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Patriotism vs. protest

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No one really knows what motivated John Walker Lindh to fight alongside the Taliban, but a controversial new song tries to figure out why: It begins: "I'm just an American boy raised on MTV/ and I've seen all those kids in the soda pop ads/ but none of 'em looked like me," and ends: "Now they're dragging me back/ with my head in a sack/ to the land of infidel."

The song is titled "John Walker's Blues," and the songwriter, country singer Steve Earle, is no stranger to controversy. His lyrics about subjects such as the death penalty have riled conservative country listeners for years. Though Mr. Earle's new album, "Jerusalem," is not on shelves yet, word about his new song is already digging at America's post-Sept. 11 sensitivities and causing renewed debate about what a songwriter's real role is.

So far, most songs that have touched on the events of Sept. 11 have been patriotic anthems and sentimental remembrances, such as Paul McCartney's "Freedom" and Alan Jackson's "Where Were You (When the World Stopped Turning)."

But, almost a year after the terrorist attacks on New York and Washington, Earle's composition is one of two new songs that attempt to understand the perspective of a terrorist. The other is a song that appears on Bruce Springsteen's new album, "The Rising," released this week. Though the record is filled with soulful narratives on how the attacks impacted American lives, it also includes "Paradise," a subtle exploration of a suicide bomber's motives.

Music critics say it will be the first real test of how the public will respond to such perspectives in popular song.

"Since our country's beginnings, music has been a way of transmitting commentary and criticism, says Elizabeth Crist, an assistant professor of musicology at the University of Texas in Austin. "I expect we'll see more and more criticism and comment on the current political situation once we've moved past the initial expressions of mourning and nationalism."

Shifting attitudes

But it may take longer. Like the rest of America, musicians – traditionally known for their hard-hitting social commentary and anti-establishment sentiment – have, in some cases, shifted in their attitudes since Sept. 11.


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