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New Print Edition of CounterPunch Available Exclusively to Subscribers: Liberation Four Years After: Iraqis Should Look to Serbia to Find Out What "Freedom" Will Be Like; Unfolding Nightmare: Inside the Humanitarian Disaster in Post-War Iraq; Good News, Bad News: Countering the Flood of Propaganda; You Want Victory?: Return to Vieques; Iraq's War Message to Latin America: You Could be Next. Remember, the CounterPunch website is supported exclusively by subscribers to our newsletter. Our worldwide web audience is soaring, with more than 60,000 visitors a day. This is inspiring news, but the work involved also compels us to remind you more urgently than ever to subscribe and/or make a (tax deductible) donation if you can afford it. If you find our site useful please: Subscribe Now!

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Recent Stories

April 21, 2003

Elaine Cassel
An Administration in Contempt

Edward Said
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Gary Leupp
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Uri Avnery
At Midnight, a Knock on the Door

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April 19, 2003

Gary Leupp
The Rape of History

Saul Landau
Shop, Go to Church, Support Bush's War, Wait for Armageddon

Michael J. Fellows
Off With Their Heads: the Constitution According to Scalia

Pablo Mukherjee
Roadmap to Resistance

Omar Barghouti
Sharon's Bloody Beat

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Tony Blair: the Most Powerful Man in the World

Mickey Z.
Animals: the Other Collateral Damage

Will Potter
When Police Attack Journalists

William MacDougall
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Neve Gordon
Haunted by History

Adam Engel
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April 18, 2003

Uri Avnery
Operation "Syrian Freedom": This One's Not About Oil

Jorge Mariscal
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My Lai Revisited

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April 17, 2003

Jeffrey St. Clair
Patriot Gore: the Fatal Flaws in the Patriot Missile System

Joanne Mariner
Looting Antiquity: the Legal Implications for the Pentagon

Issam Nashashibi
Zalmay Khalilzad: the Neocon's Bagman to Baghdad

Wayne Madsen
Another Sign of the "End Times" for American Journalism

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The Army of Occupation

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A Personal View of Iraq: Where is the Truth?

Dan Brook
Oil War: Fueling the Empire

Stanley Heller
Bomb and Steal: This is What Privatization Looks Like

Tim Robbins
A Chill Wind is Blowing Through This Nation

Harold A. Gould
Iraq After the War

Steve Perry
War Web Log 4/17

 

April 16, 2003

Michel Guerrin
Embedded Photographer Says: "I Saw Marines Kill Civilians"

Jason Leopold
Halliburton's Bloody History: They'll Work for Anyone

Kurt Nimmo
The Destruction of Iraq: Hey, It's Good for Business

Stephen Green
Dancing to Sharon's Beat: the Road to Unilateral Pre-emption

Diane Christian
The Devil in Bush's Details

Carol Norris
Mourning Iraq

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They Call Themselves Economists?

Michael Sells
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Alexander Cockburn
Contract with Iraq

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India's Devious Middle Path Through the Iraq War

Brenda Norrell
Lakota Leader: World Must Resist American Empire

Wallace Gagne
End of History; More in a Moment

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On the Road Again

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War Web Log 4/16

 

April 15, 2003

Uzma Aslam Khan
The Unbearably Grim Aftermath of War: What America Says Does Not Go

Robert Jensen
Self-Determination in Iraq? Then the US Must Leave

Dr. Susan Block
The Rape of Iraq

Ron Jacobs
Aiming at Syria: Stop Them Before They Kill Again

Robert Fisk
The Final Sacking of Baghdad

Col. Dan Smith
Post-War Iraq: Asking the Right Questions

Ali Abunimah and Hussein Ibish
A Cycle of Chaos and Confrontation: Misadventures of the NeoCons

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War Web Log 4/15

 

April 14, 2003

Chris Floyd
Bush's War Without End

Uri Avnery
Gunboat Democracy: This is Only the Beginning

Wayne Madsen
Americans: The New Mongols of the Mideast?

Shahid Alam
Iqra: Iraq is Free

Hani Shukrallah
Day of the Chicken Hawks

Terry Jones
The Iraq Gravy Train

John Chuckman
The Iraq War's Trashiest Piece of Propaganda

Patrick Cockburn
US has a Lot to Answer For: Violence, Misery and Poverty in Iraq

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War Web Log 4/14

 

April 12 / 13, 2003

Carol Lipton
Wag the Kennel: the Kenneth Joseph Story

Wayne Madsen
Meet the New Butcher of Baghdad: Maj. Gen. Buford Blount III

John Brown
"They Got It Down": the Toppling of the Saddam Statue

Kathy and Bill Christison
Final Thoughts from Palestine

William Blum
Our Vulnerable Warmongers' Rush to Justify Devastation

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Let the Stealing Begin

Ann Harrison
Rosenthal Update: Judge Delays Ruling in Medical Pot Mistrial Case

Henry Miller
What is the Greatest Treason?

Jeffrey St. Clair
Render Unto Cesar

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Jamey Hecht
Chairman of the Sandwich Board

Adam Engel
Hell of a Town: Mayor Bloomberg and the News

Poets' Basement
Chang Yang-Hao, Adam Engel and Hammond Guthrie

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War Web Log 4/12

 

April 11, 2003

Omar Barghouti
From Saddam to Uncle Sam

Ron Jacobs
Greed is Rewarded

David Vest
The Corporate War on Iraq

Paul de Rooij
Propaganda Stinkers: Fresh Samples from the Field

Anthony Gancarski
Foreign Aid: Embezzlement as Public Policy

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Now What?

Michael Berry
The Neo-Cons Have a Dream

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Oh Freedom

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War Web Log 4/11

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April 10, 2003

Zoltan Grossman
The Perils of Occupation: the Easier the Victory, the Harder the Peace

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The Night After

Wayne Madsen
The Telltale Signs of Empire

David Krieger
Before You Become Too Flushed with Victory, Think of Ali Ismaeel Abbas

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What Can the World Do Now That Tanks Prowl Baghdad?

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The Unseen War

Geoffrey Neale
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Last Tango in Baghdad

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April 9, 2003

David Lindorff
Secret Bechtel Docs Reveal: Yes, the War Is About Oil

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America's Sovereign Right to Do as It Damn Well Pleases

Akiva Eldar
Gary Bauer and AIPAC: an Unholy Alliance with the Christian Right

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April 8, 2003

David Lindorff
Killing the Messengers: It Doesn't Matter If It's Deliberate or Accidental

Richard Lichtman
Dr. Phil in the Trenches

John Brown
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FERC and Wall Street: Conversations May Have Violated Federal Law

Anthony Gancarski
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Ahmad Faruqui
Wallowing in Hypocrisy

Wallace Gagne
Baghdad Babble

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I Understand There's a Boy in a Baghdad Hospital

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War Web Log 4/8

M. Shahid Alam
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April 7, 2003

Todd Chretien
Wooden Bullets & Grenades: Oakland Cops Attack Peace Protesters and Dock Workers

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War and Peace Summit a Royal Farce

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America is Not a Role Model

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A Scene from an Obscene War

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War Web Log 4/7

 

April 5, 2003

Alexander Cockburn
The Iraqi Humanitarian Relief is in Shambles

Anne Gwynne
A Drowning in Salem

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Roadmap to Nowhere

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Hell for Leather: Bombs, Bullets, Bibles and Bush

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A Busy Day for Bulldozers

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Back from Baghdad: What Next for the Peace Movement?

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Civilian Deaths and Official Apologies

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Bush Takes His Killing Orders from the Lord

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Learning to Count the Dead

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After Iraq, US Vows to Deal with Other Mideast Regimes

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April 4, 2003

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Colin Powell's Shame

John Chuckman
Was Einstein Right About Israel?

David Krieger
The Meaning of Victory

Tom Gorman
The Mantra of the Troops: Support or Treason?

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The Absence of War

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There Are No More Arguments

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The End of the Innocence

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War Coverage: a Dishonest Reality Show

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April 3, 2003

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A Crooked Mirror: Presstitution and the Theater of Operations

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Can You Hear the Silence?

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Colin Powell Telemarketer

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Takoma: the Dolphin Who Refused to Fight

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War, Debts and Deficits

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Now That Iraqis Are Being Killed Is Israel Any More Secure?

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Cluster Bombs on Babylon

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April 23, 2003

Nina Simone (1933 - 2003)

Freedom Singer

By DAVE MARSH

Sonny Rollins once said that if Nina Simone was a jazz singer, then he didn't understand jazz. Nevertheless, a lot of her obituaries call her a jazz singer. They also refer to her as singing pop, cabaret, rhythm and blues, soul, blues, classical art song and gospel.

She had a different idea. "If I had to be called something, it should have been a folk singer because there was more folk and blues than jazz in my playing."

Maybe that's true of her piano playing. But her singing, not her playing, defined her. Mainly, it defined her as Nina Simone, sui generis. But if you need a label, try this one: Freedom singer.

The term describes her militant presence in the Civil Rights Movement of the 1960s and the way that she sang, both within and without the limits of predictable cadence and melody. More than that, it describes what she sought. Like her good friends James Baldwin and Lorraine Hansberry, Nina Simone made art about wanting to live like a free person. This certainly didn't mean to live-or to sing-like a white person or for that matter, an American. It meant living, and singing, like a person who not only counted on the promise but lived in the actuality of the American Dream.

Personally, she could be haughty, with audiences as well as everyone else, but once the music started, her hauteur showed its real face: an unshakable, irrevocable commitment to her own self-worth, and by extension, ours, too. This is what Aretha Franklin and everyone else found in songs like "To Be Young Gifted and Black" and it's what let Simone set "Mississippi Goddamn," otherwise a "protest" song, to a jaunty cabaret arrangement and fill it with jokes that turn out to be time-bombs. The shadow that she casts across her blues, especially "Noobdy's Fault But Mine" and "Work Song," represents not so much what it is to live without freedom as what it is to live with the fear of losing the sense of self that allows freedom to exist.

"I wish I knew how it would feel to be free," she sang, so delicately that it sounds like she feared the concept would shatter from merely being uttered out loud. But she ends that song on an entirely different note: "I sing 'cause I know how it feels to be free." In that moment, so does the listener. This tension animates virtually every one of the songs she sang and all of the songs she wrote, starting with "Four Women," which speaks like a condensed Toni Morrison novel twenty years early.

Her classical training made her wish that she could convey that spirit simply by singing her songs. If you hear her sing "I Put a Spell On You," "I Loves You Porgy" or "To Love Somebody," you know she could-she still stands as the greatest interpretive singer of the '60s, pouncing on songs by the likes of Dylan, Leonard Cohen, George Harrison and Randy Newman with cat-like grace and singularly personal insight. (This week, I find many of them too painful to listen to.) But once Hansberry convinced Simone that joining in the Movement would not diminish but enhance her work, she took off in the opposite direction. No singer-no artist--committed herself or her work to the Movement more fully than Simone, and she followed its twists and turns from the days of Freedom Marches to the less hopeful time of identity politics that lay just the other side. I Put A Spell On You, one of the great music autobiographies, spends at least as much time conveying her political attachments and adventures as talking about her music career or personal life.

Simone took the treacheries with which the Movement it ended so deeply to heart that she went into exile, first in Liberia, then in Barbardos, finally in the south of France. She returned occasionally, always written up as a self-involved diva but, perceptive as always. She found her native country's racial and political malaise, she said in 1996, "worse than ever." In that respect, what a mercy that she will not, as planned, tour the U.S. this spring.

Nina Simone hadn't made an important record or written a well-known song since the early '70s, so in a sense her absence will not be widely felt. But she had a song about that, too. "I've forgotten you, just like I said I would / Of course I have / Well, maybe except when I hear your name." The words are Hoagy Carmichael's. The sentiment is hers. And ours.

Dave Marsh coedits Rock and Rap Confidential. Marsh is the author of The Heart of Rock and Soul: the 1001 Greatest Singles.

He can be reached at: marsh6@optonline.net

Yesterday's Features

Uri Avnery
Operation "Syrian Freedom": This One's Not About Oil

Jorge Mariscal
"They Died Trying to Become Students": the Future of Latinos in an Era of War and Occupation

Mickey Z:
Coalition of the Unindicted: Only Losers Get Tried for War Crimes

Hussein Ibish
Syria and the Road to World War IV

Reza Ladjevardian
Tarqeting Iran? Do It With TV, Not Cruise Missiles

Matania Ben-Artzi
You Are Not Protecting My Son's Rights: a Letter to the President of Israel's Supreme Court

Bruce Jackson
Jews Like Us

Joe Allen
My Lai Revisited

Carl Estabrook
Support Our Euphemism

Steve Perry
War Web Log 4/18

Website of the Day
Meet the Victims of War

 

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