(from http://thefederalist.com/2016/09/07/first-amendment-double-edged-sword-kaepernick-rapinoe/)
". . . As far as the members’ (Santa Clara Police Officers’ Association) second job at the stadium (49ers’ home stadium) goes, this is true. But phrased as an absolute right, it makes the average citizen question the union’s commitment to non-discriminatory policing. Citizens should respect the police, who put their lives on the line to maintain order and safety in our communities. But the idea that they have a right to do their job without criticism—that anyone has such a right—is ludicrous. . . Police officers have every right to disagree with Kaepernick’s statements and actions. Kaepernick, for his part, has the same right to disagree with the police. And while SCPOA members have the right to quit their second jobs as private security for the 49ers, their union should be careful about establishing a precedent that they have the right to work free of criticism. If they want to quit, they should quit, and let the 49ers hire new security guards. But they, and we, should also remember that the First Amendment runs both ways . . . "
. . . which is worse, exemplifying the first or demanding the second?
(http://www.nbcnews.com/business/business-news/mcdonalds-all-day-breakfast-may-debut-nationwide-october-n396621)
". . . Pope Francis' popularity in the United States has dropped significantly . . . fueled in part by conservatives . . . 59 percent of Americans have a favorable view of the pontiff, down from 76 percent a year ago. The plunge was greatest among those who identify as conservatives — from 72 percent a year ago to 45 percent now. . . Francis' criticism of capitalism, comments on climate change and focus on the poor may have hurt him with conservatives. Liberals who were drawn to Francis' populist message may have become impatient with the slow pace of change in church policy, the pollsters theorized. . . "
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. . . at the dedication of the Bush (league?) Library last week, the honoree's father, George H.W., along with Bill Clinton and Jimmy
Carter, dutifully latched on to the positive about the junior Bush's
eight years in the Oval Office, eliminating the negative and, "as in
Johnny Mercer's old song, didn't mess with Mr. In Between."
Nothing about the futile war in Iraq, the
economic meltdown, the suspicious circumstances of 911, the blatant robbery of the civil rights of Americans the honoree left behind. The former presidents essentially praised W not as a great national leader but
a well-meaning guy whose heart was in the right place in spite of all the obstacles he faced. Obama praised his predecessor for his "incredible strength and resolve" regarding 911 and actually called W "a good man" who was "comfortable in his own skin."
The entire affair was an exercise in the suspension of disbelief over major decisions in foreign policy, treatment of war detainees, and dealing with a domestic economy in trouble as he departed office. Nevertheless, W maintained the same composure he has shown since leaving office (and during his tenure, come to think of it)-silent and immune to public criticism. His major contribution to his party has been in keeping a low public profile, steering clear of becoming defensive and of criticizing the Obama administration.
How will history will appraise George W. Bush? The most recent Washington Post/ABC News poll indicates that his approval rating has climbed from 30 percent in 2008 to 47 percent now, and his disapproval has dropped from 68 percent then to 50 percent. But he still he has a way to go to rival another once-dismissed president, Harry Truman. From a low of 22 percent approval, Truman rose steadily and is now among the 10 most highly regarded presidents.
Insurmountable for Bush? I certainly hope so. [Source: The Bush library and the willing suspension of disbelief
The former presidents gathered in Dallas glossed over the unpleasantness of 43's administration, but history will not be so kind
April 29, 2013|By Jules Witcover Jules Witcover is a syndicated columnist and former long-time writer for The Baltimore Sun. His latest book is "Joe Biden: A Life of Trial and Redemption" (William Morrow). His email is juleswitcover@comcast.net.]
(From SAW Note, July 2012)
Doug Sedgwick is a widely-traveled poet, Army veteran, high-energy live performer and spiritual (Unitarian) musician based in Reston, Virginia. Doug is also a longtime Songwriters' Association of Washington (SAW) member and winner of 2 Mid-Atlantic Song Contest Honorable Mentions (Jazz/Blues/Instrumental 2005, World 2006). He hosts a monthly open mike at the Unitarian Universalist Church of Reston every second Friday of the month. According to music critic / blogger Wildy Haskell, Doug has “tremendous songwriting talent and the ability to project different personalities/voices into his songs, like soliloquies in a one-man Broadway show. This folk/rock singer-songwriter might be one of the best of the genre, and you’ve probably never heard of him.”
As part of promoting his 2008 CD “Committed,” Doug was asked by the California-based “On Songwriting” blogger Rick Jamison for an interview – but instead of a Q & A, session, Rick ended up publishing a set of twenty insights Doug had put together and labeled as his songwriting“principles.” Here they are – slightly updated for your perusal and enjoyment.
(Paraphrased and edited for space)
1. If it works as a piece of art and doesn’t adhere to the “principles” - go for it! Never let anyone tell you what rules you should be following. Develop your own set of principles.
2. The basis must be emotion and the subconscious goal is movement of the listener. Move yourself emotionally and the listener will be moved.
3. The idea to get across should be simple. It should fit into 3 or 4 minutes - maybe longer if it requires a solo or extended bridge to help emphasize the point.
4. Stolen from Andrew McKnight: Your most favorite song in the entire world is the one you’re singing at the time you’re singing it. Put every ounce of your feeling into the performance.
5. A new song should begin with the words. The cadence of a phrase brushed against the cockles of your heart ought to get a back and forth rhythm going. Seek out the chords after the basis of the melody springs up from the motion of the words themselves.
6. Go to the musical fourth for the chorus. Get as much melody worked up from the words as possible – then see if you don’t naturally go the fourth for the chorus anyway. If not – see # 1.
7. [From “This is Your Brain on Music.”] Studying the brain waves of jazz musicians in the act of improvising shows a close correlation with the brain activity of dreaming. Dreaming and writing music are intertwined. Find where your intersection of the two activities helps you produce.
8. Even though the best songs are the usually the ones that seem to flow from a higher power, you should still attempt to work through and finish any song you start. Determination to solve musical challenges in lesser songs will help develop your songwriting skills.
9. Seek inspiration wherever you find it. If listening to Dylan gets your juices flowing – don’t be afraid to take in chunks from YouTube or your old vinyl. There’s no infringement in stealing an IDEA for a song that came from listening to another song.
10. Learn to let go and not judge what starts to happen when moments of inspiration kick in. Follow your instincts. Ignore your reason. (Paraphrased from songwriter friend Philip DeStefano, I believe.)
11. Rhythm rules. The beat trumps the melody. Greater is the sin to play offbeat than to play off-key. Develop rhythm EVERYWHERE in everything.
12. Learn to believe completely in your own magic. If Spielberg doesn’t put his own faith on the line, the audience will sense it the same way a dog senses fear. Your FAITH in YOU is what carries.
13. Your unique view is valuable. Your experiences and views are no less important than the 'virtuosi' - your execution and expression is just different - but must be here to satisfy SOME need in the universe. Revel in your ability to express yourself in a manner unlike any other.
14. Pitch matters - but not the way you hear it. No two people hear the same. No single person hears the same their entire life.
15. Zoom out. A painter with his nose inches from the canvas sweating the texture of a cloud may have lost sight of the true focus of his own painting. As the song develops, keep trying to step back from the easel a few feet occasionally.
16. Take all criticisms with a grain of salt. What if Tom Waits (or Bob Dylan or Neil Young) - attending song circles had been told he really needed to learn a new way to sing? Part of that which makes them truly unique would have been lost. But be polite and not vengeful.
17. Keep the child inside alive. If your musical knowledge and depth of understanding have grown SO VAST that you have lost the sense of wonder and the willingness to be fooled into believing in magic (see #12) - you should give up the craft.
18. Never stop learning. There is something to be learned from everybody you encounter – both inside and outside the realm of songwriting.
19. Give of yourself by listening to people. Especially in these times when we’re bombarded by the media talking at us, there is a deep hunger in the population at large to just be heard anymore. Lend a sympathetic ear.
20. Practice self-discovery and self-improvement. Take a spiritual path, and let your own self-awakening surprise you with songs inside you never knew were there.
You can reach Doug (who enjoys both writing AND talking about himself in the third person) via email through bugsunplugged (at) comcast.net. . . "
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