The Declaration of Independence was officially adopted on July 4th, 1776, denoting the birth of the United States of America. Tomorrow marks the 250th anniversary of that day. It's a landmark date in American history, so let's celebrate this Independence Day with songs about the country.
SOMETHING OLD
Paul Simon - American Tune
1973
While the rest of today's edition may not be overly patriotic, I will open on a note that is deeply thankful for my country. A couple of weeks ago, I worked a classical concert Central Park. The show was part of a completely free concert series that has been in tact for 121 years. In anticipation of America's birthday, the program was full of American composers. Before the concert began, I had the privilege of meeting musical legend Leonard Bernstein's daughter Jamie, who spoke to me about spending childhood summers in the Massachusetts highlands with her father and fellow composer Aaron Copland. The concert concluded with a stunning string and vocal arrangement of Paul Simon's American Tune, and I was very nearly brought to tears.
I have so much criticism for this country, but working a job I adore in the park and city I know & love elicited a feeling of truly "belonging" that could not be replicated in any country, and I feel certain about that because because I have put that truth on trial. This Simon track was dearest to me during my three month period studying in France. I spent years studying French to make that possible, and I was met with more struggle than I had ever imagined. I faced malaise and pestilence through bed bugs and repeated mysterious illnesses alongside profound loneliness and isolation through not speaking the language well enough. Aspects of living abroad that should be exciting, such as trying new foods and seeing new places, only deepened those feelings as I longed for home. I have never been as patriotic as I was in France — a country whose nature, architecture, and overall government & standards of living outclassed ours — because after all, it wasn't my home. I listened over and over again to Paul Simon sing you don't expect to be bright and bon vivant so far away from home, and I felt those words resonate in my bones, down to the French loanword.
Even when you are down, dreaming that you are dying, Simon paints imagery of Lady Liberty looking at you and smiling reassuringly. Suddenly, dreams of dying transform into dreams of flying. Perhaps that is the American dream, with its false hope and all. But as he says in one of my other favorite lyrics, you can't be forever blessed.
Paul Simon - American Tune
1973
While the rest of today's edition may not be overly patriotic, I will open on a note that is deeply thankful for my country. A couple of weeks ago, I worked a classical concert Central Park. The show was part of a completely free concert series that has been in tact for 121 years. In anticipation of America's birthday, the program was full of American composers. Before the concert began, I had the privilege of meeting musical legend Leonard Bernstein's daughter Jamie, who spoke to me about spending childhood summers in the Massachusetts highlands with her father and fellow composer Aaron Copland. The concert concluded with a stunning string and vocal arrangement of Paul Simon's American Tune, and I was very nearly brought to tears.
I have so much criticism for this country, but working a job I adore in the park and city I know & love elicited a feeling of truly "belonging" that could not be replicated in any country, and I feel certain about that because because I have put that truth on trial. This Simon track was dearest to me during my three month period studying in France. I spent years studying French to make that possible, and I was met with more struggle than I had ever imagined. I faced malaise and pestilence through bed bugs and repeated mysterious illnesses alongside profound loneliness and isolation through not speaking the language well enough. Aspects of living abroad that should be exciting, such as trying new foods and seeing new places, only deepened those feelings as I longed for home. I have never been as patriotic as I was in France — a country whose nature, architecture, and overall government & standards of living outclassed ours — because after all, it wasn't my home. I listened over and over again to Paul Simon sing you don't expect to be bright and bon vivant so far away from home, and I felt those words resonate in my bones, down to the French loanword.
Even when you are down, dreaming that you are dying, Simon paints imagery of Lady Liberty looking at you and smiling reassuringly. Suddenly, dreams of dying transform into dreams of flying. Perhaps that is the American dream, with its false hope and all. But as he says in one of my other favorite lyrics, you can't be forever blessed.
Of course Simon also penned one of the other greatest songs about our country, America. Both have been such guiding lights in my life. So if there's anything to be grateful for in the United States, it very well may just be the soothing sounds and heartfelt words of a mister Paul Simon.
SOMETHING NEW
Jack White - Dollar Bill
June 10th, 2026
Jack White - Dollar Bill
June 10th, 2026
As someone particularly fond of Jack White's slide guitar experimentation while in The White Stripes, I was immediately drawn to this new single. White opens with an isolated slide guitar riff, which echos and arpeggiates in a sinuous fashion. It carries this deep reverberation until the rest kicks in, forming the traditional rock feel we can always expect from him. It moves in cycles, though, returning to that spectacular riff again in the middle. I truly love where White takes this musically.
As for this week's theme, White contends with the power of the American dollar. The lyrics are almost primitively simple, but the message comes across nonetheless. The second verse is the most compelling, simplifying power dynamics in four lines:
You can't control me
Unless you owe me
And you don't own me
Unless I owe you
He also sings about doing things "for a dollar," representing the influence of money on our actions. Knowing Jack White's political attitudes, it would be foolish to believe the song is anything other than commentary on the imbalanced force of capitalism in our country.
As for this week's theme, White contends with the power of the American dollar. The lyrics are almost primitively simple, but the message comes across nonetheless. The second verse is the most compelling, simplifying power dynamics in four lines:
You can't control me
Unless you owe me
And you don't own me
Unless I owe you
He also sings about doing things "for a dollar," representing the influence of money on our actions. Knowing Jack White's political attitudes, it would be foolish to believe the song is anything other than commentary on the imbalanced force of capitalism in our country.
SOMETHING BORROWED
The Staple Singers - Masters Of War (Bob Dylan)
1965
The Staple Singers - Masters Of War (Bob Dylan)
1965
Are you feeling patriotic yet? Can you feel the enduring resilience of our nation?
Can you hear the gunshots? Do you hear the bloodcurdling cries in foreign lands across the globe? At the hands of red, white, and blue? Do we feel powerful yet? Do we have the most deadly weapons?
Can you hear the gunshots? Do you hear the bloodcurdling cries in foreign lands across the globe? At the hands of red, white, and blue? Do we feel powerful yet? Do we have the most deadly weapons?
Have we mastered the art of war?
Bob Dylan asserted that we had back in 1963, as he witnessed what would only be the first half of the Cold War between the US and the Soviet Union. We fought for nearly half a century to prove that we were powerful and that we could achieve atomic annihilation if we were provoked enough. Does that sound familiar? This standoff inspired what is widely known as Dylan's most damning protest song.
Bob Dylan asserted that we had back in 1963, as he witnessed what would only be the first half of the Cold War between the US and the Soviet Union. We fought for nearly half a century to prove that we were powerful and that we could achieve atomic annihilation if we were provoked enough. Does that sound familiar? This standoff inspired what is widely known as Dylan's most damning protest song.
Set to the melody of a folk song by Jean Ritchie, Dylan does not hold back in condemning the US. He confronts the country's cowardice, callousness, and crimes: faults which he suggests that not even Jesus would forgive. In its dark closing words, he wishes death on the "masters" and promises to stand over their grave to make sure they're dead. The haunting song stands at the heart of the true power of what folk music can be.
The Staple Singers, who admired Dylan as much as they admired him, would release a soul-stirring and spine-chilling cover of the song a couple years later, which coincided with escalating protests against the Vietnam War as the Cold War still chugged along at a snail's pace. This version is coated in deep reverb, evoking a sense of walking through a plume of heavy smoke. Pops Staples takes the lead on the vocals as his children sing beautifully eerie backing harmonies. I feel that they successfully emphasized the song's raw darkness.
I also want to mention another cover of Masters of War, which I only discovered while researching: Leon Russell's 1970 version, which he set to the tune of The Star-Spangled Banner. Russell's take one the song transcends boldness as he sings Dylan's scathing criticism against the country under the guise of our national anthem.
The Staple Singers, who admired Dylan as much as they admired him, would release a soul-stirring and spine-chilling cover of the song a couple years later, which coincided with escalating protests against the Vietnam War as the Cold War still chugged along at a snail's pace. This version is coated in deep reverb, evoking a sense of walking through a plume of heavy smoke. Pops Staples takes the lead on the vocals as his children sing beautifully eerie backing harmonies. I feel that they successfully emphasized the song's raw darkness.
I also want to mention another cover of Masters of War, which I only discovered while researching: Leon Russell's 1970 version, which he set to the tune of The Star-Spangled Banner. Russell's take one the song transcends boldness as he sings Dylan's scathing criticism against the country under the guise of our national anthem.
SOMETHING... SOLD, AMERICAN!
Kinky Friedman - Sold American
1973
Kinky Friedman - Sold American
1973
1930s North Carolinian tobacco auctioneer Lee Aubrey "Speed" Riggs earned his nickname for a reason, and his voice became a cemented part of American history. In an advertisement for Lucky Strike cigarettes, Riggs rapidly conducts an auction and concludes by saying "sold, American!," which became a famous catchphrase after being heard on radio stations across the country. The phrase inspired a fantastic big band tune of the same name by Glenn Miller in the late 30s.
Some decades later, Kinky Friedman, known for his ribald sense of humor, political endeavors, and unique Texan-Jew identity, released a song and album using the phrase as well. Nestled among boldly titled songs like Ride 'Em Jewboy and Get Your Biscuits in the Oven and Your Buns in Bed is the actually beautiful title track. Friedman admitted to being frustrated for a time with his more serious songs getting overlooked and eclipsed by his satire, and I suspect this would be one he'd like to have been talked about more.
The song tells the story of a country star whose fame is fading, whose sequins have fallen from his clothes as he writes his memoir. The chorus repeats that everything and everyone has been "sold American." Likely a play on the famed cigarette catchphrase, it comes across to me as a poignant social commentary on the American dream. He ends the final verse with it's almost like they raise the price of fame, perhaps suggesting that success in the nation is now only sold to the highest bidder.
Happy Birthday, America.
Some decades later, Kinky Friedman, known for his ribald sense of humor, political endeavors, and unique Texan-Jew identity, released a song and album using the phrase as well. Nestled among boldly titled songs like Ride 'Em Jewboy and Get Your Biscuits in the Oven and Your Buns in Bed is the actually beautiful title track. Friedman admitted to being frustrated for a time with his more serious songs getting overlooked and eclipsed by his satire, and I suspect this would be one he'd like to have been talked about more.
The song tells the story of a country star whose fame is fading, whose sequins have fallen from his clothes as he writes his memoir. The chorus repeats that everything and everyone has been "sold American." Likely a play on the famed cigarette catchphrase, it comes across to me as a poignant social commentary on the American dream. He ends the final verse with it's almost like they raise the price of fame, perhaps suggesting that success in the nation is now only sold to the highest bidder.
Happy Birthday, America.