“Love Me, I’m a Liberal” (Phil Ochs)

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.

“Ripple” (Grateful Dead)

At one point, an argument for the holiness of music, which comes from a “fountain” that’s “not made by the hands of man.” Given this, a self-dismissed admonition as well, questioning originality as it pertains to our “hand-me-down” thoughts. Seeking movement without initiation, as “leaders” in a representative democracy are really just shills. Sitting tight, not knowing where anyone is going to or coming from. Sluggish hippie Bacchanalia celebrating folk music as sustenance. Freedom of consumption.

“Creepin’” (Grand Funk Railroad)

Secrety, slowly, and incrementally the country no longer is in the hands of the people (sure, sure: we certainly live in a land where leaders endorse Leo Straussian lying and misdirection). And by “tomorrow,” it’ll all be gone: in the hands of the “fools” who are “rapin’ the land.” Long organ lines and hard-rock crooning turn this into a lament: it’s nearly (or really) too late for action. But, were we all to “wake up” right now, we could turn this country in something “strong” and full of “class.” Creepy.

“Political Science” (Randy Newman)

The “science” of Washington, D.C. political science amounts to nothing but “us,” “them” (who hate “us,” but we don’t know why), and the use of deadly force (because bombing will “set everybody free”). The blind state-based terrorism of soft-shoe shuffling, aw-shucks good intentions.