Annual Fundraising Appeal
Over the course of 21 years, we’ve published many unflattering stories about Henry Kissinger. We’ve recounted his involvement in the Chilean coup and the illegal bombings of Cambodia and Laos; his hidden role in the Kent State massacre and the genocide in East Timor; his noxious influence peddling in DC and craven work for dictators and repressive regimes around the world. We’ve questioned his ethics, his morals and his intelligence. We’ve called for him to be arrested and tried for war crimes. But nothing we’ve ever published pissed off HK quite like this sequence of photos taken at a conference in Brazil, which appeared in one of the early print editions of CounterPunch.
100716HenryKissingerNosePicking
The publication of those photos, and the story that went with them, 20 years ago earned CounterPunch a global audience in the pre-web days and helped make our reputation as a fearless journal willing to take the fight to the forces of darkness without flinching. Now our future is entirely in your hands. Please donate.

Day12Fixed

Yes, these are dire political times. Many who optimistically hoped for real change have spent nearly five years under the cold downpour of political reality. Here at CounterPunch we’ve always aimed to tell it like it is, without illusions or despair. That’s why so many of you have found a refuge at CounterPunch and made us your homepage. You tell us that you love CounterPunch because the quality of the writing you find here in the original articles we offer every day and because we never flinch under fire. We appreciate the support and are prepared for the fierce battles to come.

Unlike other outfits, we don’t hit you up for money every month … or even every quarter. We ask only once a year. But when we ask, we mean it.

CounterPunch’s website is supported almost entirely by subscribers to the print edition of our magazine. We aren’t on the receiving end of six-figure grants from big foundations. George Soros doesn’t have us on retainer. We don’t sell tickets on cruise liners. We don’t clog our site with deceptive corporate ads.

The continued existence of CounterPunch depends solely on the support and dedication of our readers. We know there are a lot of you. We get thousands of emails from you every day. Our website receives millions of hits and nearly 100,000 readers each day. And we don’t charge you a dime.

Please, use our brand new secure shopping cart to make a tax-deductible donation to CounterPunch today or purchase a subscription our monthly magazine and a gift sub for someone or one of our explosive  books, including the ground-breaking Killing Trayvons. Show a little affection for subversion: consider an automated monthly donation. (We accept checks, credit cards, PayPal and cold-hard cash….)
cp-store

or use
pp1

To contribute by phone you can call Becky or Deva toll free at: 1-800-840-3683

Thank you for your support,

Jeffrey, Joshua, Becky, Deva, and Nathaniel

CounterPunch
 PO Box 228, Petrolia, CA 95558

The Nostalgia Trap

Jurassic Radio

by LORENZO WOLFF

The stereo in my car has been slowly deteriorating. First the CD player, then the tape deck, now all I’m left with is the radio. I happened to be listening to Hot 97, the rap station in New York and they were doing a half hour of what they were calling throwback songs. I kept waiting to hear Kurtis Blow, or Public Enemy, or at least a little Wutang but none of the songs that came on were released before 2003.  The rap scene moves so fast that if you’re not keeping up it’ll take no time at all to be deemed obsolete.

So I switched the radio to K Rock, New York’s top 40 Rock station. In the last half hour of my drive I heard “The Joker” by The Steve Miller Band, “Sweet Child of Mine” by Guns and Roses, and “Black Hole Sun” by Soundgarden. The only contemporary artists who were played were Jet and The Hives, both decidedly retro. No Fallout Boy, no My Chemical Romance, no All American Rejects. I guess by K Rock’s standards modern Rock ended in 1994.

From a musician’s perspective, these are a hard set of rules to follow. That means that for popular approval as a Rap artist your music has to be specifically tailored for the here and now. Longevity is less important than communicating an emotion for the present. The rock scene expects the opposite. Top Forty Rock and Roll is deeply nostalgic, with modern artists trying to capture the feeling of recordings that were released almost a half-century ago while still trying to be relevant 15 years from now.

Neither of these positions are healthy, but the Rap scene is on the right track. Music is written to communicate a feeling in the present, the world is constantly changing and music needs to keep up with that. Older music has can have great ideas, and certain concepts are timeless, but it can’t predict the mindset of modern times. Try as much as you want nostalgia is a trap, and you can’t write songs for yesterday.

LORENZO WOLFF is a musician living in New York. He can be reached at: lorenzowolff@gmail.com