mer på Spotify:

Dixie Chicks – Taking the Long Way

Dixie Chicks – Home (med låten “Travellin’ Solider”)

Toby Keith – Unleashed (med låten “Courtesy of the Red, White and Blue”)

Back in September, the Telegraph published its list of the 100 songs that defined the noughties. Reading through it, I found myself nodding in agreement at times and throwing my arms up in shock and disapproval at others.

A few days ago I tweeted the story to my followers, asking them for the songs that had defined their decade. After a few days work, I’ve come up with 50 of the songs that have defined my decade. These are the songs that, in my opinion, tell the story of the noughties—from 2000 to 2009—and will be remembered for years to come, whether because of their artistry, their controversy, or their relevance.

A few things to remember about my list:

• I grew up with music from both the US and UK, so the list will reflect that fact.  This means you may not have heard of some of these songs.  If not, I highly suggest you listen to them.
• This list is by no means authoritative or complete.  Choosing 50 songs of that define a decade is nearly impossible, as everybody’s songs are colored by their own experiences.  I’m no music critic–just a fan–so keep that in mind.
• The songs are grouped by years, but that’s it; there is no ranking, no rhyme or reason why songs are ordered the way they are.
• The annotations are accurate, as I have done my research.
• Not all songs on here are songs I necessarily enjoy, but may be songs that have simply impacted pop culture in general.
• I tried to only pick one song from an artist–the exception being Justin Timberlake, who appears on the list as a member of *NSync and later as a solo artist.  If I hadn’t, for example, Leona Lewis’s cover of Run would have made the list, as would have Everytime by Britney Spears
• I tried to keep it to five songs per year, but as you’ll see, this didn’t completely work.
• I highly encourage you to debate my choices, comment with your own, and compile your own list.  The more music we can remember, the better off all our playlists will be!

With that, I give you my top 50 songs of the 2000s.

2000
“Bye, Bye, Bye” by *Nsync
A catchy song about breaking loose of a no good lover, it garnered the boyband a Grammy nod for Record of the Year and is arguably their most memorable song.

“Wonderful” by Everclear
“Please don’t tell me everything is wonderful now…” sings a boy to his emotionally absent parents. This song got me through the darkest hours of my life.

Britney Spears in her iconic music video for "Oops!... I Did it Again"

“Oops!… I Did it Again” by Britney Spears
The lead single from Britney’s sophomore album, it remains one of the most infectious pop songs of the past 30 years.

“I Hope You Dance” by Leann Womack
Still Womack’s only number one hit, “I Hope You Dance” was—and still is—played at high school graduations across America.

2001
“Island in the Sun” by Weezer
Though it never cracked the Billboard Hot 100 in the US and only charted at 31 in the UK, “Island in the Sun” proved that Weezer was still “hip, hip” and provided some musical escapism in the aftermath of 9/11.

“Where Were You (When The World Stopped Turning)?” by Alan Jackson
It’s impossible to discuss 2001 in music with out mentioning Alan Jackson’s moving tribute to the 9/11 attacks. Eight years later, it is still the most poignant song to be written about that day.

“Fallin’” by Alicia Keys
Establishing Keys as the preeminent songwriter of our generation, “Fallin’” captured the 19 year old the Grammy for Song of the Year.

“Ms. Jackson” by OutKast
Not their biggest hit, but for a generation of high school students, “Ms. Jackson” provided a sick beat and a warning about the risks of teenage pregnancy. It also foreshadowed the great work OutKast would produce later in the decade.

2002
“I’m With You” by Avil Lavigne
Lavigne’s work leaves much to be desired, but there’s no denying the emotions behind her lyrics and vocals in this piece, which may epitomize the year between 9/11 and the invasion of Iraq.

“Beautiful” by Christina Aguilera
Released on Christmas Eve, “Beautiful” is arguably Aguilera’s most artistic moment—and the video doubtlessly her most daring. A song that inspired all those “othered” by society.

“Clocks” by Coldplay
It captured the Record of the Year Grammy for Coldplay. More importantly, it was heard in practically every film trailer and television show for the next two years, and it has one of the most memorable melodies of any song this decade.

“Courtesy of the Red, White, and Blue (The Angry American)” by Toby Keith
If Alan Jackson penned a moving tribute to 9/11, Toby Keith penned a shameful rallying cry for revenge against… well, he never really figured that part out. Still, even to this day, something about this song compels me to listen.

“Unchained Melody” by Gareth Gates
Admittedly more of a personal choice than anything, for a great number of Millennials (especially those from the UK), Gareth Gates is inexplicably connected with their adolescence.

2003
“Miss Independent” by Kelly Clarkson
The song that established Clarkson—the first American Idol—as more than a one-hit wonder, she showed the world that she would be around for years to come.

“Hurt” by Johnny Cash
Daring to cross genres and defy stereotypes, “Hurt” introduced Cash—and his amazing collection of songs—to a new generation of fans. It’s also one of the most moving songs of the decade, made all the more jarring because of the parallels with Cash’s own booze-soaked life.

“Mad World” by Gary Jules
Surprising everyone by taking the Christmas number one on the British charts, Jules’ version is arguably the most moving rendition of this song—including the original.

“American Life” by Madonna
Released on the heels of the invasion of Iraq, Madonna coupled it with a video so controversial even she decided to reshoot it. No song defines the Bush years better, proving even in a new century, Madge is still relevant.

“Leave Right Now” by Will Young
The first Idol ever—anywhere—produced one of the most emotional farewell songs in years.

2004
“What Became of the Likely Lads” by the Libertines
As Pete Doherty’s life spun out of control, he penned this lament about a friendship lost. (In this case, with fellow Libertine Carl Barat.) Fittingly, though sadly, it was the group’s last single.

“She Will Be Loved” by Maroon 5
Not Maroon 5’s biggest hit, though possibly their most memorable, “She Will Be Loved” defined my first year of college.

“Redneck Woman” Gretchen Wilson
Say what you will about Gretchen Wilson, but “Redneck Woman” introduced Nashville to the Musik Mafia and brought about a renaissance in country music.

Brandon Flowers of The Killers from their video for "Mr. Brightside," one of the biggest hits of 2004

“Mr. Brightside” by the Killers
Las Vegas’ best resurrects glam rock. Enough said. Though not the first single from the Killers, “Mr. Brightside” is the song that cemented their place in the pantheon of noughties rockers.

“If Heartaches Had Wings” by Rhonda Vincent
You’ve probably never heard of this song, about a woman full of regrets, and that’s okay. Still, it is the best bluegrass song of the decade. Plus, the video stars Miley Cyrus before she was Miley Cyrus.

2005
“Gold Digger” by Kanye West
Kanye is one of the most controversial artists of the decade (to put it mildly), but “Gold Digger” was one of the biggest songs of the year. And rightly so, as it’s just as catchy as the rest of West’s work.

“Baby Girl” by Sugarland
Though released in 2004, Sugarland’s debut single didn’t climb the charts until early 2005, inaugurating lead vocalist Jennifer Nettles as the newest diva in the country music pantheon. On a personal note, the lyrics to this song was the first text message my grandparents ever received; I sent it to them requesting money.

“I’m ‘n Luv (Wit a Stripper)” by T-Pain ft Mike Jones
Admit it—you were singing along with the rest of us.

“Wake Me Up When September Ends” by Green Day
A song about the death of Billy Joe Armstrong’s father, the video was yet another slap in the face of the Bush administration by the preeminent rockers of the day. The song struck a nerve with a nation growing weary of war.

“You’re Beautiful” by James Blunt
Blunt’s debut single may have made it hard to believe he is a former soldier, but it introduced him as one of the sappiest crooners of the decade.

2006
“SexyBack” by Justin Timberlake
We didn’t even know sexy had left until Timberlake told us so. With that voice and those beats, though, we believed him.

“Chasing Cars” by Snow Patrol
One of the most romantic songs of the decade, this was the track that finally propelled Snow Patrol to mainstream American success.

“Rehab” by Amy Winehouse
Besides resurrecting 1960s soul, Winehouse’s salute to alcoholism and broken hearts established her as one of the most talented—and tragic—stars of the decade.

“I’m Not Ready to Make Nice” by the Dixie Chicks
After being shunned—and threatened—by country music fans for speaking out against the Iraq War in 2003, Natalie Maines and the Dixie Chicks came back with a vengeance, speaking for disgruntled progressives everywhere and nabbing five Grammys in the process.

“Last Request” by Paolo Nutini
The first single released from Nutini’s inaugural effort, this aching plea for one last night with a lover broke hearts across Britain. Though he’s struggled to find mainstream success in the US, “Last Request” has still managed to win over countless Yanks.

2007
“Rule the World” by Take That
A perfect song to accompany acclaimed fantasy film Stardust, “Rule the World” helped reestablish Take That as a premier British band—and is the song I will dance to at my wedding.

“Bleeding Love” by Leona Lewis
The biggest thing to come out of a television talent show on either side of the Atlantic, Leona Lewis scored a massive hit with her debut single, penned by Ryan Tedder and Jesse McCartney. Arguably the most memorable song of the decade, “Bleeding Love” established Lewis as the definitive diva of her generation, thrusting her into the same league as Whitney, Celine, and Mariah. (Note: Yes, it didn’t come out in the US until 2008, but it was a massive hit in the UK in the autumn of 2007—which is when I first heard it.)

“Umbrella” by Rhianna

Rhianna's "Umbrella" was the defining song of summer 2007

An annoying but catchy tribute to unyielding friendship, with this song Rhianna told the world she wasn’t going anywhere. Plus, as the Telegraph pointed out, it provided the perfect soundtrack for a rain-soaked summer.

“Grace Kelly” by Mika
You can’t be faulted if, upon first listen, you thought someone had resurrected Freddie Mercury. With “Grace Kelly,” Mika helped usher in the era of wonky pop.

“With Every Heartbeat” by Robyn
Heartbreaking and infectious, Robyn proved that the Scandinavians are still better at making quality pop records than we are.

“Flourescent Adolescent” by the Arctic Monkeys
Not their biggest hit, and perhaps not even their best song, but “Flourescent Adolescent” still managed to define 2007 for those who rebelled against the previous five songs. Plus, with lyrics like “everything’s in order in a black hole/nothing seems as pretty as the past though/That Bloody Mary’s lacking in Tabasco/Remember when you used to be a rascal?” it was the perfect accompaniment to the onset of the Great Recession.

2008
“Love Story” by Taylor Swift
Swift’s biggest single up to that point, “Love Story” helped propel her out of Nashville and introduce her to an international audience. It also proved Swift as one helluva songwriter.

“No Air” by Jordin Sparks ft Chris Brown
The best duet of the decade, hands down. Though Chris Brown is now more infamous for domestic violence than famous for his music, the blended vocals of Sparks and Brown illustrate why they’re both young stars on the rise.

“I Kissed a Girl” by Katy Perry
Offensive to the gay community or an innocent anthem for bicuriosity? Either way, “I Kissed a Girl” was the song of summer 2008 and propelled Perry to stardom.

“My President” by Young Jeezy
Never a huge hit, but there is something special in remembering the election of America’s first black president—a defining moment not just of the noughties, but of modern history. This song is the celebration of a milestone preceded by centuries of struggle.

“Paper Planes” by MIA
No song better describes Britain’s and America’s irrational fear of brown people than does this anthem for immigrants and oppressed minorities everywhere. The gunshots and ringing cash registers only serve to make the song all the more memorable—and relevant.

Beyonce's video for "Single Ladies" is one of the most iconic of the decade. Just as Kanye West.

“Single Ladies” by Beyonce
God, this song is annoying, but Kanye was right—Beyonce did have one of the best videos of all time. Besides, you have to admit, it’s catchy as hell.

2009
“Party in the USA” by Miley Cyrus
If the noughties defined Miley Cyrus, Miley Cyrus defined the noughties. Surprising, well, everybody, Cyrus managed to actually produce a quality pop record that, probably unintentionally, embodied the optimism of youth in the Obama era.

“TikTok” by Ke$ha
If you haven’t heard this song yet, go listen. I don’t know what the future has in store for Ke$ha, but this is one of the best night-out-on-the-town songs to come along in years.

“Never Forget You” by the Noisettes
Sure, Duffy’s throwback to 60’s soul is more successful, but nobody, except maybe Winehouse, can touch the artistry of Shingai Shoniwa.

“Just Dance” by Lady GaGa
When I heard this song on the radio in January, I told my best friend it was the first song that made me feel like it was 2009. Turns out, 2009 was the year of GaGa. If the forecast “Just Dance” provides is any indication, the teens will be dominated by Lady GaGa.

“Need You Now” by Lady Antebellum
An understated, underappreciated single from an underrated group, Lady Antebellum proves they are the future of country music with “Need You Now.” An aching song about longing for an old flame, it’s the best song Nashville has had to offer in 2009.

Today, a dear friend reminded me of a really pivotal event in my life.  Something hugely painful but transformational at the same time… 

It has been nearly 5 years since I naively threw my hat in the local political ring and subsequently went through the surreal ”fire” of persecution and public humiliation. Happily, I am still here to write about it.  The experience taught me so much about humility and forgiveness and “when to walk away and when to run”… I am a much stronger and more humble spirit because of it. And I am deeply grateful for the experience… 

Still, 5 years later,  it leaves me wondering when womens’ voices will be heard? When feminine values will be honored? “When peace will guide the planet and love will steer the stars?”   

The song below really speaks to my wondering and the knot I get in my stomach whenever I hear of women and children not being honored in the world. It just gets me feeling all mama bear-ish and I just don’t know quite what to do…. Hmmmm….

For this week’s MM, I’ve chosen Not Ready to Make Nice by the Dixie Chicks . . . just because.

Enjoy!

Forgive, sounds good
Forget, I’m not sure I could
They say time heals everything
But I’m still waiting

I’m through with doubt
There’s nothing left for me to figure out
I’ve paid a price
And I’ll keep paying

I’m not ready to make nice
I’m not ready to back down
I’m still mad as hell and I don’t have time
To go round and round and round

It’s too late to make it right
I probably wouldn’t if I could
Cause I’m mad as hell, can’t bring myself
To do what it is you think I should

I know you said
Can’t you just get over it??
It turned my whole world around
And I kinda like it

I made my bed and I sleep like a baby
With no regrets and I don’t mind sayin’
It’s a sad, sad story when a mother will teach her
Daughter that she ought to hate a perfect stranger

And how in the world can the words that I said
Send somebody so over the edge
That they’d write me a letter sayin’ that I better
Shut up and sing or my life will be over

I’m not ready to make nice
I’m not ready to back down
I’m still mad as hell and I don’t have time
To go round and round and round

It’s too late to make it right
I probably wouldn’t if I could
Cause I’m mad as hell, can’t bring myself
To do what it is you think I should

I’m not ready to make nice
I’m not ready to back down
I’m still mad as hell and I don’t have time
To go round and round and round

It’s too late to make it right
I probably wouldn’t if I could
Cause I’m mad as hell, can’t bring myself
To do what it is you think I should
What it is you think I should

Forgive, sounds good
Forget, I’m not sure I could
They say time heals everything
But I’m still waiting

I like listening to music. But I would rather hear the neighbor on his porch belting out a tune for free than pay two cents to hear one of these overpriced feces pieces rehash one of their “hits”. There is some commercial on the radio talking about “stealing music”. WHAT? If this is the Dixie Chicks only contribution to society, no thank you. Send them back to the car wash where they can do some good.

Once I buy this crap it’s mine to do with as I please. If I want to copy it and give it to my friend, I will. That’s the nature of the business.They are over paid to begin with and then they take their ill-gotten gains and promote socialism. What the heck has Bono done to improve the world really? Napster, YouTube all of them are great.  When these clowns used to get two hundred dollars a show that was about right. They aren’t anything special in spite of what they think.

You look back at the Motown hits. Most of thase guys got a couple of hundred dollars and that was it. No royalties, no rights. Why do you think Chuck Berry is still touring? That’s the way it should be. These people are making little or no contribution to society. I don’t care what they tell you. We need to start paying them what they are worth.

Garth Brooks

If an alien came to earth inquiring about country music and they watched the Country Music Association Awards, what would they report back?  If this production told them everything they needed to know about country music – what would they gather?  They could learn a lot by looking at the Entertainer of the Year category.

They might start by reviewing the list of entertainers that have been crowned Entertainer of the Year for the last 42 years:

Eddy Arnold

1967 Eddy Arnold

1968 Glen Campbell

1969 Johnny Cash

1970 Merle Haggard

1971 Charley Pride

1972 Loretta Lynn

1973 Roy Clark

Barbara Mandrell

1974 Charlie Rich

1975 John Denver

1976 Mel Tillis

1977 Ronnie Milsap

1978 Dolly Parton

1979 Willie Nelson

1980, ‘81 Barbara Mandrell

Alabama

1982,  ‘83, ‘84 Alabama

1985 Ricky Skaggs

1986 Reba McEntire

1987, ‘88 Hank Williams, Jr.

1989, ‘90 George Strait

1991, ‘92, ‘97, ‘98 Garth Brooks

1993, ‘94 Vince Gill

1995, ‘02, ‘03 Alan Jackson

1996 Brooks & Dunn

Kenny Chesney

1999 Shania Twain

2000 Dixie Chicks

2001 Tim McGraw

2004, ‘06, ‘07, ‘08 Kenny Chesney

2005 Keith Urban

Looking at sheer numbers, 6 out of the 28 recipients have been female. Maybe men are at the top because women drop out for their family.  If this title is driven by tour sales and popularity, that could mean that women are the major consumers, thus pushing men to the top.  If these people have been successful, one has to come to the conclusion that it has something to do with money.  Country music must be about raking in the dough and seeing who can make the biggest profit at the end of the year, right?

After some investigation one would find the actual roots of country music.  It all seems to have started in the Southern United States as an outpouring of the people who enjoyed traditional folk, Celtic, and gospel music.  Compare this beginning to the award shows of today and what is found to be entertaining seems to have evolved a great deal.  The genres of folk, Celtic, and gospel are woven throughout but not strongly represented.  Today the top performers seem to mimic rock more than folk.  If it isn’t money and sounding like traditional country – what makes someone Entertainer of the Year?

To answer this you have to investigate the term entertainer. “Culture relates to objects and is a phenomenon of the world; entertainment relates to people and is a phenomenon of life,” Hannah Arendt.  The performers we see on stage and listen to on our ipods relate to us.  They say and do things we need to hear.  This being the case, the Entertainer of the Year must be able to relate the most with his or her fans.  They need to be able to move the feet and touch the heart of their listeners.  While this may very well relate to higher tour sales, the greatest entertainers don’t seem to be in it for the money.  The ones that last the longest tend to be in the music industry for the love of music and how it moves the listening world.

Along with being relate-able, an artist needs to provide agreeable occupation for the mind; diversion; amusement (or so says dictionary.com).  Words like pleasure, diversion, and amusement accompany entertainment.  So of course the winner of entertainer should be able to do those things while performing their music live or on the cd/mp3.  Musical taste is always subjective – you can’t please everyone.  But the artists in the category ofEntertainer of the Year tried their darnedest to!

Kenny Chesney and Garth Brooks currently hold the most titles for Entertainer of the Year with four titles each.

• Kenny – 30 Top Ten singles on the U.S. Billboard Hot Country Songs charts, 17 of which reached Number One
• Garth – 11/5/07 named the best selling solo artist in US history, surpassing Presley (but still #2 after the Beatles) after audited sales of 123 million were announced.

Kenny is on the ballot for this year and if he wins, he will have the most awards as Entertainer of the Year.  These two men in particular have definitely covered all the categories of what makes you qualified to be Entertainer of the Year. Between soaring tour sales, multiple number one hits, and a highly devoted fan base they continue to keep crowds on their feet and in line for their music.  Garth has actually been noted for conducting a twenty-three hour marathon signing autographs at an unannounced visit to Fan Fair in 1996. Anyone that does that is dedicated to his craft and the people that make a musical life possible.

Until those aliens come to investigate the deeper meaning of what it takes to be an entertainer in the Country Music Business – we will continue to learn from those that have come before us.  Taking notes from past award winners gives us insight into what it takes to be successful in this industry.

Tune in to the 43rd Annual CMA Awards tomorrow night to see musical history in the making.  Weigh in with your votes here on the Nashville Music Buzz… who do YOU think should win???

Começar assim: tenho minhas dúvidas sobre o que Emile vai achar desse post

Completando um ano nos charts, Fearless da cantora Taylor Swift provavelmente terminará a década de uma forma memorável. O álbum ficou 11 semanas não consecutivas no topo do Billboard hot 200, teve a maior estréia feminina do ano de 2008 nos EUA e sua estonteante longevidade garantiu, num mercado fonográfico físico cada dia mais reduzido, a marca de 5x Platina nos Estados Unidos, e, sem demonstrar cansaço, pulou de 7 para 3 no Billboard hot 200 em sua 52 semana com o lançamento da Platinum Edition!

Ok, critérios a se observar: Fearless foi composto por uma menina de 18 anos, na esteira do seu quase homemaid debut, que foi lançado quando a garota tinha 16 anos e ainda continua no hot 200 a mais de 150 semanas, embora Fearless tenha sido lançado com bem mais orçamento por trás. A música em Fearless é tão country quanto o cd Up! Red de Shania Twain (pra qm não sabe, Red era o pop mix das faixas, o Green sendo o country e o Blue world music (?)). Por fim, há o fator mídia, já que a garota está na boca do povo após o incidente no VMA (no fim das contas, responsável apenas por um dos melhores internet memes of all time).

Então como falar sobre esse álbum? Primeiramente com os fatos: a garota, assim como no debut, participou da composição ou, mais costumeiramente, compôs absolutamente todas as faixas do álbum. E se ela conseguiu carta branca pra driblar o estrangulamento artístico comum dentro da música pop e praticamente incontornável para novas caras, isso se deve ao fato de a Big Machine ser uma gravadora independente de Nashville, já que a RCA tentou um contrato quando Taylor tinha 15 anos, mas teve a proposta recusada. Compondo com violão e guitarra, influenciada por artistas do quinhão de Dixie Chicks e Shania Twain, Taylor tem a seu lado a juventude. Sim, pois graças a essa característica Taylor manchou as fronteiras do country e bluegrass com o teen pop, fator que suas influências forçaram pouco a barra, mantendo a atenção no mercado adulto mesmo (embora Shania tenha feito avanços sensacionais com seu Up!). Em faixas como Breathe e Love Story isso é mais que claro, com mandolins e violinos trabalhando a serviço da sonoridade na extrutura estrofe-ponte-refrão mas tendo seus momentos instrumentais iluminados em pontos específicos, deixando os vocais a serviço destes. Claro que tudo fica tão radiofônico que a necessidade de um pop edit para Love Story foi quase um tiro no pé, e a facilidade de chamar essa música de pop rendeu críticas prematuras de quem julgou diretamente como lixo redneck para adolescentes.

Fato é que Fearless é um enorme guilty pleasure sim! Da primeira à última faixa a menina mostrou um talento para composições de fácil assimilação que, lapidado, poderia soterrar essa década e meia de produções pop vindas de laboratórios suecos (estou olhando pra você, Max Martin), sem deixar de trazer a tona um preciosimo nas suas composições que não é apenas raro no nicho pop da música, famoso pelo descuido e preguiça. Sua voz, claro, ainda tem o que desenvolver, mas não é irritante como a das suas parceiras de idade (que aparentemente foram promovidas a cantoras num processo, não mais recente, onde fazer parte do cast da Disney torna alguém cantor profissional). Não é um álbum estupendo, mas consegue se destacar por méritos que vão além dos gritos de “Ela é linda/estilosa/insira-aqui-seu-adjetivo-não-relacionado-à-música” que surge como defesa desse tipo de produto por sua fan-base, por vezes midiática. Taylor não tem um grande arsenal, mas tem um arsenal interessante e já demonstrou saber quais notas quer atingir.

Isso fica ainda mais claro com as 6 novas faixas da sua Platinum Edition, que por sinal iniciam o álbum. Levemente indulgente e de atmosfera mais carregada que as faixas originais no total, há uma mensagem sutil (até demais) por trás das novas faixas: crescimento. E se toda a leva de artistas teens tá em constante desenvolvimento dessa mensagem, a diferença aqui é que Taylor está por trás da sua. E agora ela dá comandos (“Cause I’mma stay through it all/So jump, then fall”) enquanto navega por uma gama maior de instrumentos que antes, monstrando mais confiança em sua voz mas a mesma vulnerabilidade nas letras e sem tirar o pé do mix de pop rock/country/bluegrass que tem conquistado audiências diversas. Taylor tem toda uma mídia agora prestanto atenção em si depois de dois anos sendo a artista que mais vende álbuns nos EUA, mas já vão 4 anos de carreira em 19 anos de vida. Façam a matemática e poderão entender que para a moça é bastante, e a impaciência com o correto reconhecimento de sua obra borbulha sutil pelos instrumentais rendidos ao orquestral por vezes over e pelas interpretações ligeiramente viciadas por Dolly Parton-ismos. Pra quem gosta deve ter os seus encantos, mas o sacrifício da naturalidade suave do Fearless original por 5 faixas seguidas (o novo single Jump Then Fall contém a mesma atmosfera que consagrou a versão original) custou um pouco. Não é um constraste entre melhor ou pior, apenas um contraste de óticas que as músicas sugerem, e essas 6 novas faixas talvez fizessem bem melhor num outro lançamento ou até mesmo em outras ordens dentro do Fearless, mas da forma como foi lançado ficou um pequeno embate, com uma primeira metade engordada e uma segunda metade cansada.

Para quem já conhece o trabalho da moça, essa Platinum Edition deve agradar, já que sem sair da assinatura da moça aponta para novidades sonoras interessantes que podem render, enfim, trabalhos diferentes dos ingênuos trabalhos já criados pela loirinha. Mas para quem não conhece, infelizmente, essa Platinum Edition pode se tornar cansativa e arrogante no total, sendo realmente salva pela deliciosa faixa nova Jump Then Fall, que sem dúvida alguma é uma faixa de começo de álbum, com um vocal bem estudado e pequenos detalhes que deixam tudo mais leve (escutem aquele violino no refrão pra entender o que estou dizendo), com o pedido da guria pra se lançar no álbum vindo com tanta docilidade que resistir é inútil e pelo resgate do feeling original do ábum ao chegar em Fearless, que sozinha com seu refrão grudento, do flerte com as produções Dixie Chick-ianas que mesclavam rock ao bluegrass (lembrando bastante o clima do fantástico álbum Fly) e letra banal, mas com boas escolhas de imagética considerando o público alvo, é fresquinha, enérgica e justificadamente a faixa título de um dos álbuns mais bem sucedidos dos últimos anos.

Notas:

Fearless: 7.5

Fearless Platinum Edition: 5

Faixas novas: 6

Fearless 2008 (senha: minte)

Faixas novas (senha: minte)

“Who doesn’t know what I’m talking about
Who’s never left home, who’s never struck out
To find a dream and a life of their own
A place in the clouds, a foundation of stone

Many precede and many will follow
A young girl’s dream no longer hollow
It takes the shape of a place out west
But what it holds for her, she hasn’t yet guessed”*

As I stand in the check-in queue for my flight to Singapore, I see the perturbed eyes of a mother as she lets her son go through the security. She seems to have hugged her the third time and asked him the umpteenth time if he has his tickets and passport. His father stands grim next to the mother, acting nonchalant about what is happening. His two aunts each landed a big kiss on his cheek and made him blush. A little girl, who seemed like his sister was holding onto his hand till he hugged her goodbye. The son seemed to have an amusing combination of embarrassment and excitement reflected off his face.

The boy joined my queue and asked me for a pen to fill in the immigration forms. “Are you moving to Singapore?”, I asked him. “YES! I am going to study there”, looking around towards the gate he added, “some friends of mine are supposed to join they are not here yet.”

This made me smile. It seemed not so long ago I was hustling and bustling with the excitement of moving out of Kolkata, my home, and finally having the freedom to make my mistakes and create my niche in the world. I had read about great men and heard stories of my great grand parents who were freedom fighters. It finally was my turn to do something, to be someone.

The nervousness of attending my first class will never be forgotten. Memories of the first night I got drunk, which were followed by many, are still fresh. The guy who dropped me back and the girl who woke me up with a Dispirin and coffee and said “you had a good night, didn’t you”, the absolute necessity to be awake at nights and sleep by day light, to go through the anxiety of submitting an assignment 2 seconds before deadline just to repeat it every single time, the drinking games and the truth & dare rounds, the first year hook ups to the more serious final year couples, long phone calls and midnight gossip on love and sex – it all seems like yesterday.

Amongst all the fun and the joy, one tripped and fell a dozen times, picked up the pieces and started over. We loved, we hated, we cried and we laughed. We found friends in strangers and strangers in friends.

And now, the four years of graduation are gone with the wind and we are back yet again at the brink of yet another road to discovery. I haven’t done anything great and neither made any mark in the world that any another graduate hasn’t. Now is the time to work our asses off, find friends in colleagues, make a mark in the world which is more like be a part of the rat race and wait in eagerness for the weekends – sounds very “exciting” indeed!

And when I am at this brink, I wonder what I want. I look back at my days at home, I miss it but I know I can’t go back. The rollercoaster ride called university is over and yet again I can’t go back. Someone once said the body represents the past, the breath the present and the mind the future. If that is the case, my body is 23 years older and half my life is over. Yes half my life, no one lives 100 years these days and if 60 is the average life span am almost half way through. I am breathing and I am alive and that is my present. But my mind is blank; I see nothing that I haven’t done and I am striving to achieve.

I have been born, lived through the mysteries of childhood, went through the anxieties of almost adult hood, fallen in and out of love, tried every vice possible, travelled the world, earned my first pay check and a few more to follow, seen death – cremated a parent and grand parents, ran a business, experienced being a mother and almost been a home-maker. At this point, seem to have done everything that one looks forward to do and see nothing that excites me or gives me reason to take the one step forward.

That makes me question, what is a complete life – one that has clocked the 100 years of almost emptiness or one that has lived every breath in those 23 years? The wide open spaces in my mind right now makes me wonder is it the room for me to make my mistakes and play the high stakes or is it the signs of a complete life with existence to follow.

“She traveled this road as a child
Wide eyed and grinning, she never tired
But now she won’t be coming back with the rest
If these are life’s lessons, she’ll take this test”*

*Wide Open Spaces, Dixie Chicks

I’m listening to a country & western station today and I just realized: they are playing a Dixie Chicks song!

In fact, it’s the beautiful song Without You. If you haven’t heard it, and even if you have, take a quick jump over to YouTube, set aside a few minutes and just enjoy. Here’s the link: YouTube.com. (Here’s another YouTube link if the first one doesn’t play due to copyright restrictions.)

Beautiful, eh?

If this is the sort of change we get under Obama then I have to admit, I’m diggin’ it. Seems like only yesterday the Dixie Chicks were the subject of boycotts, radio stations wouldn’t play their music, and their CDs were being steamrolled and crushed in protest – all because they had the audacity to criticize the president. “We’re ashamed that the President of the United States is from Texas,” they famously said.

Of course, times change. The Bitchers now say things like, “Our president wants to destroy America,” and that’s a-okay and hunky dory with the flag waving phonies.

Times have changed indeed. In an exponentially hypocritical sort of way.

Next challenge: Get country and western radio to play K.D. Lang. Get that done and who knows? Maybe we can be a civilized society again!

Entertainer of The Year

Esse prêmio é um dos maiores se não o maior da premiação. Ele premia os cantores que mais, digamos, trabalharam/entreteram no ano, seja com turnês, shows, cd´s etc…Veja algumas listas do prêmio:

Cantores que mais ganharam consecutivas vezes:

Kenny Chesney – 3  vezes consecutivas (2006 – 2008)

Alabama – 3 vezes consecutivas (1982 – 1984)

Artistas que mais ganharam:

Kenny Chesney – 4 vezes (2004, 2006 – 2008)

Garth Brooks – 4 vezes (1991-1992, 1997-1998)

Artistas Femininas que Ganharam:

1972: Loretta Lynn

1978: Dolly Parton

1980-1981: Barbara Mandrell

1986: Reba McEntire

1999: Shania Twain

2000: Dixie Chicks

Indicados de 2009

Kenny Chesney, Keith Urban, Brad Paisley, Taylor Swift e George Strait.

Parte 1 do Especial: http://countrymusicbrasil.wordpress.com/2009/10/28/especial-cma-awards/

Parte 3: http://countrymusicbrasil.wordpress.com/2009/11/04/especial-cma-awards-2/

So my fiancee and I were on the road, driving up to Bashaw to watch my soon to be nephews hockey game. The highway is a stretch of road we have put many miles on, so we decided to throw on our Ipod and enjoy some tunes.

Thats when I noticed that some days it just seems like music is going to touch you. I have always thought of some songwriters as modern day Bards and Poets. The poem is being replaced by verse in my opinion, and so many songwriters are able to write songs that stir emotions. 

 We were listening to the Dixie Chicks, some Alabama and other very good artists. But in particular the Dixie Chicks just seemed to put me in that quiet reflective mood. We had several of their more blue grass songs playing, and one in particular, the Long way Around, struck me as very true. The other one, was Bless the Broken Road, by Rascall Flats. The sounds and the rainy fall day were perfect, and it was nice to be able to just enjoy the road and the quiet reflections it was giving me.

One of the things that has struck me as my biggest change is the love of the scenery I now have for Alberta. For most of my life I had lived in British Columbia, and I admit to having thought it was God’s Country. My favourite areas were always Mount Robson, the pristine peaks and glaciers, and the mountain stone above the treeline. The towering trees and mountains had always been a part of my life, so to come to a land of flat hills, and fields was quite a shock. But as I have spent time in the Central Alberta area, I have found myself enjoying the land more and more. Although majestic peaks may always be beautiful, they are cold and very much aloof, where as the dark black earth of the fields, and the crops growing there, represent life in its bounty, and its very beautiful.

To the young man who flew over the Prairies to live in Montreal, the idea that Bashaw and Central Alberta would be home would have been laughable, but as I have gotten to enjoy the people, family and everything it has to offer, I couldn’t imagine anything better.  My girl, got her brother in law a really sweet birthday present that said something along the lines of, I travelled the world to find what I needed at home, or something to that effect. And I guess I never realized how true that could be. I am the guy, who has always moved, never settled anywhere for very long, so in some ways the idea that people lived in the same town, went to the same school for the whole period of their lives, was incredibly foreign.

But as I get older, I have noticed good and bad things about that. I tend to be pretty close chested with who I share my life with, and as well I tend to be able to break off with people easily. Now this is beginning to bug me, as I share time with people who have been very settled, and see the intricate system of roots and connections they have forged. I am beginning to realize that as a person, I am not who I wanted to be. I have always envisioned myself as a foundation person, caring, given, and one of the anchors others build around. But just as a rolling stone gathers no moss, it also cannot provide a cornerstone.

As Shannon and I move forward with our wedding plans, there is a vast difference in the size of our social circles, and as I look at who her friends are, and barring some key exceptions, who mine are, there is a vast difference in quality.  She has people who have known her for years, people who know her story, and as such have been pillars for a long time. Her family and community is amazing, and I for one am glad I have taken a path that is leading to the distinct possibilty of settling down, forming bonds and getting to know people for the long haul.

Its strange how this started with a trip, and some simple folksy music, but as I spend time with Shannon, and watch her nephews get excited to see Unta Damien arrive, its pretty clear the message behind some of those songs. Its time for this tinker to settle down.

James Taylor

As I tune my studying playlist to the placid yet boldly constructive sounds of Western Folk music, ranging as far back to the 1950s and as distant as the cool coasts of Ireland, I engage in my own discourse concerning this genre of music, what it means to me and the thoughts of others on this topic. Though the art form is based in rural styles of instrumentation and intonation that tell stories or folklores, folk music is generally associated with White youths from cities and suburbs seeking peaceful revolution. We see the greatest following of such music in the 1960s and1970s, primarily with American folk legends Bob Dylan, James Taylor, Cat Stevens, Carole King, and Harry Chapin. Their voices were that of reason in a very turbulent America; whether it was civil rights, war, domestic issues, or addiction, these pioneers fused country, rock, and blues to form an honest expression of man, his vices as well as his weaknesses.

James Taylor – Fire and Rain

Harry Chapin – Cats In the Cradle

Today, modern folk styles have clearly overlapped with pop, country, and soul genres. Irish artists, Damien Rice and Lisa Hannigan as well as American country trio, Dixie Chicks have made clear Folk investments into their craft, while maintaining contemporary appeals. Nonetheless, artists like James Taylor and Bob Dylan remain exceedingly popular, crossing generational gaps with an ever-growing fan base. Mass culture has used the inspiring sounds of such legends to create a unified sense of consumerism, through commercials and still ads.

Dixie Chicks – Travelin’ Soldier

Damien Rice and Lisa Hannigan – Volcano

But what about other artists who sang with the sinuous undertones of pain and the delicate kisses of joy? Within the unturned sides of sweet music is a tradition of exclusion and elitism. Grammy award winning singer/songwriter/musician, Tracy Chapman has been known by an underground market as a dreadlocked folk artist known for her graceful strumming, Bluesy tones, and pertinent lyrics. Her songs feature romance, politics, grief and a multitude of other expressions that illustrate the human experience without words, just sounds. These sounds were harmonic chants, narrative baselines, and stories free from social demarcation. Despite the undeniable talent, musicianship and dedication, she is often relegated to the misconstrued underworld of the alternative/other category. Even though she has been active for over 20 years, she has yet to fall among the ranks of other geniuses of her genre.

Tracy Chapman

Though her artistic success and personal integrity has gone unrecognized, this Black female has persisted in her musical pursuits despite the definitions of femininity and Blackness. Her music is not restrained by racial or feminine themes, making her a more transcendent artist. However, has the industry defined Black artists as excessively sexual or overly bitter? Whatever the case maybe, it is apparent that artists of color have been given a sole function; thankfully this songstress has made it even clearer that she will perfect her craft in spite of the critics and the throng of skeptics that tell her otherwise.

Tracy Chapman – Fast Car

To learn more about the history of folk music in America check out NPR music feature,  America’s Folk Music Anthology.

Oluwatosin Bosede

Natalie Maines, American musician (Dixie Chicks)

Martie Maguire, American singer and violinist for Dixie Chicks

Correct me if I’m wrong, but conservatives (Republicans and otherwise) have been known to denounce anyone they deem “unpatriotic” throughout the years, especially in the wake of 9/11. Simply put, “you don’t talk crap about America, it’s the greatest country ever, yadda, yadda, yadda, etc.” But, if you’ve forgotten the battle conservatives have waged on those they consider “unpatriotic”, here’s a refresher:

• Remember the Dixie Chicks? Remember when they went to a foreign country to play a concert and said they they were ashamed to be from the same state as George W. Bush? Remember how conservatives reacted to that? Oh yes, they labeled the Dixie Chicks “unpatriotic” and tried to ban them from the radio. Wal-Mart stopped stocking their albums, and conservative groups even set up “patriotic concerts” in cities on the same night the “Chicks” would be there (and then they’d honor Dixie Chicks tickets at the door in hopes of “shielding people from their anti-Americanism“).
• Remember last year when Michele Bachmann (R-Minn.) called Obama unpatriotic and then suggested Congress should investigate the patriotism of its members (very McCarthy-like) by saying “I wish the American media would take a great look at the views of the people in Congress and find out: Are they pro-America or anti-America?”?
• Remember McCain’s slogan for last year’s election? No? Well, it was “Country First”. Yes, “country first.” So you’d gather that the idea is that we should always show our brightest red, whites, and blues; hold true to our country’s honor, etc. etc. Great. (let’s see how Republicans fare with this below…)
• Remember Sarah Palin’s claims that there was a “Real America” and a “Fake America” (yep, turns out “real Americans” – by her count, at least – live in the deepest red states, go figure…). Sorry New York, Los Angeles, and Chicago; you just didn’t make the “real America” cut this time.

So there, it’s outlined, Republicans are patriotic. Right? They’ll unquestioningly support America through anything, right? Well, here’s where that all starts to come unhinged… Here we go:

Since late-January, it seems like Republicans have been on an all out attack on their former views. What during the Bush Administration would have been called “unpatriotic” has (in their twisted logic) become the “patriotic thing to do”

For instance, Republicans have long criticized liberal war protesters as being “unpatriotic.” The charge was simple: they equated anti-war with anti-troops. While that logic is clearly flawed in the first place, the fact remained simple: Protests against the American government were unpatriotic. Fair enough.

Now…

• We have clowns on TV (Glenn Beck) who despite their claim to be non-partisan, clearly represent the Republican party, organizing anti-government marches on Washington, DC, rallying against our leadership. How patriotic is it to attempt to delegitimize an elected official by shouting lies (oh, you know, birthers, deathers, etc.)?
• We have members of Congress (Joe Wilson – R -SC) interrupting the President of the United States in the middle of a speech to spread hate and lies.
• We have members of Congress (Jim DeMint – R – SC) traveling to Hondouras to denounce the United States’ foreign policy (there’s a word for this, and it goes a little beyond “unpatriotic,” I think it’s “treason”).
• We have conservative media and legislators cheering when the United States loses its bid to host the Olympics.
• We have a governor former (1/2 term) governor (Sarah Palin – R – AK) traveling to foreign countries denouncing our president and our government, all while spreading lies (still doing the whole “death panel” thing… maybe it’s fresher over there…). (keep in mind, that this is the EXACT SAME THING the Dixie Chicks did – except Palin goes beyond saying she’s “ashamed” as the ‘Chicks’ did, and instead calls the President a murderer, suggesting he’s promoting the death of the elderly – yet where’s the outrage? Come on, conservatives! Rather than putting her ghost-written book on the top of the best seller list, why didn’t you instead boycott it? Oh, right, hypocracy…)
• And finally, Barack Obama wins the Nobel Peace Prize, and we have members of the conservative media and Congress saying ridiculous things like the Nobel Committee must have been influenced by “affirmative action“, that our president should “give the award back” (Glenn Beck), and Rush Limbaugh even said that he “agrees with the Taliban.” I mean really, what could possibly be more patriotic than siding with the Taliban when they speak out against our president?

What I want to know is when rooting against your country to get the Olympics and denouncing your President’s receipt of the world’s most prestigious award became “patriotic.” Please, someone, tell me.

It’s not that I don’t believe conservatives have a right to voice their opinion (they do!): good, bad, positive, negative; it’s simply the fact that they’re not living up to their own standards. Standards they’ve used to destroy any liberal who dared “cross the line” by saying anything even remotely critical of our country.

One has to wonder, just one year after Palin’s famed “real America” comment and Bachmann’s “pro-America, anti-America” comment, which party is pushing themselves further into the “anti-America” (by their own standards) side of this paradigm?

And rather than read my rambling 811 word assault, I suppose this video courtesy of Media Matters (non-partisan) would have sufficed:

But remember… “Country First,” right?

Correct me if I’m wrong, but conservatives (Republicans and otherwise) have been known to denounce anyone they deem “unpatriotic” throughout the years, especially in the wake of 9/11. Simply put, “you don’t talk crap about America, it’s the greatest country ever, yadda, yadda, yadda, etc.” But, if you’ve forgotten the battle conservatives have waged on those they consider “unpatriotic”, here’s a refresher:

• Remember the Dixie Chicks? Remember when they went to a foreign country to play a concert and said they they were ashamed to be from the same state as George W. Bush? Remember how conservatives reacted to that? Oh yes, they labeled the Dixie Chicks “unpatriotic” and tried to ban them from the radio. Wal-Mart stopped stocking their albums, and conservative groups even set up “patriotic concerts” in cities on the same night the “Chicks” would be there (and then they’d honor Dixie Chicks tickets at the door in  hopes of “shielding people from their anti-Americanism“).
• Remember last year when Michele Bachmann (R-Minn.) called Obama unpatriotic and then suggested Congress should investigate the patriotism of its members (very McCarthy-like) by saying “I wish the American media would take a great look at the views of the people in Congress and find out: Are they pro-America or anti-America?”?
• Remember McCain’s slogan for last year’s election? No? Well, it was “Country First”. Yes, “country first.” So you’d gather that the idea is that we should always show our brightest red, whites, and blues; hold true to our country’s honor, etc. etc. Great. (let’s see how Republicans fare with this below…)
• Remember Sarah Palin’s claims that there was a “Real America” and a “Fake America” (yep, turns out “real Americans” – by her count, at least – live in the deepest red states, go figure…). Sorry New York, Los Angeles, and Chicago; you just didn’t make the “real America” cut this time.

So there, it’s outlined, Republicans are patriotic. Right? They’ll unquestioningly support America through anything, right? Well, here’s where that all starts to come unhinged… Here we go:

Since late-January, it seems like Republicans have been on an all out attack on their former views. What during the Bush Administration would have been called “unpatriotic” has (in their twisted logic) become the “patriotic thing to do”

For instance, Republicans have long criticized liberal war protesters as being “unpatriotic.” The charge was simple: they equated anti-war with anti-troops. While that logic is clearly flawed in the first place, the fact remained simple: Protests against the American government were unpatriotic. Fair enough.

Now…

• We have clowns on TV (Glenn Beck) who despite their claim to be non-partisan, clearly represent the Republican party, organizing anti-government marches on Washington, DC, rallying against our leadership. How patriotic is it to attempt to delegitimize an elected official by shouting lies (oh, you know, birthers, deathers, etc.)?
• We have members of Congress (Joe Wilson – R -SC) interrupting the President of the United States in the middle of a speech to spread hate and lies.
• We have members of Congress (Jim DeMint – R – SC) traveling to Hondouras to denounce the United States’ foreign policy (there’s a word for this, and it goes a little beyond “unpatriotic,” I think it’s “treason”).
• We have conservative media and legislators cheering when the United States loses its bid to host the Olympics.
• We have a  governor former (1/2 term) governor (Sarah Palin – R – AK) traveling to foreign countries denouncing our president and our government, all while spreading lies (still doing the whole “death panel” thing… maybe it’s fresher over there…). (keep in mind, that this is the EXACT SAME THING the Dixie Chicks did – except Palin goes beyond saying she’s “ashamed” as the ‘Chicks’ did, and instead calls the President a murderer, suggesting he’s promoting the death of the elderly – yet where’s the outrage? Come on, conservatives! Rather than putting her ghost-written book on the top of the best seller list, why didn’t you instead boycott it? Oh, right, hypocracy…)
• And finally, Barack Obama wins the Nobel Peace Prize, and we have members of the conservative media and Congress saying ridiculous things like the Nobel Committee must have been influenced by “affirmative action“, that our president should “give the award back” (Glenn Beck), and Rush Limbaugh even said that he “agrees with the Taliban.” I mean really, what could possibly be more patriotic than siding with the Taliban when they speak out against our president?

What I want to know is when rooting against your country to get the Olympics and denouncing your President’s receipt of the world’s most prestigious award became “patriotic.” Please, someone, tell me.

It’s not that I don’t believe conservatives have a right to voice their opinion (they do!): good, bad, positive, negative; it’s simply the fact that they’re not living up to their own standards. Standards they’ve used to destroy any liberal who dared “cross the line” by saying anything even remotely critical of our country.

One has to wonder, just one year after Palin’s famed “real America” comment and Bachmann’s “pro-America, anti-America” comment, which party is pushing themselves further into the “anti-America” (by their own standards) side of this paradigm?

And rather than read my rambling 811 word assault, I suppose this video courtesy of Media Matters (non-partisan) would have sufficed:

But remember… “Country First,” right?