Full Circle

     A manner of justice was served to a particularly odious terrorist in a upscale city in Pakistan early Monday morning local time. He will have no name in this blog, because his identity is known and he does not deserve a memorial of a Google search even to this remote, back- water blog. He found his termination as a deliverer of death at the hands of the country to whom his inflated position as a dark angel of indiscriminate terror had been etched by the inane savagery of thousands of innocent deaths on the morning of September 11th, 2001. The end was swift and sure; but it could not remotely equal the sustained horror of those trapped behind smoking floors of a soon to collapse skyscraper, the crushing agony of those who had to sit helpless as maniacal puppets of this terrorist drove planes into catastrophic impacts, and not even a wisp of the piercing pain that any mother of any slain soldier assassinated by a remote directed explosive must have felt when told the news of her beloved child’s end defending the very people this societal lynch artist claimed to represent.

     Who was this individual who became one of the most hunted figures in history? In final essence, he was a cartoon character of a man. A rich man who sold himself as some bizarre representative of the downtrodden. A faux religious character who pretended to live a life mirroring his prophet , when his personal own true religion was a sadistic worship of nihilism. A classic mass murder who hid behind a strategy of “mass casualty” as a cleaned up description of his need to kill the innocent in droves. A man proselytizing about the “foreign devil”, when he personally was responsible for more deaths among his own race and religion than any foreign influence or action could ever achieve.

     The full circle took ten years and it ended as suddenly and as swiftly as it began, from the air in ships, striking the seemingly impregnable, and laying waste in just minutes. The lessons will potentially take many more years to fully discern, but a frontier justice to deal with the truly wicked has found a 21st century role. There is no place in a modern civilized society for an evil that hides behind its projection of fear, that works toward the creation of a racialist, segregationist false choice between individual freedom and 7th century religious fervor and societal tenets. In the end the spark that this nihilist had ignited ended up with an arab world rising up not for a modern Caliph, but with this spring, a birth of potential freedom from tyranny. Through his own destruction, the faint candle that he tried over so many years to snuff out, may finally be in a position to illuminate. The ultimate irony.  The ultimate epitaph.

     Now that’s justice…

People We Should Know #13 – Alison Krauss

     I am not sure what angels look like, but I know what they sound like. They sound like Alison Krauss.

     Alison Krauss is approaching her fortieth birthday this year as the most awarded female performer in Grammy history and a coveted partner with a multitude of performers as disparate as Robert Plant, Yo Yo Ma, and James Taylor who have sought her out to bring her special crystal like clarity to their projects, regardless of the genre. She is a Ramparts selection for People We Should Know for her seminal position as the bridge between modern American and Americana music that has brought to light so many talented musicians and preserved the underpinnings of Americana music, most notably “bluegrass”, to a larger audience of appreciative listeners than ever before.
     Alison is first and foremost a musician of the first order, performing in the lead fiddle position in a band filled with virtuosos, Union Station. The special influences that have created Americana and bluegrass music, the musical traditions of Scotch-Irish, Welsh, and English immigrants, are mixed in with the strains of African American jazz influences, with its improvisational nature, to create the blend known as bluegrass. Bluegrass icon Bill Monroe described it as a “high lonesome sound”, reflecting the rural and isolated nature of the immigrants of Appalachia separated from easy access to the American mainstream. His Kentucky roots led him to call his ensemble the Bluegrass Boys, and with it the formal birth of the American musical genre known as bluegrass. Union Station has raised the standard of play to virtuoso level, with Alison on lead vocal and fiddle, Dan Tyminski on mandolin, guitar, and fiddle, Ron Block on guitar and banjo, Jerry Douglas on dobro, and Barry Bales on bass performing with an unmatched precision and capability. There may not be a performing ensemble currently performing in the United States in any genre as balanced with talent as Union Station. The blending of bluegrass and pop influence by Union Station is non-traditional, but what preserves the connectivity with bluegrass purists is the angelic sixth instrument of the group, Alison’s singing voice. This unique instrument produces a pitch perfect vibrato-less sound like a wind chime, and no one who has heard it live can fail to be elevated on a spiritual plane. The voice was identified by the Coen Brothers as the siren call to color their movie “O’ Brother, Where Art Thou?” with a mythical texture that fit both the distinctly American culture and the ancient Grecian saga comprising the story. The musical score became a best seller, and Alison and Dan Tyminski as the musical stars.
     Alison, born in Illinois of a family with Mississippi roots, studied classical violin, but early on began performing in local fiddler’s contests, and was immediately identified as a special talent. She was invited into Union Station at age 16, and has maintained a twenty year relationship with these superb performers, moving seamlessly back and forth from the band to more experimental solo pop, gospel, folk, and classical performances. She remains a performer with a completely unadorned stage presence, who never fails to capture her audience with her wit and unassuming nature. The telltale sign of her immense talent, however, is the quiet rapture of every audience when she sings, with the complete absence of coughing and stirring while she sings, as if the listener has heard celestial chimes for the first time. Its a special event when she performs, and one I have had the pleasure to experience personally.
     The music she has produced with Union Station, and a very special performance of a song from “O’ Brother, Where Art Thou?” with her trio collaboration with country bluegrass legends Emmy Lou Harris and Gillian Welsh is put forth for your viewing pleasure below. The ever present historical link that connects the modern listener with the very ancient strains of the earliest American immigrants, and the uniquely powerful role that this American performer plays in its preservation, makes Alison Krauss a very special #13 on Ramparts People We Should Know.