an american in limbo
commentary by steve earle
published between 27 january and 23 june 2003
 
advanced notions | volume 1 number 20
print
 
"The words you choose...are just as important as the decision to speak."
-author unknown
 
published since January 2003 | Advanced Notions (formerly Bonus Writings, a well-received section of patsymooreDOTcom) consists of engrossing 'think pieces' by friends and favorites.

For these pages, artists of varied disciplines are invited to make contributions related to topics they deem noteworthy. We also encourage non-artists to submit musings about Art.

Just contact us: my2cents@patsymoore.com.
 
 
 

 
 
Advanced Notions (various)
formerly patsymooreDOTcoms Bonus Writings; insightful and inciting literature from artists and about art
 
Amsterdam Dispatch (Karin Bos)
an insider's look at the art scene and artist life in Amsterdam
 
The Art of Fiction (Peter Quinones)
reviews of timeless literature
author interviews
 
bohoTV (various)
noteworthy Arts-centric viral video
 
Cambridge Letters (Kym Cooper-Rodgers)
reports about art scenes abroad
(9/2004-12/2005)
 
Deleted Scenes (Stuart Chait)
a guide to the great cinema and television you're missing
 
Design Psychology (Jeanette Joy Fisher)
a look at how design elements contribute to happiness, well-being, and productivity
(7/2005-3/2007)
 
The Iraq Watch Papers (various)
observations on war and peace
(3/2003-7/2006)
 
Lessons in Creativity (Linda Dessau)
self-care tips for artists
 
London Letters (Shakila Taranum Maan)
reports about the London arts scene and design
 
On Books (Tim Haigh)
book criticism
 
Paris: Vie et Art (Francis Powell)
an insider's look at the art scene and artist life in The City of Light
 
Portrait of the Artist (various)
a gallery of work by compelling visualists
 
Rake on Music (Jamie Lee Rake)
your map to the music underground
 
Savor (Brian Parker)
a passionate survey of food and cooking
 
The Self Expressed (various)
creative writing
 
Special Assignment (various)
profiles and interviews
 
Tending the Planet (Alyssa Stebbing)
ruminations on social responsibility and spiritual life
 
Thus Spake Fred (Fred Clark)
smart, witty examinations of socio-political issues
 
transcripts from A Lovers Quarrel
(Dwight Ozard)
one man's documentation of his restless relationship with faith and culture
(6/2004-9/2005)
 
Verse (Jim Newcombe/John-Paul Gillespie)
poetry laid bare
 
Verse Live (various)
new poetry
 
The World Watch Papers (various)
inspections of matters impacting the globe
 
Write of Passage (Eboni Rafus)
journalings of a confirmed writer

 

 
 

Contrary to popular belief, I'm a pretty typical American. I speak only one language and, until I was thirty-one, I had never traveled farther afield than Mexico. I like baseball, stock car racing, lots of ice, and consider the importation of Dr. Pepper to be one of the greatest cultural advances in British history. On the other hand, over the years—and as a direct result of my travels—I've learned to appreciate black and white pudding, a good curry, dance hall reggae, and football (go Gunners!). I've also come to believe that all Americans could benefit from the nationalistic out-of-body experience of watching, from abroad, as our nation goes to war.


This ain't my first rodeo. When the first Gulf War broke out, I was touring out in Australia and I was amazed at the difference in tone of the coverage in the newspapers, as well as on television and radio. Back home, in the states, our media has become increasingly homogenized as large corporations buy up local newspapers and broadcast outlets. I used to think that subscribing to the New York Times, when you live in Nashville, Tennessee, was pretentious—that is, until our local Pulitzer prize winning paper was bought out. On this side of the pond, I can still pop over to the newsagent and purchase a wide array of broadsheets and tabloids espousing a variety of viewpoints. I'm obviously The Guardian type, but I read The Independent daily, and  I occasionally pick up a Times or a Telegraph, just to see what those guys are up to.  The end result is that I am, I believe, better informed abroad than I am at home. The sad fact is that, in the brave new world of high speed digital information, most Americans wouldn't take the time to read a good newspaper if they had one.


I left the States on the 1st of March knowing full well that, barring a miracle, I would be returning to a nation at war. The tour began in Milan and I followed the last ditch attempts by the United Nations, and the governments of France, Germany, and Russia, to avert catastrophe as we made our way north though Western Europe, retracing the steps of conquerors. Hannibal. Caesar, and Napoleon slept here. In Berlin, we played rock 'n' roll in a circus tent pitched in the shadow of the Reichstag. As I stopped to sign a few autographs, on the way to the bus, a fan—a guy about my age—presented me with a faded GDR flag. He said, "This is the flag of the country I was born in."


We were in Oslo when the first bombs fell on Baghdad and Stavenger—when the ground war began. Most people that I talked to seemed to understand that my views vary widely from that of the administration that is currently in power in Washington, but I would occasionally encounter a tenacious soul who asked hard questions and expected me to answer for the actions of my government.


Fair enough. I am a voting, politically involved member of a more or less democratic society and am, therefore, accountable for this war. Signing the "Not In Our Name" statement, that ran in the New York Times late last year, won't get me off the hook. When this is all over, I will be have to answer—along with every single American and British citizen—to the world community. We will have to learn to live with the blood on our hands. The blood of hundreds and possibly thousands of Iraqis, Brits, Australians, and Americans. Men, women, and children. Combatants and noncombatants, alike; they all bleed the same color and the stain cannot be removed by any substance known to mankind. Water can't rinse it off. Desert sun can't bleach it out. And oil only leaves a telltale stain of its own.


After the Bergen show, a fan wondered, "Aren't you ashamed of being an American?"


I said "Hell, no."  Woody Guthrie was an American. So were John Reed, Emma Goldman, and Martin Luther King.  Sad? Yes.  Guilty?  Sometimes.  Embarrassed?  Often.  But never, ever ashamed?  Not in a million years, for I am descended from a long line of patriots, steeped in two centuries of resistance and dissent, and I still believe that Americans are a good people who aspire to be a great nation, which is a noble pursuit. And, like every potentially great nation that came before us, history will judge us by how we seek to realize that ambition.

 
 
 

In the strictest sense, STEVE EARLE isn't a country artist—he's a roots rocker. Earle emerged in the mid-'80s, after Bruce Springsteen had popularized populist rock and roll and Dwight Yoakam had kick-started the neo-traditionalist movement in country music. At first, Earle appeared to be more toward the rock side than the country. He played a stripped-down neo-rockabilly that occasionally verged on outlaw country. His unwillingness to conform to the rules of Nashville, or to rock and roll, meant that he never broke through into the mainstream. Instead, he cultivated a dedicated cult following, drawing from both the country and rock audiences. Toward the early '90s, his career was thrown off track by personal problems and substance abuse, but in the mid-'90s he reemerged, stronger and healthier, producing two of his most critically-acclaimed albums ever.

Copyright © Stephen Thomas Erlewine

 
FAIR USE NOTICE


This portion of our site contains copyrighted material—the use of which has not always been specifically authorized by the copyright owner. We are making such material available in an effort to advance understanding of Arts and Entertainment-related issues. We believe this constitutes a 'fair use' of any such copyrighted material as provided for in section 107 of the U.S. Copyright Law. In accordance with Title 17, U.S.C. Section 107, such material on this site is distributed, without profit, to those who have expressed a prior interest in receiving the included information for research and/or educational purposes. If you wish to use copyrighted material from The Bohemian Aesthetic's ADVANCED NOTIONS section, for purposes of your own which go beyond 'fair use', you must obtain permission from the copyright owner.