Latest news with #TheStarSpangledBanner
Yahoo
27-05-2025
- General
- Yahoo
Town of Niagara honors fallen veterans, Angelo Onevelo
U.S. Army Private First Class Travis Krege died in service of his country on Dec. 6, 2006. The beloved son of Michael and Sandy Krege was just 24 years old when he was killed by a remote bomb while driving a Humvee in a convoy during Operation Iraqi Freedom in Afghanistan. Today, his mom, Lancaster resident Sandy Krege, speaks on behalf of her son and all those who died during military service as a member of American Gold Star Mothers, a nationwide organization that strives to support veterans and their families, especially loved ones who have a deeper understanding of the pain the death of a soldier brings. On Monday, Sandy Krege encouraged those attending the Town of Niagara's Memorial Day service at Veterans Memorial Park to honor and remember her son — and all the brave men and women who died while serving in the U.S. armed forces — by living their own lives with purpose, kindness and with gratitude. 'My son, Private First Class Travis Krege, wore the uniform proudly just as so many others did. They believed in something greater than themselves and that is freedom and service and protecting the values that we hold dear as Americans. Their courage and commitment are not just memories. They are the legacy of the lives that live on in each of us,' Krege said. Dozens of residents and visitors, many representing various branches of the U.S. military, gathered at the soldiers' monument inside the park to recognize the sacrifices of soldiers, like Travis Krege, who died while serving in the armed forces. The ceremony was organized by the Town of Niagara Lions and the Town of Niagara Helping Hands, a service organization of women formed for the purpose of providing service work in the community. It featured a laying of wreaths by the Lions Club and Helping Hands and the playing of 'The Star Spangled Banner' and Taps by local trumpet player Morgan Giannantonio. It also offered a chance for Retired Army Sgt. First Class and Town of Niagara Lions' President Mike Hoplight to recognize the contributions of his long-time friend and associate, the late Angelo Onevelo who passed away last July. For many years, Onevelo, a U.S. Army veteran who served in the Vietnam War, helped organize and served as chair of the town's Memorial Day and Veterans Day ceremonies as well as its annual Citizenship Awards programs. Onevelo's years of tireless volunteer work extended to the Town of Wheatfield Lions Club where he helped operate a loan closet that provides medical equipment to individuals in need. During Monday's Memorial Day ceremony, Hoplight presented Onevelo's wife, Mary, and members of the deceased veteran's family with a plaque dedicated in his honor as the recipient of The Helen Keller Fellowship Award from the Lions Club in St. Catharines, Ont. The award honors outstanding Lions, Lioness and Leos. 'He did more for the community than you could ever think of, in the back,' Hoplight said of Onevelo. 'He didn't want that pat on the back. He didn't want anybody to know about it, but he was there for everybody.' Onevelo's legacy will soon be remembered inside the park in the form of a bench that Hoplight said will be installed across the road from the town's soldiers' memorial later this year. The bench was made possible with funding provided by the Niagara County Legislature. Fellow Lion John Teixeira said his long-time friend Angelo was active in many efforts outside of honoring veterans, including support for Old Niagara Days and the Strawberry Festival. Teixeira described obtaining the funds to build and install a bench in Onevelo's honor as a 'slam dunk,' saying nobody hesitated to chip in and get the job done. 'He touched thousands of lives,' Teixeira said. Niagara County Legislator Chris McKimmie, R-Niagara Falls, attended Monday's ceremony and offered a few thoughts on Onevelo's service as written by fellow Legislator Chris Robins, D-Niagara Falls, who was unable to attend. Robins described Onevelo's life as 'remarkable,' noting that he touched many lives while serving as 'the heart' of the Town of Niagara Lions Club. 'He didn't do it for recognition or praise,' Robins wrote. 'He did it because he loved and believed in service. He believed in people.' 'This park bench we dedicate today is more than a place to sit,' Robins continued. 'It is a reminder. It is a reminder of a man who showed us what it means to give with joy, to lead with humility and to live with purpose. May all who rest here feel a little of his spirit.' In accepting the plaque and the bench in her husband's honor, Onevelo's wife, Mary, said that Angelo was guided by many sayings and one in particular stood out to her as reflective of the kind of person he was as a husband, a father and as a dedicated community member and American. 'One saying he always said was 'Don't ever do anything for anybody expecting something back in return.' Do it because you want to do it. He wouldn't expect the bench, but he would have loved the bench,' she said.
Miami Herald
16-05-2025
- Politics
- Miami Herald
Marco Rubio will be a great leader if he stops being a ‘yes' man
Rubio's many hats Reading Mary Anna Mancuso's May 14 op-ed, 'Marco Rubio doesn't need to be the next Henry Kissinger,' one gets the feeling she is talking about a very important man. Mancuso mentioned Rubio has two jobs and that it is extraordinary. Actually, he holds three jobs plus a smaller one: as Secretary of State, as Acting National Security Advisor, as Acting Administrator of USAID and even as ✓Acting Archivist of the United States. Seems President Trump ran out of people who could or would do those jobs. How is Rubio doing so far, especially with aid to those who need it most? Mancuso then mentioned Rubio's strengths: being a son of immigrant parents and how he fights against authoritarianism. He calls out dictators and warns us against complacency. Yet, Rubio works for an authoritarian and is a great yes-man. Trump said Rubio and Vice President JD Vance are possible presidential candidates. For what year I don't know, as Trump plans on a third term for himself. In any event, they are two great yes-men who stand for whatever. What does Mancuso see that many of us are missing? Whether one agrees with Kissinger or not, he represented our country with strength and didn't flutter about. If Rubio can be a man and lead us like a real leader, then he can be viewed as a man of his time. Alvin Blake, Miami Careless We have in this rich country of ours the elected, career politicians who make it their business to tax and spend wildly. Our political leaders attract votes for political power and promoting their agendas. The taxpayer is the loser and the lobbyist the winner. Foreign aid is one for which all recent presidents and both sides of the Congressional aisle are accomplices of wasteful spending. It is an American phenomenon. And the taxpayer foots the bill. The amount of concocted excuses to create programs to senselessly throw money at is huge. Our political guardians have no shame about squandering the people's hard-earned wealth on their selfish ideas. Michael G. Merhige, Kendall Careless, part II 'The land of the free and the home of the brave.' These words from our national anthem, 'The Star Spangled Banner,' ring less true every day. We are witnessing a steady erosion of the freedoms we hold dear. Americans are being told they must tighten their belts while a military parade is being planned to celebrate the president's birthday — a display of ego that we, as taxpayers, will be funding, reportedly for as much as ✓$45 million. No matter where one stands politically, this should raise serious concerns. Those millions could provide school lunches for millions of kids, purchase thousands of computers or fund many after-school programs. Children and education are our future. Shouldn't our investments reflect that? Who will step up and say 'enough?' Where are the brave men and women elected to represent us? Florida deserves better and so does the rest of our nation. Our citizens must speak out and our leaders must remember who they serve. Paula Ehrlich, Miami Beach Better healthcare In her May 14 op-ed, 'Medicaid cuts would burden Miami,' Martha Baker gives a heartfelt testimony to the importance of the Jackson Health System, which provides 'one single high standard of care to all residents regardless of their ability to pay.' She also wrote that the United States stands out as 'the only industrialized nation that does not provide universal access to healthcare for all citizens.' Her plea is clear: rather than cutting Medicaid, we should be looking for ways to improve access to health care. Ken Clark, Coral Gables Cultural achievements In May, we celebrate Asian American, Native Hawaiian and Pacific Islander (AANHPI) Heritage Month. During this time, we recognize the culture, achievements and impact of AAPI communities across Florida and the nation. The 2025 theme, 'A Legacy of Leadership and Resilience,' is a powerful reminder of the hardships AANHPI individuals have faced, such as hate crimes, bias and xenophobia. Even under pressure, they stepped up with purpose and helped change the game for generations to come. At the Florida Commission on Human Relations, we stand with AANHPI communities and remain committed to protecting the rights of all Floridians. We strongly encourage Floridians who experience discrimination in housing, employment, or public accommodations to reach out to our agency. Let's take this month to learn from the past, celebrate the present and continue working together for a future built on respect, equity and understanding. For more information about your rights or to file a complaint, please contact the Florida Commission on Human Relations at 850-488-7082 or visit Cheyanne Costilla, executive director, Florida Commission on Human Relations, Tallahassee Been here before In 1952, the United States was embroiled in the Korean War and the production of steel was in jeopardy as labor unions threatened to strike over a collective bargaining dispute with steel companies. President Truman, fearing that a strike would disrupt the production of military armaments, issued an executive order directing the seizure of steel mills and requiring them to remain open. Companies sued the president for usurping power that belonged to Congress. The president argued that he had 'inherent' power to protect national security. When the U.S. Supreme Court held that the president lacked authority to seize the mills, no one was more surprised than Truman, who had appointed four of the nine Justices. The Court rejected the 'inherent' power argument. Our government is comprised of three independent, co-equal branches, ensuring that no single branch exceeds the authority granted it by the Constitution. Except in times of war or national emergency, protecting the process of government is more important than the goals of one errant branch. For our government to succeed, its three branches must be independent of each other, be co-equal in power and work together with mutual respect. Let's hope we remember that. Harvey J. Sepler, Hollywood End of a war As a librarian with the Miami-Dade Public Library System, I thank the Miami Herald for the May 11 special section, 'Remembering our Triumph,' about the 80th anniversary of the end of World War II. The library system this year presents 'World War II at 80,' a year-long series dedicated to honoring the end of the war through programs like film screenings, lectures and interviews with Holocaust survivors. The events are free for the public. More information can be found at Miriam Kashem, Miami Beach Banning Rose I enjoy Miami Herald Sports columnist Greg Cote's articles. In his May 15 front page story, 'No credit for MLB. Lifting Hall of Fame ban on Pete Rose, 'Shoeless' Joe, came too late,' he praised Major League Baseball (MLB) for reversing its ban. I respectfully disagree. Should Rose be in the Hall of Fame? Of course, but he knowingly violated a cardinal rule of baseball betting on games as a player and/or manager and might have affected outcomes. Even though Rose agreed to the 'lifetime' ban, he would often capitalize on MLB events and appear at nearby locations to sell autographed photos. That's the equivalent of sticking his thumb in MLB's eyes. I watch baseball religiously on TV. Because every other commercial seems to tout online betting, I fear for baseball's integrity. We put up with endless politicians who lie, cheat and steal. Baseball is merely a game, so players or execs who gamble on baseball should take a hike. Rose made his bed; he should be forced to lie in it, for eternity. Richard Pober, Palmetto Bay
Time of India
15-05-2025
- Entertainment
- Time of India
Melodies of dissent: The enduring power of anti-war songs
In the summer of 1969, as the Vietnam War raged, Jimi Hendrix stepped onto the Woodstock stage and bent the US national anthem into a wail of anguish. His electric guitar screeched bombs and machine guns; 'The Star-Spangled Banner' became a wordless anti-war anthem heard around the world. An iconic moment at Woodstock 1969: Jimi Hendrix's distor8on-laden rendition of 'The Star Spangled Banner' evoked the sounds of war, turning a patriotic tune into a haun8ng protest. That visceral performance captured a generation's disillusionment. It was a generation that would make music its messenger – a chorus of dissent against the drumbeat of war. From the 1960s to today, artists have raised their voices in song to protest conflict and plead for peace. These anti-war songs, across decades and genres, carry a lyrical resonance that transcends their eras. Whether strummed in a folk coffeehouse or blasted through arena amplifiers, the songs share common refrains: War's human cost is unbearable; peace is the only answer. They blend cultural commentary with poetry, turning personal pain and political outrage into melodies we remember. Each era's struggles – Vietnam, the Cold War, Iraq, and beyond – have inspired musicians to respond in harmony, from gentle folk ballads to furious punk and heavy metal protests. Together, these songs form an enduring soundtrack of resistance and healing in times of conflict. The 1960s and the birth of the anti-war anthem The modern anti-war song movement took shape during the 1960s, when the Vietnam War and social unrest spurred a new generation of musical protest. Folk singers like Pete Seeger set the template early in the decade. Seeger's wisOul 'Where Have All the Flowers Gone?' posed a mournful question – 'When will they ever learn?' – as it traced a cycle from flowers to young soldiers to graveyards. By 1965, as troop deployments climbed, folk troubadour Phil Ochs was singing 'I Ain't Marching Anymore,' a blunt refusal in which he declared it's always 'the old [who] lead us to the war, [and] the young to fall,' vowing he would fight no more. In the same year, Tom Paxton released the sharply sa5rical 'Lyndon Johnson Told the Na8on,' mocking the US President's assurances about Vietnam: 'And Lyndon Johnson told the na8on, 'Have no fear of escala8on… Though it isn't really war, we're sending 50,000 more to help save Vietnam from Vietnamese'.' Paxton's biting chorus laid bare the government's euphemisms as tens of thousands more young men were shipped off to Southeast Asia. If folk music gave the anti-war movement its voice, popular rock and soul soon amplified it. In 1969, John Lennon and Yoko Ono staged their famous 'Bed-In for Peace,' turning their honeymoon into performance art for pacifism. Amid flowers and hand-drawn signs reading 'Hair Peace' and 'Bed Peace,' Lennon led a roomful of friends and reporters in the simple, mantra-like chorus 'All we are saying is give peace a chance.' John Lennon and Yoko Ono during their 1969 'Bed-In for Peace' in Montreal, where the anthem 'Give Peace a Chance' was recorded with a chorus of friends and journalists. Released as 'Give Peace a Chance' that year, the song became an anthem of the an5-war movement – a chant heard at countless rallies as ordinary people literally took up its call. A year later, Lennon offered a more utopian plea with 'Imagine' (1971), inviting listeners to dream of a world with 'nothing to kill or die for' and 'all the people living life in peace.' Its gentle piano melody and hopeful lyrics turned it into a universal hymn for peace that has outlasted the conflict that inspired it. Other artists of the era also found poetic ways to voice war-weariness. In 1970, Motown singer Edwin Starr let loose a furious question – 'War, what is it good for?' – and answered with a shout: 'Absolutely nothin'!' Backed by a hard-driving soul groove, 'War' was a Billboard #1 hit that proved an an5-war song could resonate with the broad public. Around the same time, The Rolling Stones released 'Gimme Shelter' (1969) with its ominous refrain: 'War, children, it's just a shot away.' In Marvin Gaye's silky soul single 'What's Going On' (1971), a returning Vietnam veteran asks why we fight, pleading, 'Father, father… we don't need to escalate. War is not the answer, for only love can conquer hate.' Even the normally apolitical Motown machine couldn't ignore the na5onal mood – The Supremes released 'Stoned Love' in late 1970 as a subtle an5- war song 'urging unity and peace amid the Vietnam War'. The 5tle's 'stone' referred not to drugs but to an unbreakable love, and the song's soaring vocals pleaded for understanding in a 5me of division. By the early 1970s, as the Vietnam War ground on, songs increasingly reflected the toll on soldiers and families. Freda Payne's 1971 hit 'Bring the Boys Home' is a poignant R&B protest that nearly brought tears to its listeners. 'Can't you see them marchin' up the sky / All the soldiers that have died, tryin' to get home,' Payne sings, focusing on the human longing behind the poli5cal debates. It was so direct a cri5que of the war's waste of life that some radio sta5ons banned it; nonetheless, it climbed the charts as an emo5ve anthem for anxious families. Folk and pop groups likewise con5nued to offer comfort and resistance. The trio Peter, Paul and Mary, known for lilting harmonies, recorded 'If I Were Free' – imagining if they could speak their minds to 'tell a tale to all mankind of how we fought and how we paid.' And in 1967, Pete Seeger himself wrote 'Bring 'Em Home,' a rousing folk tune urging the government to bring the soldiers home. Decades later, during another war, Bruce Springsteen would revive this very song on stage, underscoring its 5meless message that someone's child is always at risk far from home. As one scholar noted of the Vietnam era, 'music was the primary form of expression' for the young and disenchanted. Protesters who lacked power in Congress or the press could find it in a song. The abundant anti-war playlist of the late '60s and early '70s – from plaintive folk ballads to fist-pumping rock – both fueled the peace movement's passion and offered solace to those grieving and weary. Music, in short, became both protest and a form of healing. From Vietnam to the Cold War: New conflicts, new voices When the Vietnam War ended in 1975, the protest music didn't fall silent. The scars of that war, and the specter of new conflicts, con5nued to inspire songs – even if the tone and targets evolved. In the late 1970s, some ar5sts turned to history for lessons. Canadian songwriter Gordon Lightoot wrote 'Protocol' (1976), reflec5ng on the 'harsh realities' of Vietnam and the rigid mindset of the military machine. In evocative lyrics, LighOoot highlights 'the tragic consequences of blind obedience,' giving voice to soldiers who were treated as protocol numbers rather than individuals. His song's mournful narrative speaks to the 'universal longing for peace' felt by veterans and civilians alike. By the 1980s, the arena of protest music had expanded beyond Vietnam's shadow. The Cold War introduced a pervasive fear of nuclear annihila5on – a fear musicians would translate into powerful imagery. British rock giants Queen, for instance, injected anti-war commentary into a hard-rock anthem. Their 1984 song 'Hammer to Fall' thunders with guitar riffs while referencing living 'in the shadow of the mushroom cloud,' a vivid nod to nuclear weapons. The very 5tle – 'waiting for the hammer to fall' – conveyed the public's anxious sense that a nuclear doomsday could drop from the sky at any moment. In concert, Queen's charismatic frontman Freddie Mercury belted out lines about bodies burning and prayers, channeling the 1980s' dread that the Cold War might turn hot. Even at packed stadium shows, fans found themselves singing along to a protest of ul5mate war, perhaps without even realizing it. No band delved into war's psychic wounds quite like Pink Floyd. In 1982, Pink Floyd released 'When the Tigers Broke Free,' an achingly personal song in which Roger Waters describes the morning his father died in World War II. 'It was just before dawn one miserable morning in black '44,' Waters intones, recoun5ng how a German Tiger tank bapalion overran Bri5sh lines at Anzio, Italy – 'and that's how the High Command took my daddy from me,' goes the devasta5ng final line. The song (featured in Pink Floyd's film The Wall) is less a protest than a lament, zooming in on one life shapered by war. A few years later, aqer Waters' departure, Pink Floyd's 1987 track 'The Dogs of War' took a broader, angrier stance. Over ominous drums and wailing saxophone, the lyrics snarl about 'dogs of war and men of hate' for whom 'you must die so that they may live.' It's a portrait of war's puppet-masters: corrupt poli5cians and profiteers pulling invisible strings. As one analysis notes, the song was inspired by 'the covert wars of the '80s where millions of dollars went to Afghanistan… to fight off the Soviet threat,' highligh5ng that behind every conflict lies money and power. Though some cri5cs felt 'The Dogs of War' was heavy-handed, its fury captured the late-Cold War cynicism about endless militarism. Amid these rock epics, more intimate anti-war statements also emerged. In 1988, alternative rock band REM scored a hit with 'Orange Crush,' a song that on the surface seemed cryptic and upbeat, but in fact referenced the Agent Orange chemical used in Vietnam. Singer Michael Stipe adopted the persona of a young American soldier, and the song's title itself is a dark pun (Agent Orange + Orange Crush soda). 'We are agents of the free,' Stipe sings ambiguously, evoking both patriotic duty and biper irony. Around the same time, thrash metal band Metallica shocked MTV audiences with 'One' (1989), a blistering track inspired by the World War I novel Johnny Got His Gun. In 'One,' Metallica stripped war of any glory: its protagonist is a soldier horrifically wounded – blind, deaf, limbless – trapped in his own mind pleading for death. 'Nothing is real but pain now,' growls singer James HeOield, distilling the horror with gut-punch clarity. The song's music video intercuts the band's performance with black-and-white film scenes of a hospitalized amputee, making it impossible for young listeners to ignore war's human toll. Heavy metal, folk-rock, symphonic art-rock – the genres differed, but the message in the '70s and '80s remained consistent: war leaves permanent scars, and artists will continue to expose those wounds in song. Even after the Cold War, as the 1990s brought a brief lull in superpower conflict, musicians kept the flame of protest burning. Conflicts in far-flung places – the Persian Gulf, the Balkans, Rwanda – and memories of earlier wars all found their way into music. Elton John's somber 1982 ballad 'All Quiet on the Western Front' harked back to World War I, borrowing the 5tle of a famous WWI novel to meditate on the universal sorrow of soldiers' sacrifice. (Elton's frequent lyricist, Bernie Taupin, craqed imagery of trench warfare and fu5le loss that felt eerily relevant in any era.) And though the 1991 Gulf War was brief, it did inspire subtle rebukes – for example, American songwriter John Fogerty (of Creedence Clearwater Revival fame) noted that radio sta5ons started playing his Vietnam-era protest anthem 'Fortunate Son' during the Gulf War, as if an old song from 1969 suddenly spoke to a new genera5on of soldiers in the desert. The con5nuity was clear: the faces and places changed, but war was s5ll war, and music was s5ll there to challenge it. Déjà vu all over again: Protest songs in the 21st century The dawn of the 21st century, unfortunately, brought a déjà vu of conflict – and with it, a fresh wave of an5-war music that oqen echoed the spirit of the 1960s. Aqer the September 11, 2001 apacks, the US embarked on wars in Afghanistan and Iraq. Many in the music world responded by dus5ng off the old protest-song playbook, sometimes quite literally. Veteran folkie Tom Paxton, who had skewered President Johnson in 1965, now sharpened his pen for President George W Bush. Paxton's 'George W Told the Na8on' (2007) is essen5ally his '60s song rewripen for a new war, down to its structure and sardonic tone. 'Hey! George W. told the na8on, 'This is not an escala8on; this is just a surge toward victory. Just to win my lidle war, I'm sending 20,000 more, to help save Iraq from Iraqis,'' he sings, pointedly referencing the Iraq troop 'surge' and Halliburton contracts in one wipy verse. The dark humor cannot mask Paxton's disgust that decades later, a new genera5on was being sent into harm's way under dubious pretenses – the same folk melody now carrying an even wearier message. Likewise, songwriter John Fogerty, who as a young man wrote the Vietnam-era hit 'Fortunate Son,' released 'Déjà Vu (All Over Again)' in 2004 to express his alarm at history seemingly repea5ng. In a plain5ve voice over a melancholy guitar, Fogerty sings of watching events unfold that felt all too familiar: 'Day by day, we count the dead and dying, ship the bodies home while the networks all keep score…' The song explicitly draws parallels between Vietnam and the Iraq War, with Fogerty lamen5ng that 'the war is here again' and wondering how leaders could be making 'the same mistakes again.' He described 'Déjà Vu' not as a par5san statement but as a requiem for the 'sadness [of] human losses' in war– a sen5ment that listeners in 2004, viewing nightly images of soldiers' funerals on TV, could deeply appreciate. The 2000s saw protest music not only from aging '60s veterans but also from younger, angrier voices. Los Angeles-based rock band System of a Down released 'Boom!' in 2003, an outright condemna5on of the Iraq invasion 5med with global an5-war protests. Over thundering drums, singer Serj Tankian raples off damning sta5s5cs: '4,000 hungry children leave us per hour from starva8on, while billions are spent on bombs, crea8ng death showers!'. The blistering track (with a video directed by ac5vist filmmaker Michael Moore) juxtaposed images of massive peace demonstra5ons with images of war, capturing the outrage of millions who marched in early 2003 chan5ng 'No war!' In the hip-hop and reggae-infused realm, Michael Fran7 & Spearhead offered a groovy but pointed cri5que. Fran5's song 'Light Up Ya Lighter' (2006) directly addressed the Iraq conflict from a soldier's and family's perspec5ve, with a chorus pleading to 'bring 'em home.' 'The war for oil is a war for the beast,' Fran5 seethes, 'we can't bomb the world to peace.' In a sly nod to past protests, he even sings the line 'light up your lighter, bring 'em home,' evoking the old slogan and song 5tle from Vietnam days. Similarly, Neil Young – never one to shy away from topical songwri5ng – released an en5re album 5tled 'Living With War' in 2006. Its 5tle track bristles with frustra5on at having to endure a war that felt unnecessary and endless; elsewhere on the album Young gathered a 100-voice choir to sing 'America the Beau8ful' in biper irony, and even penned a scathing anthem calling for the impeachment of the president. The fact that a '60s icon like Young was back on the front lines of musical protest spoke volumes: the spirit of Woodstock was alive and well in the 2000s. Rock music con5nued to channel soldiers' stories, oqen in gut-wrenching ways. Chicago punk band Rise Against released 'Hero of War' in 2008, a ballad-like narra5ve following a young man who enlists out of idealism. The song's acous5c guitar strumming and almost gentle melody contrast with its graphic lyrics: the 'hero' recounts how he was taught to shoot, how he humiliated prisoners, and how he came home decorated but haunted by what he'd done. 'They brought out the flags… and told me I was a hero,' sings Rise Against's Tim McIlrath, 'but I feel alone and sick at heart.' The refrain 'that's what I'll be, and when I come home they'll be damn proud of me' drips with irony as the soldier's disillusionment becomes clear. Much like Ochs's 'I Ain't Marching Anymore' decades prior, 'Hero of War' is a refusal – not before the fight, but aqer it, a rejec5on of the lies that en5ced a genera5on into conflict. On the other end of the stylis5c spectrum, legendary soul-rocker Jackson Browne lent his voice to protest the Iraq War as well. His 2008 song 'The Drums of War' is, as one ar5cle described, a 'poignant reminder of the human cost of war' and a cri5que of leaders' 'lack of accountability. Browne ques5ons the eagerness of poli5cians to send young men and women into baple, highligh5ng the dissonance between loqy poli5cal rhetoric and the harsh reality faced by those on the ground. In concerts, Browne would introduce the song by urging audiences to remain vigilant about why wars are fought and who profits – a call that resonated with those who remembered the unanswered ques5ons of Vietnam. While American and Bri5sh musicians led much of this renewed protest, voices from other corners of the world also joined in. In 2002, the Dixie Chicks (an American country trio) released 'Travelin' Soldier,' a tender ballad set during the Vietnam War about a teenage girl and the young soldier she loves who never returns from overseas. Its release coincided with the ramp up to the Iraq invasion, and in a twist of fate, the Dixie Chicks themselves became part of the war story: aqer they cri5cized President Bush and the war, they faced a furious backlash, and 'Travelin' Soldier' – then a #1 country hit – was pulled from many radio sta5ons. The incident underscored that singing about war's human toll, as the Dixie Chicks did so movingly, can itself be an act of courage in a polarized 5me. It was a reminder that protest music s5ll had the power to provoke, even in the 21st century, and that the baple over war and peace was not only fought with guns and policy but with culture and art. In the 2020s, with new crises unfolding, the legacy of an5-war songs con5nues to evolve. In an extraordinary convergence of past and present, members of Pink Floyd reunited in 2022 to release 'Hey, Hey, Rise Up!' – their first new song in nearly 30 years – in support of Ukraine. The track is built around a 1914 Ukrainian patrio5c anthem ('Oh, the Red Viburnum in the Meadow') sung by Ukrainian vocalist Andriy Khlyvnyuk, whom Pink Floyd sampled from a viral social media video. David Gilmour's guitar soars alongside Khlyvnyuk's impassioned Ukrainian lyrics, which urge the na5on to rise up. Coming full circle from their earlier war-themed works, Pink Floyd dedicated all proceeds to humanitarian relief for Ukrainians, proving that veteran ar5sts s5ll feel compelled to use their music in the cause of peace and freedom. As Gilmour explained, seeing Ukraine's suffering compelled him to act; the resul5ng song introduced a century-old an5-war refrain to a global rock audience, bridging genera5ons and conflicts. Modern musicians also find new ways to reframe the old messages. Some incorporate hip-hop, electronica, or other contemporary styles to reach young listeners. Others revive classics: at protests today you might s5ll hear voices singing 'Give Peace a Chance' or Bob Marley's 'One Love' – the 1977 reggae classic that pleads 'Let's get together and feel all right.' Marley's song, though recorded in a 5me of poli5cal turmoil in Jamaica, has become a universal peace anthem, reminding us that the longing for unity transcends borders. And when tensions rise, John Lennon's 'Imagine' oqen reappears, sung by hopeful crowds or played over solemn gatherings, its vision of a world without war eternally appealing. Each new conflict seems to breathe new life into these old songs even as new anthems are wripen. From folk singers in the 60s to punk rockers and pop stars in the 2020s, ar5sts have served as the conscience of war5me. Their music not only protests policies but also humanizes the abstract headlines. We hear mothers, fathers, and soldiers in their lyrics; we feel anger but also empathy. Protest songs have a unique way of burrowing into the cultural memory – a three minute track can outlast a lengthy speech or report. They become, as one professor observed, part of 'the las5ng narra5ve of who we are and how we see ourselves' during war. When words from poli5cians fail or deceive, a song's truth can cut through. 'What they sing resonates on such a different level… more genuine, intense, meaningful than the words spoken in the poli7cal realm,' notes cultural scholar George Plasketes. Indeed, a simple lyric like 'War is not the answer' may lodge in the heart more firmly than any white paper or news brief. In the end, the enduring power of an5-war songs lies in their ability to mix protest with poetry, to turn outrage into art. They provide not only a rallying cry but also a refuge – a place to channel grief and hope. A Vietnam veteran once described how hearing 'Where Have All the Flowers Gone?' made him break down in tears, the song helping him mourn fallen friends. Decades later, a new recruit might blast Rise Against or Metallica in headphones and feel a similar catharsis or kinship. The styles change, but the longing is the same: to make sense of war's chaos, to find humanity amid violence, to declare that life mapers more than geopoli5cs. As long as bombs fall and guns fire, there will be singers and songwriters responding with strums, beats, and rhymes, insis5ng that we not forget the human cost. 'When will we ever learn?' Pete Seeger's refrain echoes on, unanswered – but the very asking of it in song keeps the dream of peace alive. From Hendrix's feedback at Woodstock to a viral Ukrainian chorus today, the music of protest persists, pressing us to imagine, and strive for, a world finally living in harmony. Facebook Twitter Linkedin Email Disclaimer Views expressed above are the author's own.
Yahoo
13-05-2025
- Business
- Yahoo
5 takeaways from Trump's day in Saudi Arabia
President Trump made his first stop on his Middle East swing in Saudi Arabia on Tuesday, receiving a warm welcome from Crown Prince Mohammed bin Salman and top U.S. and Saudi business leaders. Trump secured hundreds of billions in investments from Saudi Arabia and took steps to reframe relations with the Middle East, including taking a softer — though still stern — tone with Iran following the regime change. Here are five takeaways from the president's day in Saudi Arabia. Trump walked off of Air Force One to a lavender carpet rolled out at King Khalid International Airport and entered the royal terminal with the crown prince. While Air Force One was approaching Saudi Arabia, about a half hour from landing, Saudi F-15 fighter jets appeared on both sides of Air Force One and escorted the plane at close proximity to landing, according to reporters traveling with the president. The crown prince later greeted Trump again when he arrived at the royal court, where another lavender carpet was rolled out. Trump's motorcade was escorted by riders on Arabian horses, and horns were playing as he got out of his car. 'The Star Spangled Banner' played, and then the Saudi anthem played, before Trump and the crown prince went inside for the coffee ceremony with the hundreds of other attendees. When Trump arrived at the state dinner at Diriyah At-Turaif, a world heritage site, a row of men with Arabian horses lined the road, and others held alternating U.S. and Saudi flags. Trump and the crown prince looked over the site, which was illuminated with golden yellow light, and Trump admired a model of Diriyah while inside. 'Amazing job,' Trump said. Musk was at the royal court for a coffee ceremony, followed by a lunch as well as the state dinner at Diriyah alongside top Trump officials. Trump introduced Musk to the crown prince, patting his ally on the back while the three men chatted for a few minutes. It's unclear if Musk will join Trump on other stops on his trip; the president travels to Qatar and the United Arab Emirates starting Wednesday. Musk has been at the helm of the Department of Government Efficiency and has been a constant presence by Trump's side in the early months of his second term, joining him on Air Force One and in Cabinet meetings. His special government status is set to end May 30, and he has faced pressure from Tesla board members to return to the helm of his company. More than 30 major business and technology leaders also joined the lunch, underscoring the focus on investment and financial deals during the trip. Other top business leaders at the royal court included FIFA president Gianni Infantino, Blackstone Group CEO Stephen Schwarzman, BlackRock CEO Larry Fink, IBM CEO Arvind Krishna, Boeing CEO Kelly Ortberg, Amazon CEO Andy Jassy, OpenAI CEO Sam Altman and Miami Mayor Francis Suarez (R). The gathering was a sign of both Trump's focus on securing business deals and investments in the U.S., and of Saudi Arabia's vast wealth and influence. Trump used a major foreign policy speech in Riyadh to offer an 'olive branch' to Iran, a longtime U.S. adversary, amid discussions about Tehran's nuclear program. 'I want to make a deal with Iran. If I can make a deal with Iran, I'll be very happy,' Trump said at a U.S.-Saudi investment forum. 'We're going to make your region and the world a safer place. But if Iran's leadership rejects this olive branch and continues to attack their neighbors, then we will have no choice but to inflict massive, maximum pressure.' Officials from Iran and the U.S. have been engaged in talks in recent weeks about Tehran's nuclear program. Trump during his first term withdrew the U.S. from the Obama-era Iran nuclear deal, which had offered sanctions relief in exchange for limits on its nuclear program. Trump used his remarks Tuesday to offer an optimistic outlook about the future of the Middle East. He announced he would be open to easing sanctions on Syria at the urging of allies, saying, 'we want to give them a fresh start' following the fall of Bashar Assad's regime and years of civil war. Trump also agreed to say hello to the new Syrian President Ahmed al-Sharaa while in Saudi Arabia on Wednesday, according to a White House official, signaling an openness to the new government. Trump secured a $600 billion commitment from Saudi Arabia to invest in the U.S., which the crown prince first announced days after the inauguration. The deal struck Tuesday includes a $142 billion defense and security deal that equips Saudi Arabia with state-of-the-art war equipment provided by dozens of U.S. firms. 'Are we doing a good job so far for America? They're only putting in a trillion dollars,' Trump said to reporters on the trip. As part of the deal, Saudi Arabian company DataVolt is moving forward with plans to invest $20 billion in artificial intelligence data centers and energy infrastructure in the U.S., and top companies including Google, Oracle, Salesforce and Uber are investing $80 billion in technologies in both countries. Also included in the deal are infrastructure projects American companies Hill International, Jacobs, Parsons, and AECOM are taking on in Saudi Arabia, including at King Salman International Airport, to total $2 billion in U.S. service exports. And, other exports will include GE Vernova's gas turbines and energy solutions, worth $14.2 billion, and Boeing 737-8 passenger aircraft for AviLease, worth $4.8 billion, according to the White House. Additionally, health care company Shamekh IV Solutions will invest $5.8 billion, including through a plant in Michigan, to launch a high-capacity IV fluid facility. Other sector-specific funds will be created through the investment partnership, including a $5 billion energy investment fund, $5 billion New Era Aerospace and Defense Technology Fund and $4 billion Enfield Sports Global Sports Fund. Trump kicked off his speech at the U.S.-Saudi Investment Forum on Tuesday by praising the crown prince and the country of Saudi Arabia for their hospitality and friendship. 'He's an incredible man. Known him a long time now; there's nobody like him,' Trump said of the crown prince. 'If I didn't like him, I'd get out of here so fast. You know that, don't you? He knows me well. I do, I like him a lot. I like him too much — that's why we give so much, you know? Too much, I like you too much. Great guy,' Trump added, while the crown prince smiled and clapped in response to much of his remarks. He also committed to keeping the U.S. partnership with Saudi Arabia strong, telling the crowd to applause, 'We don't go in and out like other people.' Ahead of their bilat at the royal court, the president called the crown prince a friend and said they have developed a good relationship, joking that the $600 billion investment could be a trillion. 'I really believe we like each other a lot,' Trump said. Trump's first call to a foreign leader after his swearing-in was to the crown prince, who also has a personal relationship with Trump's son-in-law and former senior adviser, Jared Kushner. But the crown prince has faced major controversy for his human rights record. U.S. lawmakers have been particularly outspoken about the case of Jamal Khashoggi, a Saudi dissident and a columnist for The Washington Post who was killed inside the Saudi Consulate in Istanbul in 2018. Trump during his first term largely defended the crown prince amid scrutiny over Khashoggi's death. The CIA has assessed that the crown prince ordered the killing of Khashoggi. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Daily Mail
01-05-2025
- Entertainment
- Daily Mail
Beyonce fans' shock claims about the real statement she was making with national anthem on Cowboy Carter tour
Beyonce 's controversial rendition of The Star Spangled Banner on her Cowboy Carter tour contained a secret left wing political statement, according to her fans. The singer, 43, divided fans after she performed the national anthem at the opening night of the tour on Monday. Some called the move 'tone deaf' and interpreted the performance as inappropriately nationalistic under the Donald Trump administration, but they may have misunderstood Queen Bey's intention. Fans have since pointed out the significance of the hitmaker performing the anthem alongside her politically-charged 2016 hit Freedom. Not only was Freedom an unofficial anthem during the 2020 George Floyd protests, it was later used as the official song for the 2024 Kamala Harris presidential campaign. The Destiny's Child diva later appeared alongside Harris at a campaign rally in Houston, where she officially endorsed the former Vice President and delivered an impassioned speech. Trump also attempted to use Freedom for a campaign video on social media last year, but Beyonce blocked it. Fans have also pointed out that the version of The Star Spangled Banner that Beyonce performed featured elements of the Jimi Hendrix version of the song. Hendrix famously performed the anthem at Woodstock as a response to the political unrest in the country at the time. Additionally, the performance also features a moment where the statement 'never ask permission for something that belongs to us' is shown on the screen. Responding to the backlash that Beyonce's rendition received on social media, one fan wrote, 'Singing the national anthem which says "land of the free" but transitioning straight into a song that says "freedom where are you?" is a CRITIQUE. THERE IS NO FREEDOM.' Another wrote, 'Beyoncé singing the national anthem and it segueing into "Freedom" hits so hard when you remember it was Kamala Harris' campaign walk out song. We just want to be free.' A third added, 'Beyoncé singing Freedom immediately after the National Anthem combined with the visuals showed during Freedom and y'all are saying she's republican etc. like imagine being this stupid.' However, other fans were extremely torn by Bey's decision to include the song. Fans have since pointed out the significance of the hitmaker performing the anthem alongside her politically-charged 2016 hit Freedom 'Honoring American nationalism while Trump's deporting babies. She's a sellout,' raged one. 'Bad choice given what Trump and Elon are doing to the world. Everyone hates America at the moment, and the anthem is the last thing she should perform… at least around the world,' added another. 'All this during Trump's administration…. So weird and tone deaf,' a third added. 'No shade, but with everything going on in our country right now this feels like the last song we should be singing,' another wrote. A fifth wrote, 'She looks like a conservative woman allied with the Republicans,' while another said, 'Hell nah. All the Black people in the crowd need to request a refund immediately.' Others were far more supportive, with some claiming that Beyonce was making a savvy political statement with the performance. 'People don't understand the artistic vision of singing the national anthem half way until it gets to freedom. Some of you guys are f***ing stupid yo,' snapped one fan. 'Soulful, captivating, stirring, breathtaking, unforgettable,' gushed another. Fans on social media were torn by the decision to include the song, with some supporting it while others were offended to see a display of patriotism during Donald Trump's presidency. Beyonce officially kicked off her Cowboy Carter tour at SoFi Stadium in Los Angeles on Monday night. From there, the pop superstar will perform across the US and Europe before closing out in Las Vegas on July 26. Amid the star's spectacular show, there was a heartwarming moment when she brought out her rarely-seen daughter Rumi, seven, alongside eldest child Blue Ivy, 13. The hitmaker — who kicked off her tour just over year and a half after she wrapped up her whirlwind Renaissance World Tour — notably didn't bring out Rumi's twin brother Sir Carter after making efforts to keep him out of the spotlight. Despite hopes for a series of triumphs, Beyoncé has been beset by fears that she's rushing into a 'flop' tour, after she has reportedly struggled to sell tickets for her upcoming shows despite winning her first-ever Grammy for Album of the Year for Cowboy Carter. Earlier on Monday, there more than 3,000 seats still available at SoFi Stadium, according to seating maps from Ticketmaster. Shortly after the Single Ladies singer announced her tour in February, fans quickly complained about the jaw-dropping prices of tickets, which ranged from hundreds to even thousands of dollars. But last week, one fan claimed to have found resale tickets in the nosebleed section of the star's SoFi Stadium show for as low as $20.
