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How the U.S. Army Kills Its Own Soldiers A horrifying, exclusive report from JoAnn Wypijewski on the grim secrets of Fort Sill, Oklahoma. How a sadistic drill sergeant tortured basic trainees, amid brutal indifference that led to the death on March 19,2006,of 21-year-old PFC Matthew Scarano. Dead Movement Marching? Cockburn and St Clair assess the failures of the national antiwar groups, even as popular opposition to the war tops 60 per cent. Stalin or Confucius? Chris Reed on the Secrets of the Garden of Bliss, otherwise known as North Korea. CounterPunch Online is read by millions of viewers each month! But remember, we are funded solely by the subscribers to the print edition of CounterPunch. Please support this website by buying a subscription to our newsletter, which contains fresh material you won't find anywhere else, or by making a donation for the online edition. Remember contributions are tax-deductible. Click here to make a donation. If you find our site useful please: Subscribe Now! |
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Today's Stories March 25 / 26, 2006 Alexander
Cockburn Patrick
Cockburn Ralph
Nader Christopher
Reed Jeff
Ballinger Chris
Floyd Elaine
Cassel Dave
Zirin John
Chuckman Christopher
Fons Chris
Kromm
March 24, 2006 Cockburn
/ Sengupta / Duff P. Sainath Todd
Chretien Marty
Omoto Michael
Carmichael Peter
Phillips Gabriel
Kolko Website
of the Day
March 23, 2006 Charles
V. Peña Joe
DeRaymond Robert
Fisk Jonathan
Cook Tom
Engelhardt Joshua
Frank Norman
Solomon Robert
Fitch / Joe Allen Patrick
Cockburn CounterPunch
News Service Website
of the Day
March 22, 2006 David
MacMichael Juan
Santos Paul
Craig Roberts Patrick
Cockburn Ramzy
Baroud Jason
Leopold Dennis
Perrin William
Blum Jeffrey
St. Clair Website
of the Day
March 21, 2006 Paul
Craig Roberts Winslow
Wheeler Tom
Engelhardt Arnold
Oliver Earl
Ofari Hutchinson Mike
Whitney William
A. Cook Sophia
A. McLennen
March 20, 2006 Paul
Craig Roberts Dave
Lindorff Ralph
Nader Diane
Christian Jeff
Halper Harry
Browne Norman
Solomon Patrick
Cockburn Website
of the Day
March 18 / 19, 2006 Cockburn
/ St. Clair Werther Chris
Kromm Patrick
Cockburn Elaine
Cassel S. Brian
Willson Fred
Gardner Brian
Cloughley Laura
Carlsen Eamon
Martin Julie
Hilden Alison
Weir Jeffrey
St. Clair Poets'
Basement Website
of the Weekend
March 17, 2006 Eduardo
Galeano Greg
Moses Richard
Falk / David Krieger Cindy
and Craig Corrie Amira
Hass Mike
Marqusee James
Petas and Robin Eastman-Abaya Website
of the Day
March 16, 2006 Norman
Solomon Tom
Philpott Heather
Gray Amira
Hass Missy
Comley Beattie Sen.
Russell Feingold Lucinda
Marshall Andrew
Bosworth Clancy
Sigal Website
of the Day
Jonathan
Cook Winslow
Wheeler Diane
Christian Ron
Jacobs Missy
Comley Beattie Jared
Bernstein Noam
Chomsky Website
of the Day
March 14, 2006 Earl
Ofari Hutchinson Dave
Lindorff Kevin
Zeese Todd
Chretien Jason
Kunin Thomas
Palley Cockburn
/ St. Clair Website
of the Day
March 13, 2006 Uri
Avnery Dave
Lindorff Mike
Whitney David
Green Jeremy
Scahill Mike
Ferner Corey
Harris Paul
Craig Roberts Website
of the Day
Alexander
Cockburn Ralph
Nader Paul
Craig Roberts Ben
Tripp John
Strausbaugh Landau
/ Hassen Robert
Bryce Gary
Leupp Fred
Gardner Ron
Jacobs Jonathan
Scott Ramzy
Baroud Jordan
Flaherty John
Chuckman Joe
Allen Julia
Kendlbacher St.
Clair / Walker / Pollack / Vest Poets'
Basement Website
of the Weekend
March 10, 2006 Ben
Rosenfeld Lila
Rajiva Saree
Makdisi Elena
Shore Joshua
Frank Dave
Zirin Aura
Bogado
March 9, 2006 John
Walsh Annie
Zirin Brian
McKenna Chris
Floyd Rachard
Itani Niranjan
Ramakrishnan Wylie
Harris Alexander
Cockburn Website
of the Day
March 8, 2006 Patrick
Bond Brian
Concannon, Jr. Pat
Williams Lance
Selfa Mokhiber
/ Weissman Walter
Brasch Vijay
Prashad Website
of the Day
March 7, 2006 Werther John
Blair Dave
Lindorff Mike
Whitney Warren
Guykema Sen.
Russell Feingold Robert
Jensen Norman
Solomon Bernie
Dwyer Website
of the Day
Ralph
Nader Dave
Zirin Vanessa
Redgrave Walter
A. Davis Joshua
Frank Nate
Mezmer Paul
Craig Roberts Website
of the Day
Alexander
Cockburn Jennifer
Van Bergen Steven
Higgs Winslow
T. Wheeler Ron
Jacobs Rev.
William E. Alberts Colin
Asher Fred
Gardner "Pariah" John
Scagliotti Seth
Sandronsky Joan
Roelofs Arjun
Makhijani Ardeshr
Ommani Diana
Barahona Ben
Tripp St.
Clair / Socialist Worker Staff Poets'
Basement Website
of the Weekend March 3, 2006 Laura
Carlsen John
V. Whitbeck Chris
Floyd Mohamed
Hakki Pratyush
Chandra John
Scagliotti Website
of the Day
March 2, 2006 Paul
Craig Roberts Dave
Lindorff Ramzy
Baroud Saul
Landau Joe
Allen Steve
Shore Denise
Boggs Norman
Finkelstein Website
of the Day
March 1, 2006 Mairead
Corrigan Maguire Niranjan
Ramakrishnan Faheem
Hussain Antony
Loewenstein Elizabeth
Schulte Mike
Whitney John
Ryan Michael
Donnelly Tom
Reeves Website
of the Day
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Weekend
Edition More Than Just a Band King Harvest Has Yet to Come By RON JACOBS I was around fourteen years old when The Band's "Up On Cripple Creek" made it into the Top Forty. Must have been the summer of 1969 or thereabouts. The first thing I did upon hearing the tune was look on a map to try and figure out where the hell Cripple Creek was. This was well before the days of Google and other such search engines, but I had a bit of a sense of geography. I found it out in Colorado. Then I found out about the mining that went on in those parts. Wasn't but a few years after that that Robert Altman's movie McCabe and Mrs. Miller came out. It didn't take place in Cripple Creek, but it could have. For those of you who have never seen this flick, it's all about monopoly capitalism and how it destroys everything that came before it. I digress. Let me get back to The Band and that album that "Up On Cripple Creek" was on. I had a buddy back then who turned me on to the first Band album titled Music From Big Pink. He was the same guy who introduced me to Buffalo Springfield and their successors, among many others. I got him into Dylan. We dug grooves so deep in Dylan's John Wesley Harding and the bootleg Great White Wonder that those records became transparent. Anyhow, it was that song "The Weight" that convinced me The Band was more than just A Band. When the album that contained "Up On Cripple Creek" came out, the Beatles had released Abbey Road and the Stones had Let It Bleed in the stores. The Doors had just released the over-produced yet iconclastic The Soft Parade and The Who had their rock opera Tommy busting up the concert venues. Bob Dylan was a married man operating out of Woodstock, New York and had just put out his country album Nashville Skyline. Speaking of Woodstock, a big old rock festival took place there that summer, too. Y'all might have heard of it. I remember playing the Stones album for my mom, followed by The Band. My dad was overseas fighting a war in Vietnam. She suggested I not tell him about the Stones, but he might like The Band. When he came back in February 1970, he couldn't tell the difference. It was all hippie music to him. Some rock groups write about a future they wanted to see. Others write about surviving in the world as it is. Still others write about places that can never be. The Band did all three; and they did by singing about a past that was part myth and part allegory, part history and part dream. The album simply titled The Band is an austere looking package. Brown and gray, it tries to represent a time when people were genuine and politicians had to try and prove they were people. Even the Confederate anthem ,"The Night They Drove Old Dixie Down" isn't about the confederacy as much as it's about the desire to be true to oneself and one's people. The sing reminds me of where I live now--in the mountains of western North Carolina--where people pride themselves on their independence and opposition to those who would consolidate them. Plantation owners and corporate capitalist--screw 'em all. At the same time, the song is about how that desire for independence can be manipulated by the powers that be to serve their ends. Slavery back then and Empire today. Contradictions still unresolved. There was a big divide in the US of A back then. It was so big that it seemed biblical at times. Bob Dylan and his songs were the part of the poetry of one side of that divide. At least, that's how it seemed back then. Fathers and sons, mothers and daughters. The house divided against itself. There was no crossing that divide. Black Panther Eldridge Cleaver put it like this: if one wasn't part of the solution, one was part of the problem. That little brown and gray album simply titled The Band was the sons and daughters' attempt to bridge that ever-widening gap. Their advice was simple and real. It was based on something larger than the war in Vietnam and the length of one's hair or the intoxicants they chose. "Just grab your hat, and take that ride/Get yourself a bride, And bring your children down to the river side." After all, when it's all said and done, life goes on like it always has. Even with the bomb hanging over our heads. The Band counseled us all to look for the things we had in common, with music being one of the most obvious means to talk about those things. Johnny Cash and Bob Dylan were singing the same tune and together. Merle Haggard was singing about his fightin' side while the Grateful Dead (both of whom had done their own part to widen that aforementioned divide) sang his songs. Like the lonesome sparrow, the musicmakers were showing us how to harmonize. The America that was born in the madness of the industrial revolution and the robber barons is reflected in the song "Unfaithful Servant." "Life has been good to us all" sings Rick Danko, "even when the sky was raining." We the people said goodbye to the country home, hopping on the train to the big city and its chill and greed. But we also said goodbye to the ignoble institution of racial slavery when we did so. The thing about the songs here is that, while regretting the loss of innocence, they acknowledge the fact that there's some things that we can't do a thing about and must learn to take in stride. "We're still one and the same..." after all is said and done. Humans all of us. The great divide is part of the evolution of time. When I first played this album for my friends in Germany (it hadn't made it to the Post Exchange yet), the guys' immediate favorite was "Rag Mama Rag." This is a little ditty about making love and having fun. Nothing wrong with that. On further listening, however, the overwhelming favorite was "King Harvest." This simple song about a union man who hopes that this time around he'll get his just due is a testament to the faith of a union man and, by projection, the faith of all of us who believe that there is justice somewhere on this earth if only we believe. That union man was the new slave, but his wage slavery was different than that of the plantation Black, if for no other reason than that he assumed he had some element of power. Even when his job was oppressive or stolen away, he still had his independence. He could walk away and not be hunted like the runaway slave. The virtuosity of the musicians that made up The Band was never in question. These men had chops. Chops they had developed in many a roadhouse as the backup band for rocker Ronnie Hawkins. Chops that they refined as Bob Dylan's electric orchestra in the mid to late 1960s. No one did what they did. No one does it now, although there are several bands out there whose influences definitely include The Band. Speaking of Dylan, he toured with The Band again in his legendary comeback tour of 1974. I caught this tour on the afternoon of January 31, 1974 at Madison Square Garden. I'm being quite honest when I write that the musical aspect of this show was somewhat lost on me that day. I was overwhelmed just because I was seeing and hearing Bob Dylan for the first time. I do recall "It's All Right, Ma" as the highlight in my mind. Perhaps this was because of the audience response to the line "Sometimes even the president of the United States must have to stand naked..." Richard Nixon was on his way out of the White House because he had been stripped naked and there were enough senators and congressmen who had heeded the call to take seriously their job to impeach the SOB. If one wants to get a genuine flavor of this tour, they should give the album that was recorded from the tour--Before The Flood--a listen. The great divide was still there, but we were growing up and our parents were adjusting to the new world. Certain values never change, they just get reinterpreted. The Band knew it all along. Ron Jacobs is author of The
Way the Wind Blew: a history of the Weather Underground,
which is just republished by Verso. Jacobs' essay on Big Bill
Broonzy is featured in CounterPunch's new collection on music,
art and sex, Serpents
in the Garden. He can be reached at: rjacobs3625@charter.net
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from CounterPunch Books! The Case Against Israel By Michael Neumann ![]() Grand Theft Pentagon: Tales of Greed and Profiteering in the War on Terror by Jeffrey St. Clair ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Sick of sit-on-the-Fence speakers, tongue-tied and timid? CounterPunch Editors Alexander Cockburn and Jeffrey St Clair are available to speak forcefully on ALL the burning issues, as are other CounterPunchers seasoned in stump oratory. Call CounterPunch Speakers Bureau, 1-800-840-3683. Or email beckyg@counterpunch.org. ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() |