Harbin's right about the voice though.
Worked against you. Because I will use this thread to post Rush subjects, Items and tunes.
Lets do a cover from Rush first.
Old school vid from '75 [year explaines the audio]
Here is the Hemisperes album 1978. Open a new tab and listen Harbin. Much to learn in the lyrics.
I will choose freewill. 100 Shaggie points for the album it is on.
100 free shaggie points to harbin for the thread.
Opinionated turds. Thats what its about
Family tragedy and recovery
Soon after the conclusion of Rush's Test for Echo Tour on July 4, 1997, Peart's first daughter and then-only child, 19-year-old Selena Taylor, was killed in a single-car accident on Highway 401 near the town of Brighton, Ontario, on August 10, 1997. His common-law wife of 22 years, Jacqueline Taylor, succumbed to cancer only 10 months later on June 20, 1998. Peart, however, maintains that her death was the result of a "broken heart" and called it "a slow suicide by apathy. She just didn't care."
In his book Ghost Rider: Travels on the Healing Road, Peart writes that he told his bandmates at Selena's funeral, "consider me retired." Peart took a long sabbatical to mourn and reflect, and travelled extensively throughout North and Central America on his motorcycle, covering 88,000 km (55,000 mi). After his journey, Peart decided to return to the band. Peart wrote Ghost Rider: Travels on the Healing Road as a chronicle of his geographical and emotional journey.
Peart was introduced to photographer Carrie Nuttall in Los Angeles by long-time Rush photographer Andrew MacNaughtan. They married on September 9, 2000. In early 2001, Peart announced to his bandmates that he was ready to return to recording and performing. The product of the band's return was the 2002 album Vapor Trails. At the start of the ensuing tour in support of the album, it was decided amongst the band members that Peart would not take part in the daily grind of press interviews and "Meet and Greet" sessions upon their arrival in a new city that typically monopolize a touring band's daily schedule. While Peart has always shied away from these types of in-person encounters, it was decided that exposing him to an endless stream of questions about the tragic events of his life was not necessary.
Since the release of Vapor Trails and his reunion with fellow band mates, Peart has returned to work as a full-time musician. Rush released a cover EP, Feedback in June 2004 and their 18th studio album Snakes & Arrows in May 2007, supported by tours in 2004, 2007, and 2008.
Again I will urge Rush fan or not to watch the Lighted Stage docu.
Stay well to all here at Dtv. Rush is good.
This is for a Harbin.
Opinionated turds. Thats what its about
Rush has long been the favorite band of a hard-core group of devoted followers, not unlike the kind of subculture surrounding Rand herself.10 The Prices' Mystic Rhythms explores the thematic content of Peart's lyrics, imbued, as they are, with "infectious optimism" (7). Though his lyrics invite comparison to the words of Plato, Martin Heidegger, Jean-Paul Sartre, and Colin Wilson, it is Rand, say the authors, who is Peart's major influence.11 In compositions such as "Red Alert," "The Big Money," "The Weapon," and "Red Barchetta," Peart engages in a Randian repudiation of the herd mentality and social conformity and an "exaltation of the individual"—which the authors identify as "the fundamental assumption of political conservatism" and its "distaste for Big Government." He celebrates the human body and its beauty, the human mind and its promise and projects an ideal man, not unlike Rand's Howard Roark or John Galt. The rebellious "New World Man" is "self-formation" and "self-actualization" personified, at war with social constructions of the individual. New World Man is a manifestation of the "conservative" vision "of a society composed of many individuals and taking its shape, flavor, and character from them" (77).
But the fact that Peart is equally at odds with established religion suggests that the authors' description of his politics as "conservative" is woefully inadequate. Durrell S. Bowman argues, by contrast, that Rand's revolt against Judeo-Christian morality and related notions of community and tradition place her outside contemporary conservatism. Indeed, as Bowman observes, to call Rand "'deeply conservative' necessarily posits a revisionist reading of what it means to be conservative." Rand, says Bowman, was an exemplary representative of "nineteenth-century romantic social liberalism," with its emphasis on "free trade along with individual rights and freedoms" (Bowman 2001, 192).12 Bowman suggests that labeling Rand is problematic only in the context of a twentieth-century transformation in the meaning of "liberalism" and "conservatism" due to the rise of the welfare state. He writes: "By the mid-1980s the transition was complete, and anyone who favored individualism, laissez-faire capitalism, and smaller government (or at least a lesser amount of government interference in the lives of individuals) was considered 'conservative'." This label stuck even if the person abhorred censorship or favored reproductive rights or the rights of gays and lesbians to pursue their own happiness. It is for this reason that Peart came to describe himself as politically "libertarian" in opposition to both left-wing intolerance of the "politically-correct" sort and the right-wing intolerance of religious fundamentalists who sought to crush free expression and alternative lifestyles (193).
Peart's disgust with ignorance, prejudice and zealotry is on display in a trilogy of songs ("Witch Hunt," "The Weapon," and "The Enemy Within"), which deal with the theme of "Fear." In this trilogy, Peart articulates a successive cognitive movement toward understanding the essence of that emotion. As Price and Price (1998, 15) explain, Peart shows "how evil lies beneath the surface of pious intentions, obvious to everyone but the self-deceived mob itself." The "picture of religion" presented in this trilogy
recalls Nietzsche's condemnation of Christianity as a "slave morality," the creed of the cringing cowardly herd, for whom "faith" can be defined as not wanting to know the truth, whose real fear is the fear of their own freedom, and whose greatest joy, masochistic though it be, is to "lay down the burden" of their freedom "down by the riverside." (18)
The requirement to get to the root of human emotions, such as fear, echoes the Randian injunction to "check one's premises." It highlights a necessity for the individual's "systematic demolition of every evasion of self-motivated action." Thus, in songs such as "Something for Nothing," the authors maintain, Peart projects the "liberty of the soul" as an individual's triumph over an "unreconstructed slave-mentality." The "challenges of freedom" are not merely political; they are deeply psychological (82-83). Peart's lyrics seek "to free the individual from the cloying, numbing, dulling grip of a conformist, mediocrity-society." Rush's "New World Man," the authors argue, aims "to start over, building a better society from the ground up, using self-assured individualists as the building blocks" (78).13
Based on the Price's own descriptions, Peart does not seem to exhibit the typical conscience of a conservative; he seems much more radical and revolutionary in his convictions. The authors themselves emphasize that radicalism especially in their discussion of 2112, a series of symbolic musical compositions centering on the need for individual integrity to triumph over "the tide of mediocrity" (93). The key to understanding the piece, the authors argue, is its "'acknowledgment to the genius of Ayn Rand.'" Price and Price observe that Rand, "an expatriate Russian philosopher-novelist," had "extolled the value of the creative, autonomous individual over against the stifling, leveling power of the mediocre 'collectivity'" (93-94). Rand's rejection of the Soviet experiment was equally a warning to "every society where collectivism reared its head, under whatever name" (95).
Rush's protest against "enforced mediocrity" (135) and social conformity is also the subject of such songs as "Mission" and "Red Barchetta." Fully embracing Rand's anti-egalitarianism, Rush portrays the "nonsense" at work in societies that forbid "the excellent to excel, lest the inferiority of the inferior be revealed." In contrast to social blindness,
Rand and Rush . . . want to see. . . . If the blind belief in automatic equality prevails, then not even the excellent will any longer bother to excel, since they will not be allowed to, nor be rewarded for it. They will not even see the need to excel, nor feel guilty for not excelling. Everyone will have only mediocre sites to aim for. (116)
The anti-egalitarian creed is most clearly demonstrated in "The Trees":
The song depicts a dispute between the shorter Maples and the towering Oaks. The Maple gripe is this: the Oaks are too tall! They hog all the light! But who can blame the Oaks for being proud of their height? Perhaps a bit smugly they wonder why the Maples can't be happy in their shade. The Maples scream "Oppression!" The Oaks, befuddled, just shake their heads. The Maples get organized and demand equal rights. The solution? Oak ascendancy is over, thanks to a just decree. All trees henceforth are chopped down to equality. The Lowest Common Denominator becomes the rule. The Maples, of course, are those who mutter "I'm as good as you!" and who hobble their superiors to make it so in truth! (96)
Throughout the Rush corpus, the authors argue, these Randian themes are fully explored, paralleling too the ideas of both Heidegger and Nietzsche, who rejected "inauthentic existence" and "the herd," respectively (97).
Though Rush embraces a Randian individualist ideology, the search for individual authenticity remains a hallmark of Progressive rock more generally. Stump (1997) views Progressive rock as "the soundtrack to the counter-cultural upheavals of the late 1960s, and the period= s gallant pipedream of thoroughgoing societal and cultural transformation" (9). For Stump, Progressive rock artists were always "driven by high Romantic notions of personal expression and originality, individual authenticity, honesty and similar praiseworthy universals." They "scorned convention" and "adopted genuinely radical revolutionary artistic and political viewpoints and splinted their musical experimentation with rigorous theoretical radicalism" (10). This "revolution," though usually left-of-center and, at times, philosophically esoteric, had an "all-embracing" spiritual, cultural, and political character (43). In its scope, if not in its content, it was a revolution the form of which Rand would have appreciated, given her own belief in the necessity for comprehensive social change.
That Rand's brand of individualism might contribute to the search for authenticity sought by Progressive rock musicians is dismissed by Stump, however. Stump argues that the rise of the New Right—of Reaganism, Thatcherism, and their "bourgeois" materialist values—actually hastened the decline of Progressive rock. For Stump, the New Right's impact on Progressive rock is precisely captured in Rush—a band that is "Thatcherite/Reaganite politics made music: all the technique, all the surface of Progressive without its conciliatory nature" (258). Aesthetically, Stump criticizes Rush for its "clunking riffs and bludgeoning bass," but he recognizes that Rush's "repertoire also included elaborately constructed suite-like compositions . . . whose variation of mood, timbre and metre are among the nearest to true English Progressive custom that North America ever got" (257). Still, because it finds inspiration in the works of "far-Right Canadian [sic] philosopher Ayn Rand,"14 Rush's lyrics have "featured social prescriptions of varying toxicity, such as exhortations to 'philosophers and ploughmen' to know their respective places" (257).15 Ultimately, such "New Right politics systematically discredited the utopian and prescriptive postures of the 1960s"
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