A new Cookie Crumbs (volume 12) is now available…read on to find out what its all about, in the words of Cookie Bob: "I was very excited when I first heard that the Junkies would play two shows at Birchmere that would encompass all of Trinity Session and Black Eyed Man. I immediately made plans to attend. It seemed like I hit every traffic jam in each of the eight states I traversed on the drive down, but it was well worth the frustration. Trinity was well-rehearsed and fluid, while Black Eyed Man was less so, yet so very welcome as it contains many of my most favorite CJ songs. Winter’s Song alone was worth the trip. This will be the longest Cookie Crumbs to date, as there was so much good music played over the two days. I’ve included the entire first night’s show plus the BEM set from night two. I had intended to take the Nomad songs that were exclusive to the second night and intersperse them in the first night’s Nomad set, but doing so seemed to interrupt the flow and detract from the overall energy level, so I left well enough alone. Mike is better at set list construction than I am. I had a real good time at these shows and now you can, too. Special mention should be made of the Birchmere staff, who are consistently welcoming, friendly and do their best to be accommodating."
(Scott Garbe is the writer of The Kennedy Suite. He will be posting a series of blogs about the writing of the Suite, it is a fascinating journey and definitely worth following along…make sure that you check back in every now and then.)
The idea of conspiracy sprang to life the instant the third shot found its mark in Dealey Plaza with such dispassionate viciousness. “They killed him!” screamed Abraham Zapruder as the Presidential limousine was swallowed by the shadows of the triple underpass, his index finger finally slipping from the trigger of his Bell and Howell home movie camera. Bent over her broken husband, Jackie sobbed “He’s dead – they’ve killed him – oh, Jack, oh Jack, I love you.”
The enormity of the crime demanded the cold calculation of organized menace.
Evelyn Lincoln, Kennedy’s personal secretary, made a laundry list of suspects as she was riding on Air Force One back to Washington from Dallas: Lyndon, KKK, Dixiecrats, Hoffa, John Birch Society, Nixon, Diem, Rightists, CIA in Cuban fiasco, Dictators, Communists.
The idea that the President could have been killed by a lone assassin working in isolation was just as incomprehensible as that fact that he had ceased to exist.
Bullet for You sets forth a list of would-be assassins representative of the myriad entities during the early 1960’s that would have greeted Kennedy’s death with relish. In so doing, the lyric of the song strives to convey the tangible animosity that hung heavy in the Dallas air and had many people surrounding Kennedy strongly urging him not to make the trip. It also reflects how the idea of conspiracy, perhaps even the psychological need for it, has persisted to the present day.
Disgruntled Cuban Exiles: The first would-be assassin in the song is a Cuban exile, positioned on a roof top over-looking the motorcade route. Criticism of the President was bitter amongst the exile community where it was viewed that his lack of adequate air support at the Bay of Pigs led to the failure of the CIA lead operation to over-throw Castro. The failed operation was an embarrassment for the young administration and left Kennedy famously vowing to “splinter the CIA in a thousand pieces and scatter it to the winds.” Reportedly, even Robert Kennedy harbored suspicions that the CIA had been involved in the murder of his brother. Click here if you are interested about learning more about the Bay of Pigs.
The Mob: Means, expertise and motive converge on this popular choice amongst conspiracy theorists. It is alleged the Kennedys used mob contacts to have ballot boxes stuffed in Illinois to help secure the Presidency. The mob then grew incensed when Robert Kennedy pursued the organization aggressively as Attorney General once his brother was in the White House. In addition, it is not just conspiracy talk when historians such as Robert Dalleck confirm that Kennedy had an affair with Judith Campbell, mistress also to mobster Sam Giancana, introduced to Kennedy by Frank Sinatra.
Right Wing Extremists/John Birch Society: When the President arrived in Dallas, he was greeted by a caustic full page advertisement in the Dallas Morning News sarcastically addressing him as Mr. Kennedy. The article was financed by John Birch Society member Joseph P Grinnan and accused President Kennedy of being soft on communism and a friend to Yugoslavian dictator Josip Broz Tito. The name at the bottom of the ad was Bernard Weissman, a JBS sympathizer who had not formally joined the society because he found that many of its members were anti-Semitic. Ironically, the name at the bottom of the ad was a prime motivator for Jack Ruby to later kill Lee Oswald. Ruby, who was deeply sensitive to anti-Semitism throughout his life, was dismayed that the ad and the subsequent assassination of the President could add to the already strong anti-Semitic environment in Dallas that he faced on a daily basis. Besides saving Jackie Kennedy the pain of returning to Dallas to testify in Oswald’s trial, Ruby reportedly had said he killed Oswald to show the world that, “Jews had guts.” To view the original ad, click here:
Fidel Castro: In the closing months of his Presidency, Kennedy was involved in secret, back-channel discussions with Castro which aimed to find a peaceful resolution to the tension between their two countries. Things had been going so well, according to Thurston Clarke’s JFKs Last Hundred Days, that Castro joked he would be happy to come out publically for Barry Goldwater if it meant keeping Kennedy in office. Despite these overtures, Kennedy had authorized Operation Mongoose, a covert CIA operation that aimed to over throw the Communist government in Cuba and assassinate its leader. Robert Kennedy was directly responsible for running the project. According to Evan Thomas’ Robert Kennedy: His Life, former CIA director, John McCone recalled Robert Kennedy asking him directly if the agency had killed his brother. Later, McCone wondered if RFK’s emotional devastation was caused by personal guilt created by the knowledge that in actively seeking the life of Castro, he may have brought about the death of his brother.
Emasculated Lovers: Published conspiracy suspects range from the plausibly ominous to the scurrilously ridiculous – from well-trained assassins of the Soviet Union to a Secret Service agent who pulls a hand gun out of the limousine glove box and turns to murder the man he had sworn to protect in full view of the First Lady and Governor Connelly. The aggrieved husband whose wife has left him “for a look-a-like Kennedy working in a traveling show” is representative of the most implausible of those theories that themselves conspire to turn catastrophe into carnival.
Lee Harvey Oswald – Killer or Patsy?: In the final verse of the song, two versions of Lee Oswald serenade the listener, vying for their sympathies. Is he the killer standing in the 6th floor window of the Texas Schoolbook Depository Building, coolly awaiting the President’s arrival? Or is he the down-on-his-luck patsy, innocently sipping a Coca-Cola in the break room as the leader of the free world passes by?
Inspiring and enacting change generates hatred. Palpable hatred. This is a reality for those chipping at the mountain of social prejudice in anonymity and those moving effortlessly through the rarified air of privilege. Through the romantic haze of nostalgia, it is difficult to appreciate from a distance of 50 years just how much President Kennedy was reviled by a broad range of adversaries. He was despised as passionately as he was adored. As Mrs. Lincoln wrote on the back of her note: "There is no end to the list of suspected conspirators to Pres. Kennedy’s murder. Many factions had their reasons for wanting the young president dead. That fact alone illustrates how the world suffers from a congenital proclivity to violence".
Though the assassination provides the context for The Kennedy Suite, this song cycle is not a “Who Done It?”Bullet for You is expository in its treatment of the many conspiracies surrounding the murder of President Kennedy. It is not meant to elucidate or accuse. My belief in conspiracy died with my interest in it. My interest in conspiracy died in this realization:
The identity of the killer is of far less consequence than the consequence of the victim’s destruction. Amidst all the mystery and metaphysical wonderings, that is a truth which is deep, sad, and immovable whether the life taken belongs to the President or a child bent worriedly over his times tables.
Endowing catastrophe with meaning diminishes its power to a point where our survival of its cruelty seems possible. That is the balm conspiracy offers.
Its failure to soothe may be conclusive proof in and of itself that Lee Oswald acted alone.
Welcome to the new year everyone, let’s hope it’s a good one for one and all. If you are unfortunate enough to be hunkered down in the deep freeze covering most of North America, don't worry, I have heard that help is on the way. My sources in Australia tell me that the sun is still up in the sky and is slowly making its way to our side of the planet (yes, I'm advocating a return to the Ptolemaic view of the universe, it’s a new year’s resolution of mine). Have I told you that I hate the cold…? Indeed I do.
A few things of note…we are back on the road at the end of February. The first leg of 2014 starts at the end of February and brings us to the eastern states, where we hope to help with the thaw. There will be another leg in April (not quite sure where this one will bring us just yet) and then another in June (during which it looks like we'll be getting down to the Southern California region). For all touring details please keep an eye on the Tour page.
If you haven't had a chance to check out The Kennedy Suitecd please do so. It's a collaborative effort that we have been working on for a few years now and we are very proud of it. In the words of Sun Media it’s “Ambitious, artful and just plain awesome”. It also made the “Best of 2013” lists in The Globe and Mail, The National Post, Sun Media and a whole bunch of other places.
A couple of Latent releases also made some end of year lists. Lee Harvey Osmonds “The Folk Sinner” was number 3 at CKUA for the year and made the Top 20 on a couple of Ear Shots national radio charts as did The Good Family Album. Please check these out if you haven't yet had a chance: if you are in to what we do, you will find a lot to like in these albums.
Keep an eye on this space…we'll be adding info as we build the tour and as we make our way towards our next recording project. Stay warm and stay safe.
Once I had found my thread, I wrote three new songs in very short order.
The first would revolve around the life of the police officer riding in the motorcade directly beside Jacqueline Kennedy at the moment of the assassination. The next, from the perspective I imagined as the First Lady. It was upon finishing this second song that I realized slaying my Minotaur would involve the creation of an entire collection of narratives that, when strung together, would follow the chronology of that tragic weekend in Dallas. A suite of songs. The Kennedy Suite was a title that came almost immediately and involuntarily. That inspirational spark was closely followed by my first structural calculation.
Newton’s third law of motion states that “when one body exerts a force on a second body, the second body simultaneously exerts a force equal in magnitude and opposite in direction to that of the first body.” The same is true for physics of storytelling. The profound loss I had felt when I discovered President Kennedy had been murdered found its power in the deep sense of awe that had been generated in me as I explored his life. If I was to help the reader appreciate that same experience to any degree, songs addressing the assassination and its aftermath would need to be preceded by a vivid depiction of the palpable excitement and tangible possibility for change his ideas generated.
And so I set to work on a prologue.
“Let the word go forth from this time and place, to friend and foe alike, that the torch has been passed to a new generation of Americans…”
President Kennedy’s Inaugural Address was, and is, a thrilling listen. If you have never taken the time or had the opportunity to do so, you can treat yourself by clicking on this link: http://www.jfklibrary.org/Asset-Viewer/BqXIEM9F4024ntFl7SVAjA.aspx.. Look through the transcript. Stunning. It was clear very early that nothing I could create could match hearing the President speaking for himself, and so it would be that both the demo I would set down with my friend Doug Telfer and the final recording produced by Michael would begin and end with him doing so.
Freed from having a rhetorical toe to toe with my hero and avoiding a disastrous Dan Quayle moment (see: http://www.youtube.com/watch?v=uWXRNySMW4s ), I began to play – an activity that is, for me, the essence of the writing process.
One of the games I like to play most is to turn a phrase, especially a cliché – something I learned to love in Elvis Costello’s writing (“Who’s making Lover’s Leap safe again for lovers?”) Needless to say, one of President Kennedy’s most famous phrases from that speech, “Ask not what your country can do for you, ask what you can do for your country,” immediately piqued my sense of linguistic mischief.
One of JFK’s great qualities was his ability to question the status quo with skepticism and intelligence. In the final days of his presidency he was looking to extract the country from Vietnam, he had beaten back the hawks encouraging him to use military force in Cuba and was quietly pursuing a back-channel dialogue with Castro. The unofficial overtures had gone so well that Castro had joked he would publically back Republican Presidential hopeful Barry Goldwater if it would help Kennedy get re-elected in 1964. Furthermore, the successful resolution of the Cuban Missile Crisis had fostered a growing understanding with Nikita Khrushchev that, more than adversaries, they were partners in holding back forces within their militaries that were advocating for preemptive nuclear conflict and presenting that strategy as not only advantageous but reasonable. Kennedy’s challenge to instigate meaningful change and his ability to express that challenge with an eloquence and incisiveness that made change seem not only possible but inevitable was infectious. To put it another way, the new Commander in Chief was a shit disturber of the highest order, and his rhetoric, as audacious as it was erudite, was a clarion call for others to aspire to the same level of progressive insubordination.
“Ask not what your country can do, ask what it’s done.”
I had turned the phrase, and in so doing, had found a probing disposition that I felt was not only representative of the times and of the Kennedy presidency, but would also weave its way through the writing of the entire project.
The prologue of The Kennedy Suite would be entitled Origami Peace Corps Mischief Makers. Its first and more succinct title was Make Us! My friend Adam Faux had encouraged me to trade it for interest’s sake with a line I had created for the chorus. Though the title changed, that spirit of “progressive insubordination” would remain integral to the song.
It was at this moment that the development of the lyric, as it began to take on a life of its own, took a funny turn.
I could think no greater example of steadfast courage, dignified resolve and unflinching defiance than in the stories of hundreds of ordinary Americans who participated in the Civil Rights Movement. The song began to head full stream in that direction. While there were references to Kennedy’s call to land a man on the moon and his almost subversive use of diplomacy to resolve the Cuban Missile Crisis, references to the 16th Street Baptist Church bombing in Birmingham, Rosa Parks and the Montgomery Bus Boycott, the Freedom Riders and the murder of Emmett Till (http://www.youtube.com/watch?v=PxK8u58PqTE) began to take over the page. What was interesting for me was that a song celebrating Kennedy’s zeal for societal change was running into an area where Kennedy was roundly criticized for his lack of action – the area of Civil Rights. For conservatives who were safely removed from the crippling degradation of racism, he was moving too fast – for those suffering the hourly indignities and horror of state sponsored brutality, he was inching reluctantly at a pace which was only exacerbating the suffering.
A confluence of events would push President Kennedy to conclude that the struggle for Civil Rights was, in fact, a moral issue that would need to be addressed, whatever the political consequences. He would lay his convictions before the American people on June 11, 1963, five months before his death. Two of those ordinary heroes, Vivian Malone and James A. Hood, were attempting to enroll in the University of Alabama and the state’s Governor, George Wallace, was blocking their way. Kennedy would be forced to send Federal troops to resolve the issue. In his speech explaining his actions he would say in part that, “…this nation, for all its hopes, and all its boasts, will not be fully free until all its citizens are free.” (the full speech can be seen at: http://www.jfklibrary.org/Asset-Viewer/LH8F_0Mzv0e6Ro1yEm74Ng.aspx )
When the song had found its feet, it had aggressively turned the tables. The man who boldly challenged others would himself be boldly challenged. And sometimes political pragmatism would mean that he would not rise to meet that challenge until the actions of those less powerful, even powerless, forced his hand.
Was President Kennedy all I had imagined him to be?
The ode to the penetrating skepticism of a man I had admired since I was a young boy was now poking its thick finger in my chest, looking into my eyes, wondering if I was willing to go where it may lead me.
Its probing disposition had me wondering the same thing.
The National is Canada's premier national news broadcast. We were very honoured that they took an interest our little corner of the world and created a very substantial news item about The Kennedy Suite, which aired last Friday night. They came in to our studio during rehearsal for the Winter garden shows and went out to Scott's school and filmed him at work as well as doing extensive interviews with me, Scott and Andy. It's a terrific piece…, please give it a listen, if you have a few minutes in your day.
It was an amazing weekend of music. We thank all of you that put your faith in us and bought a ticket. We hope you weren't disappointed. And we thank all of the musicians and crew that came together to create a weekend of inspired music. It was one of the more satisfying and uplifting events that I have had the pleasure in being a part of. Here are some pictures from backstage….I was a little busy so I didn't have much time to properly document the event. I'm expecting to receive some more pics over the next few days so I'll post them when I receive them. Check out the Cowboy Junkies and The Kennedy Suite facebook pages for more coverage and photos.
Scott Garbe is the writer of The Kennedy Suite. He will be posting a series of blogs about the writing of the Suite, it is a fascinating journey and definitely worth following along…make sure that you check back in every now and then.
Writing The Truth About Us (The Ballad of Lee and Marina) was a cathartic artistic and personal moment. It was a relief to give expression to some of my broken certainties, and I was later thrilled and humbled when the Skydiggers decided to include the song on their 1997 recording Desmond’s Hip City. With the passing of several years, however, I began to realize that I had broken out of one maze to find myself in another. The sense of freedom I had felt initially was replaced by an existential stone on my chest. What was I to do?
“Furthermore, we have not even to risk the adventure alone; for the heroes of all time have gone before us; the labyrinth is thoroughly known; we have only to follow the thread of the hero-path. And where we had thought to find an abomination, we shall find a god; where we had thought to slay another, we shall slay ourselves; where we had thought to travel outward, we shall come to the center of our own existence; and where we had thought to be alone, we shall be with all the world.” – Joseph Campbell
This quote eloquently crystallizes one of literature’s great comforts, and in my search for an exit strategy, I latched onto it immediately. If I wanted to avoid becoming Joe Pesci playing David Ferrie in Oliver Stone’s JFK , I had better play Theseus. The Labyrinth is dark, but the path well travelled. I needed to find the end of that thread, slay my Minotaur and follow it out.
Back to the beginning…
I dug out my copy of The Torch Has Passed… and turned again to the series of photos that had so devastated me decades before. I interrogated the images for information, pushing further and further with my imagination. Where was the thread? Pushing to get close. Young and old at Love Field, straining to shake the President’s hand. Opaque reflections framed in horned-rimmed glasses. A child giggling in a rain hat on the shoulders of an unseen parent. Jackie beaming – the recent death of her infant son Patrick lifted from her expression. Red roses. Pink Chanel suit. Fall sunlight glinting off flawless chrome. Straining to pull humanity from still faces. Find the thread. Tight knot on a thin tie. The turn from Houston to Elm. A shot. A shot. Hands to the throat. Mrs. Kennedy’s white glove cups her husband’s jutting elbow. She leans towards him. Questioning. Inches from his puzzled face. Back brace holding him aloft. Upright. In harm’s way…
A police officer rides directly beside Jackie Kennedy. His head turned sharply over his right shoulder. In between the second and third shots, his mind is in transition. Faint smile fades. Jaw clenches. I had found my thread.
November 22 marks the 50th anniversary of the assassination of President John F. Kennedy, and of all the events marking it, none is as unexpectedly poignant as this song cycle created by Toronto poet Scott Garbe, produced by Cowboy Junkies' Michael Timmins along with Andy Maize and Josh Finlayson of Skydiggers. Who would have thought that a bunch of Canadian indie rockers could encapsulate the ongoing mystique of what happened that day in Dallas so comprehensively? But that's precisely what these 15 tracks accomplish, with various perspectives illustrated by voices that include Sarah Harmer, Jason Collett, Martin Tielli, and the Junkies and 'Diggers themselves, the last of whom revisit the monumental "The Truth About Us," first recorded on 1997's Desmond's Hip City. On paper, the overarching concept might suggest a dour history lesson — or worse, another Oliver Stone conspiracy theory — but from the opening Who-like performance by Hawksley Workman and the Screwed, The Kennedy Suite's drama is rooted in the real hope for change JFK instilled, and how his killing was an act that irrevocably changed North American society — an act not repeated on a similar scale until September 11, 2001. In that sense, Garbe's words are perfectly measured, focusing on intimate encounters with major players such as Lee Harvey Oswald and Jack Ruby, as well as unnamed JFK admirers and hospital workers. It adds up to an audacious statement that musically conjures memories of '90s CanRock glory. More significantly, The Kennedy Suite is a highly affecting portrait of a moment in time whose lingering effects still cast a long shadow.
(All of the work that we did on The Kennedy Suite was based on the inspired demo that Scott Garbe and Doug Telfer created. It was an impressive blueprint, and for some of the songs, all we had to do was colour in the squares. The blog below was written by Doug Telfer who co-produced the demo along with Scott. If you pre-order the Kennedy Suite before Tuesday Nov 12th you will recieve a free digital copy of the demo. I think that its an important part of the project.)
Musicians meet musicians through other musicians; it’s like social media except without the colossal invasion of privacy. That’s how I met Scott Garbe – through our mutual friend Dean Sherman. Dean gave me a collection of songs that Scott had written – the songs were awesome, the lyrics were intelligent and insightful, but the recording was awful (sorry Scott).
I had some home recording equipment I’d been tinkering with rather than doing something productive. So, naïvely thinking it would take a weekend and maybe a couple of evenings, I made an offer to Scott to turn his collection of songs into something a little more polished.
The demo recording – which took about a year – was a continuous learning process. Scott credited me on the demo as co-producer, but that’s an exaggeration. Scott would have an idea, and my contribution was to turn off the furnace and hit the record button, hoping I had everything set up correctly.
The more we recorded, the more creative Scott became. He had a clear vision of the sound he wanted. The demo for Senior Prom was the most complex, with historical sound clips, Sydney Hodge on violin, and a late-night recording of my insomniac daughter Katie counting in (which made it to the final version). At the end of the song, the shot that felled Oswald reverberates through the basement of the Dallas Police Headquarters.
Scott was still writing during the recordings, and he kept showing up with new songs that were getting better and better. Some of those later songs are still my favourites, especially Secret Spy Decoder Ring, The Dallas Youth Auxiliary, and Slipstream.
With the release of The Kennedy Suite, it’s a revelation to hear how each song has been interpreted. Lyrically, there is dark comedy and despair, but hope is also given elbow room. I hadn’t heard the demo in quite a while, so I went back to give it a listen recently, and was pleasantly surprised at the quality of the recording despite our inexperience. I do confess pride at playing a small part in this unique project. But the songs would have shone through no matter the quality of the recording.
When we started, Scott was a friend-of-a-friend. By the end, the hyphens and the degree of separation had disappeared. He’s a remarkable guy, soft-spoken but driven. Luckily it seems he’s met up with some other driven people along the way (notably Mike Timmins) who have moved this suite of songs to a special place. – Doug Telfer
(Make sure to order The Kennedy Suite before Tuesday November 12 in order to get a free copy of composer Scott Garbe's demo. Also make sure to check out the deluxe folder that brother Pete has created…you can check out one of his collages below. The No Depression review can be found here.)
reviewed by Skot Nelson
"Oh Marina, Marina, it’s cold and it’s lonely / When you’re pointing a gun at the President” sings Andy Maize towards the end of the Kennedy Suite on a song originally released by The Skydiggers in 1997. “I’m no flunky with a rifle / I’m an N.R.A. Golden Boy / I’m a Genius Forging a Legend.”
The fifty years since the assassination of John F. Kennedy have seen no shortage of artistic expression dedicated to the memory of Camelot. That assassination had as much impact north of the border as it did in the United States and the latest release ostensibly from Canada's Cowboy Junkies (though it's really a collaboration album) is an ambitious song cycle that chronicles the man and the events of the time.
The album’s fifteen tracks tell the assassination’s story from the perspective of a series of interconnected characters and those stories are told with the help of some of the band’s formidably talented friends: in addition to The Skydiggers, there are guest appearances from Doug Paisley, Lee Harvey Osmond, Reid Jamieson, and Martin Tielli to name a few.
The song’s perspectives vary widely and the musical styles shift with them: the jazzy I Got a Bullet for You captures the conspiracy theory nature of the era with a wide array of guests. Secret Spy Decoder Ring is a straight ahead rocker told from the playful perspective of a child.
The album’s songs unfold along a loose but intertwining timeline. While the first few start early in the day by the time we get to Parkland—not quite half way through the full collection, and told from the perspective of a hospital worker—the President is dead.
We’re gradually moved into post-assassination territory with the poignant Disintegrating (the only song on the album to feature Margo Timmins’ voice at the forefront) and Senior Prom before culminating in the events of the days immediately after the President's death..
Those days lead to one of the album’s finest moments, when Kennedy assassin Lee Harvey Oswald is given voice by Andy Maize in The Truth About Us, a song that chronicles the American dream and optimistic sentiment of the the times. “Let’s settle up on boot hill / To the view we adore” Maize sings at the song’s start before moving on to a later refrain of “Oh Marina, Marina, it’s cold and it’s lonely / when reporters are carrying your coffin.”
As a concept album, The Kennedy Suite succeeds where other similar efforts might have failed in capturing a historic era. There are no rose coloured glasses here: Slipstream sees Martin Tielli sing about the complex duality of Camelot with lines like “Buy an election / get the girl / while the girls are gone / have more than one” that allude to Kennedy’s numerous affairs. This is followed by news clips covering the assassination of Martin Luther King and making reference to the eventual death of Bobby Kennedy. Camelot may have been sunny, but the Cowboy Junkies are looking in the shadows too.
Highlights on the collection include Lee Harvey Osmond’s Parkland, the Skydiggers’ Truth About Us and Martin Tielli's performance on Slipstream. It really is a collection that should be listened to in full though.
The Kennedy Suite is a rich, complex work that rewards a close listen. Grab this, sit back with a good set of headphones and spend an hour with an album that succeeds on just about every level: it’s a lyrically rich, well constructed, musically versatile tribute to a time when America was the land of hope and glory when, as The Skydiggers put it, “Every girl and boy could grow up to be the President / Or grow up to be the President’s killer.”