The “hippie cowboy” strikes where it hurts. While the Kenny Rogers & The First Edition’s later version is more well known, the original’s commitment to both sitar at the beginning and tape manipulation at the end signal that the stakes are a bit different. Any altered state here is premised on a warped negligence; your “mind” should be elsewhere and soaring. Just make sure to check in once in a while: lubricate social relations, follow “sign[s],” and “unwind” as others are wont to do. Testify to the intensity of experience. Make sure that your mind is “broke[n]. And always be packing a spare “you,” since it’s the best you can do on a daily basis (given the legal limits). Be here now and then.
The “shadiest” shade of political opinion, liberal politics only appears in relation to interest (self and economic). Accrual crucial to this formulation: wisdom and experience antithetical to being “young and impulsive.” Singer declares two formative concepts within such politics: “too far”-ness and “safe logic.” The “lockbox” as stranglehold, and the spacing of the social secured, with a smile.
Staged as an alternative Pentecostal worship service, with the lover’s love (as language) containing the Holy Ghost. Perhaps it’s more a question of how such love can be transformative. It certainly has to do with voices/voicing, phrasing, and articulation–see the bass’ varied attacks and effects. It’s also about translation: a love that puts a “tremble” in the singer’s “talk.” (There’s no glossolalia or xenoglossy here. While we’re at it, there’s also no sense of baptism in the strict sense: there’s no “experience” of the lover/god, only their effects. And no trinity; only two multiplied by all potential listeners.) The lover “ought to be ashamed” of his/her power, but there’s no “in itself” here. Love/listening is between and referred, and nothing outside of this.