*Bob Feldman 68: `Free Leonard Peltier!'
posted by markin at
1:48 PM
0 Comments
Monday, July 20, 2009
Link
*Folk Potpourri- Part Three-Mark Spoelstra
Click On Title To Link To Rhapsody's Presentation Of "Mark Spoelstra At Club 47". For Those Unfamiliar With 1960's Folk Revival History Club 47 (Now Club Passim) Was The "Mecca" Of The Boston/Cambridge Folk Scene With The Likes Of Joan Baez, Bob Dylan, Tom Rush And The Artist Under Review Holding Forth There. Those Were The Days. Sorry, I Could Not Find A YouTube Link For Mark Spoelstra.
CD REVIEW
Five & Twenty Questions, Mark Spoelstra, Collectors’ Choice Music, 2006
Over the past year or so I have been reviewing many of the male folksingers who proliferated in the early 1960’s folk revival and who threw their hats in the ring to be “king of the hill” of the burgeoning folk scene (the women singers of the period are to be looked at separately later). Names such as Tom Rush, Tom Paxton, Jesse Colin Young and Jesse Winchester have already been reviewed. These are performers, for the most part, who still work the small concert and coffee house circuit but whose names are probably very unfamiliar to today’s musical audience, folk or otherwise. I approached my theme initially under the sign of this question; what qualities, personal and musical, make some singers succeed and others fall by the wayside?
We know that Bob Dylan, without a doubt, wanted to win that contest for supremacy and did so. I think that Dylan answered the why of that question himself in one of the snippets of interviews in the Martin Scorsese documentary of his early career, “No Direction Home”. There he noted, when asked why audiences gravitated to his songs, that while there was plenty of talent around most singers sang their message over the audience (I think that he meant in the literal performing sense, as well as intellectually) but that it was necessary to “speak” to the audience. To our sense of longing for identity, for some knowledge of life’s mystery, and for that some one who could express in our own tribal youth language the words that we needed to push on with. Well, Dylan certainly did that to a generation, my generation, that saw “the answer blowing in the wind” and desperately hoped that “the times were a-changin’’’.
The folk artist under review, Mark Spoestra is one of the male singers that I have not mentioned previously, although he was certainly in the mix of things in the early 1960’s. In fact, his “resurrection” here is due to my having seen his “talking head” commentary on that “No Direction Home” Scorsese production. I do not know the particulars of his later story but the work here on this CD is a case in point about the Dylan comment. (I note that after this review was written I found out that Mark Spoelstra had died in 2007.)
Certainly his lyrics are strong and are right in the Woody Guthrie (and later, Dylan himself) troubadour tradition of spreading the news of the day. “Five & Twenty Questions” and, more so, the tragic story outlined in “Ballad Of 12th Avenue”, about the desperation of a used up man in the bowels of modern American society that has left him with no resources but the gun to work out his problems, are in that mode. “On The Road Again” and “The Leaves” speak to the need to ramble and find oneself or to find love or find something that we hungered for then (and not just then either). That said, this album still leaves me with the feeling that old Mark was speaking to himself and for himself and not to me. That is the difference. A big difference. Still, if you have time listen in to someone who was struggling to find the meaning of his times and, at least on “Ballad Of 12th Street”, hit pay dirt.
He Was A Friend of Mine (Just A Hand To Hold)
Lyrics: Mark Spoelstra
Music: Mark Spoelstra
This was played by the Grateful Dead in their early days, from 1966 to 1970. It is normally in setlists as "He Was A Friend Of Mine" but it is in fact a portion of a Mark Spoelstra song "Just A Hand To Hold"
Chorus
He was, he was a friend of mine
He was, he was a friend of mine
Now he's dead and gone
This morning my best friend
Was sleeping in his bed
His face like a jewel
And he was dead
[chorus]
He liked to play games
Mark, push me on a swing
Mark, push me on a merry-go-round
Going round and round
[chorus]
deadsongs.vue.90 : He Was A Friend Of Mine
permalink #5 of 18: Alex Allan (alexallan) Sat 17 Sep 05 01:20
Thanks to a tip from Russ Lipetzky, I've discovered that the song we
know as "He Was A Friend Of Mine" is in fact "Just A Hand To Hold" by
Mark Spoelstra. Spoelstra recorded it on his 1965 LP "5 & 20 Questions"
and it was covered in the same year by Kathy and Carol (Kathy Larisch
and Carol McComb). I've got a copy of the latter - lyrics below. The
Grateful Dead sang just the first few verses. Mark Spoelstra used to
perform with Bob Dylan, Dave Van Ronk et al in New York in the early
1960s, which may explain the loose connection with the song "He Was A
Friend Of Mine" that they performed.
Just A Hand To Hold
Mark Spoelstra
He was, he was a friend of mine
He was, he was a friend of mine
Now he's dead and gone
This morning, my best friend
Lay still on his bed
His face like a jewel
And he was dead
He was, he was only six years old
He was, he was only six years old
So I've been told
He like to play games
Mark, push me on the swing
Mark, push me on the merry-go-round
Go round and round
Swing me, oh swing me, swing me all up and down
Spin me, oh spin me, spin me around and round
Till my feet touch the ground
He never was afraid
For he was was brave and bold
And the only thing he ever asked for
Was a hand to hold
It makes no difference where he's from or where's he's bound
And it makes no difference if he's lost or been found
He's dead and gone
But there is no power
Anywhere in this land
Like the voice used to say
Will you hold my hand
There is a voice that rings loud throughout this land
There is a voice that speaks for the black and tan
And for all of man
It's young and it's old
It's brave and it's bold
It can't be bought or sold
Just a hand to hold
CD REVIEW
Five & Twenty Questions, Mark Spoelstra, Collectors’ Choice Music, 2006
Over the past year or so I have been reviewing many of the male folksingers who proliferated in the early 1960’s folk revival and who threw their hats in the ring to be “king of the hill” of the burgeoning folk scene (the women singers of the period are to be looked at separately later). Names such as Tom Rush, Tom Paxton, Jesse Colin Young and Jesse Winchester have already been reviewed. These are performers, for the most part, who still work the small concert and coffee house circuit but whose names are probably very unfamiliar to today’s musical audience, folk or otherwise. I approached my theme initially under the sign of this question; what qualities, personal and musical, make some singers succeed and others fall by the wayside?
We know that Bob Dylan, without a doubt, wanted to win that contest for supremacy and did so. I think that Dylan answered the why of that question himself in one of the snippets of interviews in the Martin Scorsese documentary of his early career, “No Direction Home”. There he noted, when asked why audiences gravitated to his songs, that while there was plenty of talent around most singers sang their message over the audience (I think that he meant in the literal performing sense, as well as intellectually) but that it was necessary to “speak” to the audience. To our sense of longing for identity, for some knowledge of life’s mystery, and for that some one who could express in our own tribal youth language the words that we needed to push on with. Well, Dylan certainly did that to a generation, my generation, that saw “the answer blowing in the wind” and desperately hoped that “the times were a-changin’’’.
The folk artist under review, Mark Spoestra is one of the male singers that I have not mentioned previously, although he was certainly in the mix of things in the early 1960’s. In fact, his “resurrection” here is due to my having seen his “talking head” commentary on that “No Direction Home” Scorsese production. I do not know the particulars of his later story but the work here on this CD is a case in point about the Dylan comment. (I note that after this review was written I found out that Mark Spoelstra had died in 2007.)
Certainly his lyrics are strong and are right in the Woody Guthrie (and later, Dylan himself) troubadour tradition of spreading the news of the day. “Five & Twenty Questions” and, more so, the tragic story outlined in “Ballad Of 12th Avenue”, about the desperation of a used up man in the bowels of modern American society that has left him with no resources but the gun to work out his problems, are in that mode. “On The Road Again” and “The Leaves” speak to the need to ramble and find oneself or to find love or find something that we hungered for then (and not just then either). That said, this album still leaves me with the feeling that old Mark was speaking to himself and for himself and not to me. That is the difference. A big difference. Still, if you have time listen in to someone who was struggling to find the meaning of his times and, at least on “Ballad Of 12th Street”, hit pay dirt.
He Was A Friend of Mine (Just A Hand To Hold)
Lyrics: Mark Spoelstra
Music: Mark Spoelstra
This was played by the Grateful Dead in their early days, from 1966 to 1970. It is normally in setlists as "He Was A Friend Of Mine" but it is in fact a portion of a Mark Spoelstra song "Just A Hand To Hold"
Chorus
He was, he was a friend of mine
He was, he was a friend of mine
Now he's dead and gone
This morning my best friend
Was sleeping in his bed
His face like a jewel
And he was dead
[chorus]
He liked to play games
Mark, push me on a swing
Mark, push me on a merry-go-round
Going round and round
[chorus]
deadsongs.vue.90 : He Was A Friend Of Mine
permalink #5 of 18: Alex Allan (alexallan) Sat 17 Sep 05 01:20
Thanks to a tip from Russ Lipetzky, I've discovered that the song we
know as "He Was A Friend Of Mine" is in fact "Just A Hand To Hold" by
Mark Spoelstra. Spoelstra recorded it on his 1965 LP "5 & 20 Questions"
and it was covered in the same year by Kathy and Carol (Kathy Larisch
and Carol McComb). I've got a copy of the latter - lyrics below. The
Grateful Dead sang just the first few verses. Mark Spoelstra used to
perform with Bob Dylan, Dave Van Ronk et al in New York in the early
1960s, which may explain the loose connection with the song "He Was A
Friend Of Mine" that they performed.
Just A Hand To Hold
Mark Spoelstra
He was, he was a friend of mine
He was, he was a friend of mine
Now he's dead and gone
This morning, my best friend
Lay still on his bed
His face like a jewel
And he was dead
He was, he was only six years old
He was, he was only six years old
So I've been told
He like to play games
Mark, push me on the swing
Mark, push me on the merry-go-round
Go round and round
Swing me, oh swing me, swing me all up and down
Spin me, oh spin me, spin me around and round
Till my feet touch the ground
He never was afraid
For he was was brave and bold
And the only thing he ever asked for
Was a hand to hold
It makes no difference where he's from or where's he's bound
And it makes no difference if he's lost or been found
He's dead and gone
But there is no power
Anywhere in this land
Like the voice used to say
Will you hold my hand
There is a voice that rings loud throughout this land
There is a voice that speaks for the black and tan
And for all of man
It's young and it's old
It's brave and it's bold
It can't be bought or sold
Just a hand to hold
Labels: Bob Dylan, folk and politics, folk guitar, folk music, folk revival, folk singers, leon trotsky, Mark Spoelstra
posted by markin at
12:20 PM
0 Comments
Sunday, July 19, 2009
Link
*Once Again, A Blues Potpourri-John Lee Hooker And Furry Lewis
Click On Title To Link To YouTube's Film Clip Of Furry Lewis Doing "Kassie Jones" Wow!
DVD REVIEW
John Lee Hooker and Furry Lewis, John Lee Hooker, Furry Lewis, Yazoo Productions, 2002
I have recently reviewed a few of John Lee Hooker’s vast number of blues albums that lend credence to the title “Boogie Chillen” man. I also noted that unlike other old time electric blues artists such as Howlin’ Wolf and Lighting Hopkins that Hooker’s work, in general, leaves me cold. Although the small segment of his work presented here is good as he articulates his sense of what the blues mean, especially as it features one of his signature songs that I like, “Boom Boom”, I still am left with that same feeling. I finish by noting that this is a question of personal taste. Hooker is a blues legend, justifiably so. Case closed.
The other figure in this short Yazoo production is a different story. I have also reviewed Furry Lewis’s work elsewhere in this space and have praised his clean guitar picking style and vocals from his early career in the 1920’s when he was along with Blind Blake and Blind Lemon Jefferson one of the kings of the guitar pick. Furry does not fail here late in his career after reemerging during the folk revival of the 1960’s. His version of the famous “Kassie Jones” is worth the price of admission.
DVD REVIEW
John Lee Hooker and Furry Lewis, John Lee Hooker, Furry Lewis, Yazoo Productions, 2002
I have recently reviewed a few of John Lee Hooker’s vast number of blues albums that lend credence to the title “Boogie Chillen” man. I also noted that unlike other old time electric blues artists such as Howlin’ Wolf and Lighting Hopkins that Hooker’s work, in general, leaves me cold. Although the small segment of his work presented here is good as he articulates his sense of what the blues mean, especially as it features one of his signature songs that I like, “Boom Boom”, I still am left with that same feeling. I finish by noting that this is a question of personal taste. Hooker is a blues legend, justifiably so. Case closed.
The other figure in this short Yazoo production is a different story. I have also reviewed Furry Lewis’s work elsewhere in this space and have praised his clean guitar picking style and vocals from his early career in the 1920’s when he was along with Blind Blake and Blind Lemon Jefferson one of the kings of the guitar pick. Furry does not fail here late in his career after reemerging during the folk revival of the 1960’s. His version of the famous “Kassie Jones” is worth the price of admission.
Labels: acoustic guitar, Buddy Guy, Chicago Blues, country blues, electric blues, furry lewis, Honeyboy Williams, John Lee Hooker, Memphis blues, Ruth Brown
posted by markin at
2:10 PM
0 Comments
Link
*Down With The Federal Defense Of Marriage Act (DOMA)- The Legal Fights Steps Up
Click ON Title To Link To National Public Radio Segment On The Legal Fight By The Massachusetts Attorney-General To Challenge The Federal Defense Of Marriage Act (DOMA). Needless to say, while we have a different strategic (and political) approach to this vital democratic question all avenues, state and local, legal and on the streets, to gain this right are supportable. Down With DOMA!
Labels: california gay marriage amendment, communism, democratic rights, DEMOCRATIC SECULAR STATE, gay marriage rights, gay rights, leon trotsky, socialism
posted by markin at
8:37 AM
1 Comments
Saturday, July 18, 2009
Link
*Again,The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker
Click On Title To Link To YouTube's Film Clip Of John Lee Hooker Doing "Boom Boom".
The Very Best Of John Lee Hooker, John Lee Hooker, Rhino Records, 1995
So given the above comments what is classic here, according to my tastes. Well, hell just the lyrics alone to “I’m Bad Like Jesse James” rates as one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Boogie Chillen” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.
The Very Best Of John Lee Hooker, John Lee Hooker, Rhino Records, 1995
So given the above comments what is classic here, according to my tastes. Well, hell just the lyrics alone to “I’m Bad Like Jesse James” rates as one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Boogie Chillen” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.
Labels: alan and john lomax, boogie chillen, boogie woogie, Bukka White, Chicago Blues, John Lee Hooker, leon trotsky, Son House
posted by markin at
3:21 PM
0 Comments
Link
*Once More,The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker
Click On Title To Link To YouTube's Film Clip Of John Lee Hooker Doing "I'm Bad Like Jesse James"".
John Lee Hooker: The Definitive Collection, John Lee Hooker, Union Square Music, 2000
So given the above comments what is classic here, according to my tastes. Well, hell “Boogie Chillen” is one of those here or there songs Hooker songs I mentioned above that I liked. How about the power of “Boom Boom” and “Hard Headed Woman” and the classic Hooker lines of “She’s Long, “She’s Tall”.
John Lee Hooker: The Definitive Collection, John Lee Hooker, Union Square Music, 2000
So given the above comments what is classic here, according to my tastes. Well, hell “Boogie Chillen” is one of those here or there songs Hooker songs I mentioned above that I liked. How about the power of “Boom Boom” and “Hard Headed Woman” and the classic Hooker lines of “She’s Long, “She’s Tall”.
Labels: boogie chillen, Bukka White, chess records, electric blues, electric guitar, howlin' wolf, John Lee Hooker, leon trotsky, Muddy Waters
posted by markin at
3:16 PM
0 Comments
Link
*The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker
Click On Title To Link To YouTube's Film Clip Of John Lee Hooker Doing "Boogie Chillen".
CD REVIEW
John Lee Hooker: The Real Folk Blues, Chess Records, 1987
I have poured out kudos to the likes of Howlin’ Wolf, Skip James, Son House, Bukka White and an assortment of other legendary male acoustic and electric blues guitar players in this space. I have not, until now, mentioned the name of the legendary blues artist John Lee Hooker, although he belongs up there with those other above-mentioned names. Why? Well, frankly, it is a question of tastes. Other than an occasional song here or there John Lee Hooker does not “speak” to me, a term that means something to me in the blues context. Sure his guitar smokes when he is on. He always had more than enough black and white bands (Canned Heat, for one) clamoring to back him up and certainly his lyrics (with a few “politically incorrect” exceptions common to the genre) drove his message home. But we never connected at that “soul” level the way Wolf, Son House or the recently discovered (by me) Bukka White do. This happens. But I know enough about the blues to know that John Lee Hooker will “speak” to others. Legends are like that.
So given the above comments what is classic here, according to my tastes. Well, hell “Stella Mae” is one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Peace Lovin’ Man” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.
*Again, The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker
John Lee Hooker: The Definitive Collection, John Lee Hooker, Union Square Music, 2000
So given the above comments what is classic here, according to my tastes. Well, hell “Boogie Chillen” is one of those here or there songs Hooker songs I mentioned above that I liked. How about the power of “Boom Boom” and “Hard Headed Woman” and the classic Hooker lines of “She’s Long, “She’s Tall”.
*Once More,The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker
The Very Best Of John Lee Hooker, John Lee Hooker, Rhino Records, 1995
So given the above comments what is classic here, according to my tastes. Well, hell just the lyrics alone to “I’m Bad Like Jesse James” rates as one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Boogie Chillen” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.
"Boogie Chillen'" : John Lee Hooker
(John Lee Hooker)
Well my mama she didn't 'low me, just to stay out all night long, oh Lord
Well my mama didn't 'low me, just to stay out all night long
I didn't care what she didn't 'low, I would boogie-woogie anyhow
When I first came to town people, I was walkin' down Hastings Street
Everybody was talkin' about, the Henry Swing Club
I decided I drop in there that night
When I got there, I say, "Yes, people"
They was really havin' a ball!
Yes, I know
Boogie Chillen'!
One night I was layin' down,
I heard mama 'n papa talkin'
I heard papa tell mama, let that boy boogie-woogie,
It's in him, and it got to come out
And I felt so good,
Went on boogie'n just the same
"Tupelo Blues"
(John Lee Hooker)
[Spoken:]
Did you read about the flood?
It happened long time ago, in a little country town, way back in Mississippi
It rained and it rained, it rained both night and day
The people got worried, they began to cry,
"lord have mercy, where can we go now?"
There were women and there was children, screaming and crying,
"lord have mercy and a great disaster, who can we turn to now, but you?"
The great flood of Tupelo, Mississippi
It happened one evenin', one Friday evenin', a long time ago,
It rained and it started rainin'
The people of Tupelo, out on the farm gathering their harvest,
A dark cloud rolled, way back in Tupelo, Mississippi, hmm, hmm
Wasn't that a mighty time,
Wasn't that a mighty time?
Wasn't that a mighty time,
A mighty time, that evenin'?
It rained, both night and day
The poor people that had no place to go, hmm,hmm
A little town, called Tupelo, Mississippi
I never forget it and I know you won't either
"I'm In The Mood"
(John Lee Hooker / Bernard Bessman)
I'm in the mood baby, I'm in the mood for love
I'm in the mood baby, I'm in the mood for love
I'm in the mood, I'm in the mood, baby, I'm in the mood for love
I said night time is the right time, to be with the one you love
You know when night come baby, God know, you're so far away
I'm in the mood, I'm in the mood baby, I'm in the mood for love
I'm in the mood, in the mood, baby, in the mood for love
I said yes, my mama told me, to leave that girl alone
But my mama didn't know, God know, girl was puttin' down
I'm in the mood, I'm in the mood baby, in the mood for love
I'm in the mood, I'm in the mood, baby, in the mood for love
One Bourbon, One Scotch, One Beer lyrics
One bourbon, one scotch, and one beer
One bourbon, one scotch, and one beer
Hey mister bartender come here
I want another drink and I want it now
My baby she gone, she been gone two night
I ain't seen my baby since night before last
One bourbon, one scotch, and one beer
"I'm Mad Again"
(John Lee Hooker)
I had a friend one time, at least I thought I did
Taken that man in my house, give him my food,
Over my table, that I couldn't afford
He come to me, he said 'Johnny, ain't got no place to stay'
I said 'Yes man, come to my house'
I get you a place to stay, and a bed to sleep in,
That I couldn't afford
When I found out, you with my wife,
Now I'm mad, like Al Capone
Well I warned you one time,
Next time I warn you,
I'm gonna use my gun on you
'cause I'm mad with you, hahaha
I'm mad with you, like Al Capone
Look man, I told you one time before
But this time, I'm gonna teach you,
A little lesson, you won't forget
Take this man, right down by, the riverside
I might drown you,
I might shoot you,
I don't know
Gonna tie your hands, gonna tie your feet
Gag you so you can't talk to nobody
I'm mad, rrrrr, I'm mad with you
You're sinkin', I'm mad
"It Hurts Me So"
(John Lee Hooker / Bernard Besman)
That man don't love you, he told me so
He's only doin' that, baby, to break up your home
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
That man don't love you, no he don't
He's only jivin' you little girl, lovin' the girl next door
When things go wrong, so wrong with you,
It hurts me so, it hurts me so Yeah!.
You know you don't love him, you know you don't
Go ahead and leave me baby, don't make me cry
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
That man don't love you, he told me so
Only jivin' you, baby, breaking up your home
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
So long, baby, I've got to go
Because you don't love me now, darlin', I know you don't
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
"How Long Blues"
(Leroy Carr, arranged by John Lee Hooker)
Standin' at the station when the train come by
Deep down in my heart, baby, feel an achin' pain
How long, oh, baby how long?
Baby how long, baby how long,
Has that evenin' train been gone,
How long, oh, baby how long?
If I could holler like a mountain jack,
I'd go up on the mountain, call my baby back
How long, oh, baby how long?
I could see the green grass,
Growin' up on the hill
But you can't see a green-black drawin' on a,
On a dollar bill
Baby, how long?
Baby how long?
How long, baby how long,
Has that evenin' train been gone?
Baby how long, oh baby how long?
Baby how long, oh baby how long?
CD REVIEW
John Lee Hooker: The Real Folk Blues, Chess Records, 1987
I have poured out kudos to the likes of Howlin’ Wolf, Skip James, Son House, Bukka White and an assortment of other legendary male acoustic and electric blues guitar players in this space. I have not, until now, mentioned the name of the legendary blues artist John Lee Hooker, although he belongs up there with those other above-mentioned names. Why? Well, frankly, it is a question of tastes. Other than an occasional song here or there John Lee Hooker does not “speak” to me, a term that means something to me in the blues context. Sure his guitar smokes when he is on. He always had more than enough black and white bands (Canned Heat, for one) clamoring to back him up and certainly his lyrics (with a few “politically incorrect” exceptions common to the genre) drove his message home. But we never connected at that “soul” level the way Wolf, Son House or the recently discovered (by me) Bukka White do. This happens. But I know enough about the blues to know that John Lee Hooker will “speak” to others. Legends are like that.
So given the above comments what is classic here, according to my tastes. Well, hell “Stella Mae” is one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Peace Lovin’ Man” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.
*Again, The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker
John Lee Hooker: The Definitive Collection, John Lee Hooker, Union Square Music, 2000
So given the above comments what is classic here, according to my tastes. Well, hell “Boogie Chillen” is one of those here or there songs Hooker songs I mentioned above that I liked. How about the power of “Boom Boom” and “Hard Headed Woman” and the classic Hooker lines of “She’s Long, “She’s Tall”.
*Once More,The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker
The Very Best Of John Lee Hooker, John Lee Hooker, Rhino Records, 1995
So given the above comments what is classic here, according to my tastes. Well, hell just the lyrics alone to “I’m Bad Like Jesse James” rates as one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Boogie Chillen” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.
"Boogie Chillen'" : John Lee Hooker
(John Lee Hooker)
Well my mama she didn't 'low me, just to stay out all night long, oh Lord
Well my mama didn't 'low me, just to stay out all night long
I didn't care what she didn't 'low, I would boogie-woogie anyhow
When I first came to town people, I was walkin' down Hastings Street
Everybody was talkin' about, the Henry Swing Club
I decided I drop in there that night
When I got there, I say, "Yes, people"
They was really havin' a ball!
Yes, I know
Boogie Chillen'!
One night I was layin' down,
I heard mama 'n papa talkin'
I heard papa tell mama, let that boy boogie-woogie,
It's in him, and it got to come out
And I felt so good,
Went on boogie'n just the same
"Tupelo Blues"
(John Lee Hooker)
[Spoken:]
Did you read about the flood?
It happened long time ago, in a little country town, way back in Mississippi
It rained and it rained, it rained both night and day
The people got worried, they began to cry,
"lord have mercy, where can we go now?"
There were women and there was children, screaming and crying,
"lord have mercy and a great disaster, who can we turn to now, but you?"
The great flood of Tupelo, Mississippi
It happened one evenin', one Friday evenin', a long time ago,
It rained and it started rainin'
The people of Tupelo, out on the farm gathering their harvest,
A dark cloud rolled, way back in Tupelo, Mississippi, hmm, hmm
Wasn't that a mighty time,
Wasn't that a mighty time?
Wasn't that a mighty time,
A mighty time, that evenin'?
It rained, both night and day
The poor people that had no place to go, hmm,hmm
A little town, called Tupelo, Mississippi
I never forget it and I know you won't either
"I'm In The Mood"
(John Lee Hooker / Bernard Bessman)
I'm in the mood baby, I'm in the mood for love
I'm in the mood baby, I'm in the mood for love
I'm in the mood, I'm in the mood, baby, I'm in the mood for love
I said night time is the right time, to be with the one you love
You know when night come baby, God know, you're so far away
I'm in the mood, I'm in the mood baby, I'm in the mood for love
I'm in the mood, in the mood, baby, in the mood for love
I said yes, my mama told me, to leave that girl alone
But my mama didn't know, God know, girl was puttin' down
I'm in the mood, I'm in the mood baby, in the mood for love
I'm in the mood, I'm in the mood, baby, in the mood for love
One Bourbon, One Scotch, One Beer lyrics
One bourbon, one scotch, and one beer
One bourbon, one scotch, and one beer
Hey mister bartender come here
I want another drink and I want it now
My baby she gone, she been gone two night
I ain't seen my baby since night before last
One bourbon, one scotch, and one beer
"I'm Mad Again"
(John Lee Hooker)
I had a friend one time, at least I thought I did
Taken that man in my house, give him my food,
Over my table, that I couldn't afford
He come to me, he said 'Johnny, ain't got no place to stay'
I said 'Yes man, come to my house'
I get you a place to stay, and a bed to sleep in,
That I couldn't afford
When I found out, you with my wife,
Now I'm mad, like Al Capone
Well I warned you one time,
Next time I warn you,
I'm gonna use my gun on you
'cause I'm mad with you, hahaha
I'm mad with you, like Al Capone
Look man, I told you one time before
But this time, I'm gonna teach you,
A little lesson, you won't forget
Take this man, right down by, the riverside
I might drown you,
I might shoot you,
I don't know
Gonna tie your hands, gonna tie your feet
Gag you so you can't talk to nobody
I'm mad, rrrrr, I'm mad with you
You're sinkin', I'm mad
"It Hurts Me So"
(John Lee Hooker / Bernard Besman)
That man don't love you, he told me so
He's only doin' that, baby, to break up your home
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
That man don't love you, no he don't
He's only jivin' you little girl, lovin' the girl next door
When things go wrong, so wrong with you,
It hurts me so, it hurts me so Yeah!.
You know you don't love him, you know you don't
Go ahead and leave me baby, don't make me cry
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
That man don't love you, he told me so
Only jivin' you, baby, breaking up your home
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
So long, baby, I've got to go
Because you don't love me now, darlin', I know you don't
When things go wrong, so wrong with you,
It hurts me so, it hurts me so
"How Long Blues"
(Leroy Carr, arranged by John Lee Hooker)
Standin' at the station when the train come by
Deep down in my heart, baby, feel an achin' pain
How long, oh, baby how long?
Baby how long, baby how long,
Has that evenin' train been gone,
How long, oh, baby how long?
If I could holler like a mountain jack,
I'd go up on the mountain, call my baby back
How long, oh, baby how long?
I could see the green grass,
Growin' up on the hill
But you can't see a green-black drawin' on a,
On a dollar bill
Baby, how long?
Baby how long?
How long, baby how long,
Has that evenin' train been gone?
Baby how long, oh baby how long?
Baby how long, oh baby how long?
Labels: boogie chillen, Bukka White, chess records, electric blues, electric guitar, howlin' wolf, John Lee Hooker, leon trotsky, Muddy Waters
posted by markin at
1:50 PM
0 Comments
Link
*Down With The "Don't Ask, Don't Tell" Anti-Gay And Lesbian Military Policy
Click ON Title To Link To National Public Radio's Segment On The Fight To Have The Obama Administration Overturn The Clinton-era Policy. This space is unequivocally opposed to every aspect of American militarism and the expanding American imperial presence in the world. That is a knock-down, drag-out fight to the finish. No question about that. Nevertheless, we uphold the democratic rights of those who are in the service. While in the military those who serve, whatever else, are entitled to the same benefits as anyone who serves. Down with this policy now.
Labels: democratic revolution, DEMOCRATIC SECULAR STATE, gay marriage rights, gay rights
posted by markin at
8:14 AM
0 Comments
Friday, July 17, 2009
Link
*The Folk Troubadour Of Old- Pete Seeger
Click On Title To Link To YouTube's Film Clip Of Pete Seeger Doing "Which Side Are You On". Seems, appropriate, right?
That Old Devil Time- The Music Of Pete Seeger
Headlines&Footnotes: A Collection Of Topical Songs, Pete Seeger, Smithsonian/Folkways, 1999
The name Pete Seeger has come up repeatedly in this space over the past few years as the transmission belt from the old 1930’s and 1940’s Depression and World War II era folk revival to the that of the one in the early 1960’s. In other places in this space (check archives) I have mentioned my political differences, great and small, with Brother Seeger so there is no need to go into that here. I would note, however, that despite his folksy style he has always been driven by a political conception to his work. That is, that music, and in his case, folk music can be used to bring political “glad tidings” to the masses. One cannot fault that principle, although what effect music has in driving people to higher political consciousness is a very, very open question in my mind. Nevertheless putting topical subjects to music by the folk balladeer and troubadour alike has a long pedigree and needs no defense here. Moreover, in the capable hands of Pete Seeger, the compilation under review represents a very nice cross-section of that way of driving the political message home.
Everyone in the modern folk milieu owes a debt to Pete Seeger for playing “keeper of the flame” for the old time ‘talking blues’ format of spreading political and social messages (and Woody Guthrie as well, who perfected the art form). This volume is ample proof of that. Good examples here that provide such messages without the drumbeat of heavy political analysis are the pro-women’s liberation “There Once Was A Woman Who Swallowed A Lie” and, most dramatically (and relevantly, as President Obama right now works his way through the “Big Poppy Field” of Afghanistan) “Waist Deep In The Big Muddy” (ostensibly a tale about World War II but really about Lyndon Johnson’s Vietnam War policy). For social commentary one cannot beat Malvina Reynolds’ “Little Boxes” (almost self-explanatory about the deadening nature of upscale American suburban life) and The Claiborne’s “Listen Mr. Bilbo” (about the simple truths of immigration in America, virtually an immigrant-created country).
Of course, no collection of Seeger efforts is complete without the Spanish Civil War song, “Viva La Quince Brigada”, about the heroic Abraham Lincoln Battalion of the 15th International Brigade that fought valiantly there or to do a cover to commemorate an early heroic Cuban patriot, Jose Marti’s “Guantanamera”. For topical songs, a staple of the folk tradition since about the Middle Ages, try “The Titanic” (yes, that one that went down in 1912-and wasn’t suppose to) and “The Sinking Of The Reuben James” ( an ode to the merchant marines in the early days of World War II). For left wing political struggles under adverse conditions, “Hold The Line”, about a famous Paul Robeson concert at Peekskill, New York that was busted up by fascistic local red necks in the build-up to the ‘red scare of the 1940’s and 1950’s is a good exemplar. And so on. In short, for those who want to hear folk music with a historical sense as it was meant to be presented then here is your primer by one of your master singers of such works. Get to it, okay.
Here are some Pete Seeger-created songs (not all on this reviewed CD)
A LITTLE A' THIS 'N' THAT
My grandma, she can make a soup,
with a little a' this 'n' that.
She can feed the whole sloop group,
with a little a' this 'n' that.
Stone soup! You know the story.
Stone soup! Who needs the glory?
But with grandma cooking, no need to worry.
Just a little a' this 'n' that.
Grandma likes to make a garden grow,
with a little a' this 'n' that.
But she likes to have the ground just so,
with a little a' this 'n' that.
Not too loose and not too firm.
In the spring, the ground's all got to be turned.
In the fall, lots of compost, to feed the worms,
with a little a' this 'n' that.
Grandma knows we can build a future,
with a little a' this 'n' that.
And a few arguments never ever hurt ya,
with a little a' this 'n' that.
True, this world's in a helluva fix,
And some say oil and water don't mix.
But they don't know a salad-maker's tricks,
with a little a' this 'n' that.
The world to come may be like a song,
with a little a' this 'n' that.
To make ev'rybody want to sing along,
with a little a' this 'n' that.
A little dissonance ain't no sin,
A little skylarking to give us all a grin.
Who knows but God's got a plan for the people to win,
with a little a' this 'n' that.
Words and Music by Pete Seeger (1991)
(c) 1991, 1993 by Sanga Music Inc.
IF YOU LOVE YOUR UNCLE SAM) BRING THEM HOME
If you love your Uncle Sam,
Bring them home, bring them home.
Support our boys in Vietnam,
Bring them home, bring them home.
It'll make our generals sad, I know,
Bring them home, bring them home.
They want to tangle with the foe,
Bring them home, bring them home.
They want to test their weaponry,
Bring them home, bring them home.
But here is their big fallacy,
Bring them home, bring them home.
I may be right, I may be wrong,
Bring them home, bring them home.
But I got a right to sing this song,
Bring them home, bring them home.
There's one thing I must confess,
Bring them home, bring them home.
I'm not really a pacifist,
Bring them home, bring them home.
If an army invaded this land of mine,
Bring them home, bring them home.
You'd find me out on the firing line,
Bring them home, bring them home.
Even if they brought their planes to bomb,
Bring them home, bring them home.
Even if they brought helicopters and napalm,
Bring them home, bring them home.
Show those generals their fallacy:
Bring them home, bring them home.
They don't have the right weaponry,
Bring them home, bring them home.
For defense you need common sense,
Bring them home, bring them home.
They don't have the right armaments,
Bring them home, bring them home.
The world needs teachers, books and schools,
Bring them home, bring them home.
And learning a few universal rules,
Bring them home, bring them home.
So if you love your Uncle Same,
Bring them home, bring them home.
Support our boys in Vietnam,
Bring them home, bring them home.
Words and Music by Pete Seeger
© 1966 Storm King Music, Inc.
(From Broadside #71, June 1966: "A woman told me, 'I'm praying every night, please bring my son home safe.' I told her, 'Haven't you learned the lesson of the song WE SHALL OVERCOME? There's no solution for you or your son or me and my son unless it's a solution for all of us. It's got to be 'WE' or there's no solving the problem.' Now I don't claim this song is as good as it should be. But I was hoping for a song which would be good for a group of people to sing over and over again, and a frame in which new verses could be improvised, and the melody and harmony developed as the singers got with it.")
HOLD THE LINE
Let me tell you the story of a line that was held,
And many brave men and women whose courage we know well,
How we held the line at Peekskill on that long September day!
We will hold the line forever till the people have their way.
Chorus (after each verse):
Hold the line!
Hold the line!
As we held the line at Peekskill
We will hold it everywhere.
Hold the line!
Hold the line!
We will hold the line forever
Till there's freedom ev'rywhere.
There was music, there was singing, people listened everywhere;
The people they were smiling, so happy to be there -
While on the road behind us, the fascists waited there,
Their curses could not drown out the music in the air.
The grounds were all surrounded by a band of gallant men,
Shoulder to shoulder, no fascist could get in,
The music of the people was heard for miles around,
Well guarded by the workers, their courage made us proud.
When the music was all over, we started to go home,
We did not know the trouble and the pain that was to come,
We go into our buses and drove out through the gate,
And saw the gangster police, their faces filled with hate.
Then without any warning the rocks began to come,
The cops and troopers laughed to see the damage that was done,
They ran us through a gauntlet, to their everlasting shame,
And the cowards there attacked us, damnation to their name.
All across the nation the people heard the tale,
And marveled at the concert, and knew we had not failed,
We shed our blood at Peekskill, and suffered many a pain,
But we beat back the fascists and we'll beat them back again!
Words by Lee Hays; Music by Pete Seeger (1949)
TALKING UNION
If you want higher wages, let me tell you what to do;
You got to talk to the workers in the shop with you;
You got to build you a union, got to make it strong,
But if you all stick together, now, ‘twont he long.
You'll get shorter hours,
Better working conditions.
Vacations with pay,
Take your kids to the seashore.
It ain’t quite this simple, so I better explain
Just why you got to ride on the union train;
‘Cause if you wait for the boss to raise your pay,
We’ll all be waiting till Judgment Day;
We’ll all he buried - gone to Heaven -
Saint Peter’ll be the straw boss then.
Now, you know you’re underpaid, hut the boss says you ain’t;
He speeds up the work till you’re ‘bout to faint,
You may he down and out, but you ain’t beaten,
Pass out a leaflet and call a meetin’
Talk it over - speak your mind -
Decide to do something about it.
‘Course, the boss may persuade some poor damn fool
To go to your meeting and act like a stool;
But you can always tell a stool, though - that’s a fact;
He’s got a yellow streak running down his back;
He doesn’t have to stool - he'll always make a good living
On what he takes out of blind men’s cups.
You got a union now; you’re sitting pretty;
Put some of the boys on the steering committee.
The boss won’t listen when one man squawks.
But he’s got to listen when the union talks.
He better -
He’ll be mighty lonely one of these days.
Suppose they’re working you so hard it’s just outrageous,
They’re paying you all starvation wages;
You go to the boss, and the boss would yell,
"Before I'd raise your pay I’d see you all in Hell."
Well, he’s puffing a big see-gar and feeling mighty slick,
He thinks he’s got your union licked.
He looks out the window, and what does he see
But a thousand pickets, and they all agree
He’s a bastard - unfair - slave driver -
Bet he beats his own wife.
Now, boy, you’ve come to the hardest time;
The boss will try to bust your picket line.
He’ll call out the police, the National Guard;
They’ll tell you it’s a crime to have a union card.
They’ll raid your meeting, hit you on the head.
Call every one of you a goddamn Red -
Unpatriotic - Moscow agents -
Bomb throwers, even the kids.
But out in Detroit here’s what they found,
And out in Frisco here’s what they found,
And out in Pittsburgh here’s what they found,
And down in Bethlehem here’s what they found,
That if you don’t let Red-baiting break you up,
If you don’t let stool pigeons break you up,
If you don’t let vigilantes break you up,
And if you don’t let race hatred break you up -
You’ll win. What I mean,
Take it easy - but take it!
Words by Millard Lampell, Lee Hays and Pete Seeger (1941)
Music: traditional ("TaIking Blues”)
That Old Devil Time- The Music Of Pete Seeger
Headlines&Footnotes: A Collection Of Topical Songs, Pete Seeger, Smithsonian/Folkways, 1999
The name Pete Seeger has come up repeatedly in this space over the past few years as the transmission belt from the old 1930’s and 1940’s Depression and World War II era folk revival to the that of the one in the early 1960’s. In other places in this space (check archives) I have mentioned my political differences, great and small, with Brother Seeger so there is no need to go into that here. I would note, however, that despite his folksy style he has always been driven by a political conception to his work. That is, that music, and in his case, folk music can be used to bring political “glad tidings” to the masses. One cannot fault that principle, although what effect music has in driving people to higher political consciousness is a very, very open question in my mind. Nevertheless putting topical subjects to music by the folk balladeer and troubadour alike has a long pedigree and needs no defense here. Moreover, in the capable hands of Pete Seeger, the compilation under review represents a very nice cross-section of that way of driving the political message home.
Everyone in the modern folk milieu owes a debt to Pete Seeger for playing “keeper of the flame” for the old time ‘talking blues’ format of spreading political and social messages (and Woody Guthrie as well, who perfected the art form). This volume is ample proof of that. Good examples here that provide such messages without the drumbeat of heavy political analysis are the pro-women’s liberation “There Once Was A Woman Who Swallowed A Lie” and, most dramatically (and relevantly, as President Obama right now works his way through the “Big Poppy Field” of Afghanistan) “Waist Deep In The Big Muddy” (ostensibly a tale about World War II but really about Lyndon Johnson’s Vietnam War policy). For social commentary one cannot beat Malvina Reynolds’ “Little Boxes” (almost self-explanatory about the deadening nature of upscale American suburban life) and The Claiborne’s “Listen Mr. Bilbo” (about the simple truths of immigration in America, virtually an immigrant-created country).
Of course, no collection of Seeger efforts is complete without the Spanish Civil War song, “Viva La Quince Brigada”, about the heroic Abraham Lincoln Battalion of the 15th International Brigade that fought valiantly there or to do a cover to commemorate an early heroic Cuban patriot, Jose Marti’s “Guantanamera”. For topical songs, a staple of the folk tradition since about the Middle Ages, try “The Titanic” (yes, that one that went down in 1912-and wasn’t suppose to) and “The Sinking Of The Reuben James” ( an ode to the merchant marines in the early days of World War II). For left wing political struggles under adverse conditions, “Hold The Line”, about a famous Paul Robeson concert at Peekskill, New York that was busted up by fascistic local red necks in the build-up to the ‘red scare of the 1940’s and 1950’s is a good exemplar. And so on. In short, for those who want to hear folk music with a historical sense as it was meant to be presented then here is your primer by one of your master singers of such works. Get to it, okay.
Here are some Pete Seeger-created songs (not all on this reviewed CD)
A LITTLE A' THIS 'N' THAT
My grandma, she can make a soup,
with a little a' this 'n' that.
She can feed the whole sloop group,
with a little a' this 'n' that.
Stone soup! You know the story.
Stone soup! Who needs the glory?
But with grandma cooking, no need to worry.
Just a little a' this 'n' that.
Grandma likes to make a garden grow,
with a little a' this 'n' that.
But she likes to have the ground just so,
with a little a' this 'n' that.
Not too loose and not too firm.
In the spring, the ground's all got to be turned.
In the fall, lots of compost, to feed the worms,
with a little a' this 'n' that.
Grandma knows we can build a future,
with a little a' this 'n' that.
And a few arguments never ever hurt ya,
with a little a' this 'n' that.
True, this world's in a helluva fix,
And some say oil and water don't mix.
But they don't know a salad-maker's tricks,
with a little a' this 'n' that.
The world to come may be like a song,
with a little a' this 'n' that.
To make ev'rybody want to sing along,
with a little a' this 'n' that.
A little dissonance ain't no sin,
A little skylarking to give us all a grin.
Who knows but God's got a plan for the people to win,
with a little a' this 'n' that.
Words and Music by Pete Seeger (1991)
(c) 1991, 1993 by Sanga Music Inc.
IF YOU LOVE YOUR UNCLE SAM) BRING THEM HOME
If you love your Uncle Sam,
Bring them home, bring them home.
Support our boys in Vietnam,
Bring them home, bring them home.
It'll make our generals sad, I know,
Bring them home, bring them home.
They want to tangle with the foe,
Bring them home, bring them home.
They want to test their weaponry,
Bring them home, bring them home.
But here is their big fallacy,
Bring them home, bring them home.
I may be right, I may be wrong,
Bring them home, bring them home.
But I got a right to sing this song,
Bring them home, bring them home.
There's one thing I must confess,
Bring them home, bring them home.
I'm not really a pacifist,
Bring them home, bring them home.
If an army invaded this land of mine,
Bring them home, bring them home.
You'd find me out on the firing line,
Bring them home, bring them home.
Even if they brought their planes to bomb,
Bring them home, bring them home.
Even if they brought helicopters and napalm,
Bring them home, bring them home.
Show those generals their fallacy:
Bring them home, bring them home.
They don't have the right weaponry,
Bring them home, bring them home.
For defense you need common sense,
Bring them home, bring them home.
They don't have the right armaments,
Bring them home, bring them home.
The world needs teachers, books and schools,
Bring them home, bring them home.
And learning a few universal rules,
Bring them home, bring them home.
So if you love your Uncle Same,
Bring them home, bring them home.
Support our boys in Vietnam,
Bring them home, bring them home.
Words and Music by Pete Seeger
© 1966 Storm King Music, Inc.
(From Broadside #71, June 1966: "A woman told me, 'I'm praying every night, please bring my son home safe.' I told her, 'Haven't you learned the lesson of the song WE SHALL OVERCOME? There's no solution for you or your son or me and my son unless it's a solution for all of us. It's got to be 'WE' or there's no solving the problem.' Now I don't claim this song is as good as it should be. But I was hoping for a song which would be good for a group of people to sing over and over again, and a frame in which new verses could be improvised, and the melody and harmony developed as the singers got with it.")
HOLD THE LINE
Let me tell you the story of a line that was held,
And many brave men and women whose courage we know well,
How we held the line at Peekskill on that long September day!
We will hold the line forever till the people have their way.
Chorus (after each verse):
Hold the line!
Hold the line!
As we held the line at Peekskill
We will hold it everywhere.
Hold the line!
Hold the line!
We will hold the line forever
Till there's freedom ev'rywhere.
There was music, there was singing, people listened everywhere;
The people they were smiling, so happy to be there -
While on the road behind us, the fascists waited there,
Their curses could not drown out the music in the air.
The grounds were all surrounded by a band of gallant men,
Shoulder to shoulder, no fascist could get in,
The music of the people was heard for miles around,
Well guarded by the workers, their courage made us proud.
When the music was all over, we started to go home,
We did not know the trouble and the pain that was to come,
We go into our buses and drove out through the gate,
And saw the gangster police, their faces filled with hate.
Then without any warning the rocks began to come,
The cops and troopers laughed to see the damage that was done,
They ran us through a gauntlet, to their everlasting shame,
And the cowards there attacked us, damnation to their name.
All across the nation the people heard the tale,
And marveled at the concert, and knew we had not failed,
We shed our blood at Peekskill, and suffered many a pain,
But we beat back the fascists and we'll beat them back again!
Words by Lee Hays; Music by Pete Seeger (1949)
TALKING UNION
If you want higher wages, let me tell you what to do;
You got to talk to the workers in the shop with you;
You got to build you a union, got to make it strong,
But if you all stick together, now, ‘twont he long.
You'll get shorter hours,
Better working conditions.
Vacations with pay,
Take your kids to the seashore.
It ain’t quite this simple, so I better explain
Just why you got to ride on the union train;
‘Cause if you wait for the boss to raise your pay,
We’ll all be waiting till Judgment Day;
We’ll all he buried - gone to Heaven -
Saint Peter’ll be the straw boss then.
Now, you know you’re underpaid, hut the boss says you ain’t;
He speeds up the work till you’re ‘bout to faint,
You may he down and out, but you ain’t beaten,
Pass out a leaflet and call a meetin’
Talk it over - speak your mind -
Decide to do something about it.
‘Course, the boss may persuade some poor damn fool
To go to your meeting and act like a stool;
But you can always tell a stool, though - that’s a fact;
He’s got a yellow streak running down his back;
He doesn’t have to stool - he'll always make a good living
On what he takes out of blind men’s cups.
You got a union now; you’re sitting pretty;
Put some of the boys on the steering committee.
The boss won’t listen when one man squawks.
But he’s got to listen when the union talks.
He better -
He’ll be mighty lonely one of these days.
Suppose they’re working you so hard it’s just outrageous,
They’re paying you all starvation wages;
You go to the boss, and the boss would yell,
"Before I'd raise your pay I’d see you all in Hell."
Well, he’s puffing a big see-gar and feeling mighty slick,
He thinks he’s got your union licked.
He looks out the window, and what does he see
But a thousand pickets, and they all agree
He’s a bastard - unfair - slave driver -
Bet he beats his own wife.
Now, boy, you’ve come to the hardest time;
The boss will try to bust your picket line.
He’ll call out the police, the National Guard;
They’ll tell you it’s a crime to have a union card.
They’ll raid your meeting, hit you on the head.
Call every one of you a goddamn Red -
Unpatriotic - Moscow agents -
Bomb throwers, even the kids.
But out in Detroit here’s what they found,
And out in Frisco here’s what they found,
And out in Pittsburgh here’s what they found,
And down in Bethlehem here’s what they found,
That if you don’t let Red-baiting break you up,
If you don’t let stool pigeons break you up,
If you don’t let vigilantes break you up,
And if you don’t let race hatred break you up -
You’ll win. What I mean,
Take it easy - but take it!
Words by Millard Lampell, Lee Hays and Pete Seeger (1941)
Music: traditional ("TaIking Blues”)
Labels: AMERICAN COMMUNIST PARTY, folk and politics, folk historian, folk lyrics, folk revival, folklorist, pete seeger, talking blues
posted by markin at
2:29 PM
0 Comments
Link
*Once Again- The Slogan Is Immediate Unconditional Withdrawal Of U.S. Troops From Iraq- Get The Planes Revved Up Now
Click On Title To Link To National Public Radio Segment On The Status, The Real Status, Of Troop Withdrawal In Iraq. The Title Of This Entry Gives My Political Prescription. At This Late Date What More Can Be Said. Obama- Get 'Em Out.
Labels: anti-draft, ANTI-IMPERIALISM, anti-militarism, OPPOSITION TO THE AFGHAN OCCUPATION, opposition to the iraq war, opposition to Vietnam War
posted by markin at
7:57 AM
2 Comments
Thursday, July 16, 2009
Link
*A Musical Change Of Pace- Tin Pan Alley-Cole Porter
Click On Title To Link To YouTube's Film Clip Of Cole Porter's "Anything Goes".
Night And Day, Indeed
CD Review
Night And Day: The Cole Porter Songbook, various artists, Polydor, 1990
Billie Holiday. That is the name, voice and magic that I conjure up when I hear the name Cole Porter and his tasty and tasteful lyrics that evoke a simpler time, a time of my parents’ generation rather than my own. The generation that went through the last depression, the Great Depression of the 1930’s and then fought World War II successfully. Billie, thus, is something a thread that carries these tunes to my generation, the generation of the 1960’s. In fact, I believe the first time I recognized Cole Porter songs (although I probably hear then as background music on the radio in the old days) was on Billie’s “Night And Day” album of Porter tunes.
Here though, other voices, perhaps more representative of Porter’s work such as his Broadway show tunes, are featured. Like the slyly salacious “Love For Sale”. Or the agitated longing of “I’ve Got You Under My Skin”. How about the peppy “Anything Goes”. Or “It’s De-Lovely”. Or the very lyric-driven “Let’s Fall In Love”. And, of course, the dreamy title track “Night And Day”. So if you want to know what your parents (or grandparents) listened to while they were spoonin’ here is your stop.
"Love For Sale"
When the only sound on the empty street
is the heavy tread of the heavy feet
that belong to a lonesome cop
I open shop
The moon so long has been gazing down
on the warward ways of this wayward town
my smile becomes a smirk, I go to work
Love for sale
appetizing young love for sale
love thats fresh and still unspoiled
love thats only slightly soiled
love for sale
who will buy
who would like to sample my supply
who's prepared to pay the price
for a trip to paradise
love for sale
let the poets pipe of love
in their childish ways
I know every type of love
better far than they
if you want the thrill of love
I have been through the mill of love
old love
new love
every love but true love
love for sale
appetizing young love for sale
if you want to buy my wares follow me and clime the stairs
love for sale
Night And Day, Indeed
CD Review
Night And Day: The Cole Porter Songbook, various artists, Polydor, 1990
Billie Holiday. That is the name, voice and magic that I conjure up when I hear the name Cole Porter and his tasty and tasteful lyrics that evoke a simpler time, a time of my parents’ generation rather than my own. The generation that went through the last depression, the Great Depression of the 1930’s and then fought World War II successfully. Billie, thus, is something a thread that carries these tunes to my generation, the generation of the 1960’s. In fact, I believe the first time I recognized Cole Porter songs (although I probably hear then as background music on the radio in the old days) was on Billie’s “Night And Day” album of Porter tunes.
Here though, other voices, perhaps more representative of Porter’s work such as his Broadway show tunes, are featured. Like the slyly salacious “Love For Sale”. Or the agitated longing of “I’ve Got You Under My Skin”. How about the peppy “Anything Goes”. Or “It’s De-Lovely”. Or the very lyric-driven “Let’s Fall In Love”. And, of course, the dreamy title track “Night And Day”. So if you want to know what your parents (or grandparents) listened to while they were spoonin’ here is your stop.
"Love For Sale"
When the only sound on the empty street
is the heavy tread of the heavy feet
that belong to a lonesome cop
I open shop
The moon so long has been gazing down
on the warward ways of this wayward town
my smile becomes a smirk, I go to work
Love for sale
appetizing young love for sale
love thats fresh and still unspoiled
love thats only slightly soiled
love for sale
who will buy
who would like to sample my supply
who's prepared to pay the price
for a trip to paradise
love for sale
let the poets pipe of love
in their childish ways
I know every type of love
better far than they
if you want the thrill of love
I have been through the mill of love
old love
new love
every love but true love
love for sale
appetizing young love for sale
if you want to buy my wares follow me and clime the stairs
love for sale
Labels: Cole Porter, George Gershwin, leon trotsky, rock and roll, Tin Pan Alley
posted by markin at
3:13 PM
0 Comments
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*A Musical Change Of Pace- Tin Pan Alley-George Gershwin
Click On Title To Link To YouTube's Film Clip Of Billie Holiday Doing George Gershwin's "Summertime".
CD REVIEWS
The Great Songs Of George Gershwin, various artist, Columbia Legacy, 1998
George Gershwin's short but productive career has always been associated in my mind with the Broadway musical. Much more so than that another composer from that same period of the 1930's-1940's whom I recently reviewed in this space, Cole Porter. They both worked this milieu but I always think more of New York (or Paris) cabarets and cafés with Porter's work and the theater with Gershwin (and I will tag along his brother, Ira, here as well). Perhaps, it's because George Gershwin's name is most associated historically with the classic Broadway black musical "Porgy and Bess". In any case this little CD is filled with songs by many well-known singers who won their spurs in Broadway productions of his work, or wished they had.
So here we have Billie Holiday doing her trademark "Summertime" from that "Porgy and Bess" mentioned above. The virtuoso pianist Teddy Wilson doing "Embraceable You". The underrated Mildred Bailey on " They Can't Take That Away From You". The recently departed Mel Torme doing "Isn't It A Pity" and the still legendary Tony Bennett on "Fascinatin' Rhythm" (from Lady, Be Good). If your thing is Gershwin show tunes you have definitely come to the right address.
George Gershwin
Summertime lyrics
Summertime,
And the livin' is easy
Fish are jumpin'
And the cotton is high
Oh, Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry
One of these mornings
You're going to rise up singing
Then you'll spread your wings
And you'll take to the sky
But until that morning
There's a'nothing can harm you
With your daddy and mammy standing by
Summertime,
And the livin' is easy
Fish are jumpin'
And the cotton is high
Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry
CD REVIEWS
The Great Songs Of George Gershwin, various artist, Columbia Legacy, 1998
George Gershwin's short but productive career has always been associated in my mind with the Broadway musical. Much more so than that another composer from that same period of the 1930's-1940's whom I recently reviewed in this space, Cole Porter. They both worked this milieu but I always think more of New York (or Paris) cabarets and cafés with Porter's work and the theater with Gershwin (and I will tag along his brother, Ira, here as well). Perhaps, it's because George Gershwin's name is most associated historically with the classic Broadway black musical "Porgy and Bess". In any case this little CD is filled with songs by many well-known singers who won their spurs in Broadway productions of his work, or wished they had.
So here we have Billie Holiday doing her trademark "Summertime" from that "Porgy and Bess" mentioned above. The virtuoso pianist Teddy Wilson doing "Embraceable You". The underrated Mildred Bailey on " They Can't Take That Away From You". The recently departed Mel Torme doing "Isn't It A Pity" and the still legendary Tony Bennett on "Fascinatin' Rhythm" (from Lady, Be Good). If your thing is Gershwin show tunes you have definitely come to the right address.
George Gershwin
Summertime lyrics
Summertime,
And the livin' is easy
Fish are jumpin'
And the cotton is high
Oh, Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry
One of these mornings
You're going to rise up singing
Then you'll spread your wings
And you'll take to the sky
But until that morning
There's a'nothing can harm you
With your daddy and mammy standing by
Summertime,
And the livin' is easy
Fish are jumpin'
And the cotton is high
Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry
Labels: cabaret singers, cafe society, Cole Porter, George Gershwin, jazz singer, Tin Pan Alley
posted by markin at
1:49 PM
0 Comments
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*Free The San Francisco Eight- An Update From The Partisan Defense Committee
Click On Title To Link To Free The San Francisco Eight Web Site.
The following is passed on from the Partisan Defense Committee and needs no further comment from me except- Free The Eight!!
Drop the Charges Against the SF8 Now!
The following June 6 protest letter was sent by the Partisan Defense Committee—a class-struggle, non-sectarian legal and social defense organization associated with the Spartacist League—to California Attorney General Jerry Brown.
The Partisan Defense Committee demands an immediate end to the state’s vindictive prosecution of the San Francisco 8—Richard Brown, Francisco Torres, Ray Boudreaux, Henry “Hank” Jones, Harold Taylor, Herman Bell and Jalil Muntaqim (Anthony Bottom)—who were arrested in 2007 on frame-up charges of murder and conspiracy in relation to the 1971 death of San Francisco police officer John Young. In more than two years of court hearings, the prosecution has not produced a shred of evidence against these former Black Panthers. Now they face another three months of preliminary hearings, beginning on June 8, to determine if the case will go to trial. The relentless persecution of these men, all of them in their late 50s or older, is a continuation of the government’s decades-long vendetta against the Black Liberation Army and other former Panthers. We demand that all the charges against the SF8 be dropped now!
For close to 40 years, the police have tried to pin the killing of Young on these men. In 1973, two San Francisco police inspectors interrogated three Panther members including one of the current defendants, Harold Taylor, who had been arrested by the New Orleans cops. The three were tortured for several days—stripped naked, blindfolded and beaten, covered with blankets soaked in boiling water, shocked with electric cattle prods on their genitals and anus—until they “confessed.” In 1975, the charges were thrown out of court on the basis that their confessions had been coerced through torture. Thirty years later, the police and government prosecutors were still unsuccessful in obtaining indictments of any of these men despite convening California state and federal grand juries—first in 2003-2004 and later in May and August 2005. But this frame-up was revived again in 2007 when the SF8 were rounded up and arrested on orders from your office of California State Attorney General.
More than two years of court hearings have produced no evidence tying these men to Young’s killing. The “discovery” of a shotgun alleged to be the “missing murder weapon” was found not to match any weapons evidence in the case. Similarly, DNA swabs taken from the defendants in June 2006 did not match any evidence from the crime scene. The prosecution has refused to release fingerprint evidence that exonerates all of these men. The judge ruled against releasing FBI wiretap surveillance of Black Panther phone lines based on an FBI “taint team” affidavit asserting that there had been no wiretap surveillance of the SF8. One need only recall the case of another former Panther, Geronimo ji Jaga (Pratt) who spent 27 years behind bars for a murder that the FBI and California state officials knew he did not commit. The FBI claimed that it had “lost” wiretaps proving that Geronimo was at an Oakland Panther meeting, 400 miles away from L.A. where and when the murder was committed. Geronimo was released from prison in 1997 when an Orange County Superior Court Judge ruled that he had been denied a fair trial because the prosecution had withheld vital evidence from the defense.
The FBI’s murderous COINTELPRO program took the lives of 38 Panthers. Those they couldn’t kill were framed up and thrown in jail, including Mumia Abu-Jamal who remains on death row today on fabricated charges of killing a Philadelphia police officer in 1981. Mumia’s death sentence was secured by the prosecutor’s lying argument that his membership in the Panthers as a teenager “proved” that he had been planning to kill a cop. The prosecution of the SF8 is a continuation of the same COINTELPRO-style frame-up campaign. Together with other fighters against racist injustice, labor unions and federations like the S.F. Labor Council and others, the Partisan Defense Committee demands: Drop the charges now!
The following is passed on from the Partisan Defense Committee and needs no further comment from me except- Free The Eight!!
Drop the Charges Against the SF8 Now!
The following June 6 protest letter was sent by the Partisan Defense Committee—a class-struggle, non-sectarian legal and social defense organization associated with the Spartacist League—to California Attorney General Jerry Brown.
The Partisan Defense Committee demands an immediate end to the state’s vindictive prosecution of the San Francisco 8—Richard Brown, Francisco Torres, Ray Boudreaux, Henry “Hank” Jones, Harold Taylor, Herman Bell and Jalil Muntaqim (Anthony Bottom)—who were arrested in 2007 on frame-up charges of murder and conspiracy in relation to the 1971 death of San Francisco police officer John Young. In more than two years of court hearings, the prosecution has not produced a shred of evidence against these former Black Panthers. Now they face another three months of preliminary hearings, beginning on June 8, to determine if the case will go to trial. The relentless persecution of these men, all of them in their late 50s or older, is a continuation of the government’s decades-long vendetta against the Black Liberation Army and other former Panthers. We demand that all the charges against the SF8 be dropped now!
For close to 40 years, the police have tried to pin the killing of Young on these men. In 1973, two San Francisco police inspectors interrogated three Panther members including one of the current defendants, Harold Taylor, who had been arrested by the New Orleans cops. The three were tortured for several days—stripped naked, blindfolded and beaten, covered with blankets soaked in boiling water, shocked with electric cattle prods on their genitals and anus—until they “confessed.” In 1975, the charges were thrown out of court on the basis that their confessions had been coerced through torture. Thirty years later, the police and government prosecutors were still unsuccessful in obtaining indictments of any of these men despite convening California state and federal grand juries—first in 2003-2004 and later in May and August 2005. But this frame-up was revived again in 2007 when the SF8 were rounded up and arrested on orders from your office of California State Attorney General.
More than two years of court hearings have produced no evidence tying these men to Young’s killing. The “discovery” of a shotgun alleged to be the “missing murder weapon” was found not to match any weapons evidence in the case. Similarly, DNA swabs taken from the defendants in June 2006 did not match any evidence from the crime scene. The prosecution has refused to release fingerprint evidence that exonerates all of these men. The judge ruled against releasing FBI wiretap surveillance of Black Panther phone lines based on an FBI “taint team” affidavit asserting that there had been no wiretap surveillance of the SF8. One need only recall the case of another former Panther, Geronimo ji Jaga (Pratt) who spent 27 years behind bars for a murder that the FBI and California state officials knew he did not commit. The FBI claimed that it had “lost” wiretaps proving that Geronimo was at an Oakland Panther meeting, 400 miles away from L.A. where and when the murder was committed. Geronimo was released from prison in 1997 when an Orange County Superior Court Judge ruled that he had been denied a fair trial because the prosecution had withheld vital evidence from the defense.
The FBI’s murderous COINTELPRO program took the lives of 38 Panthers. Those they couldn’t kill were framed up and thrown in jail, including Mumia Abu-Jamal who remains on death row today on fabricated charges of killing a Philadelphia police officer in 1981. Mumia’s death sentence was secured by the prosecutor’s lying argument that his membership in the Panthers as a teenager “proved” that he had been planning to kill a cop. The prosecution of the SF8 is a continuation of the same COINTELPRO-style frame-up campaign. Together with other fighters against racist injustice, labor unions and federations like the S.F. Labor Council and others, the Partisan Defense Committee demands: Drop the charges now!
Labels: BLACK LIBERATION FIGHTER, BLACK LIBERATION STRUGGLES, BLACK PANTHERS, PARTISAN DEFENSE COMMITTEE, san francisco eight, working class partisan
posted by markin at
9:48 AM
0 Comments
Wednesday, July 15, 2009
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*Artist's Corner- The Political Art Of Jacques-Louis David
Click on title to link To Wikipedia's entry for the great French political artist, Jacques-Louis David. Like Tallyrand and a few others he seemed to have been able to twist and turn with the winds as they shifted throughout the revolutionary period. The book reviewed on this date by Professor Lynn Hunt, "Politics, Culture,and Class in the French Revolution", has much to say about Citizen David's influence of the political imagery of the times.
Labels: french revolution, Jacques-Louis David, literature and art, mural art, political art, political propaganda, robespierre
posted by markin at
3:48 PM
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*Political Symbolism In The French Revolution- Professor Lynn Hunt's View
Click On Title To Link To Wikipedia's Entry For The French Revolution. As Always With This Source It Is A Good Place To Start In Order To Look Elsewhere For More Specific, And Sometimes More Reliable, Information.
Book Review
Politics, Culture, and Class in the French Revolution, Lynn Hunt, University Of California Press, Berkeley, 1984
This year marks the commemoration of the 220th Anniversary of the great French Revolution. Democrats, socialists, communists and others rightly celebrate that event as a milestone in humankind’s history. Whether there are still lessons to be learned from the experience is an open question that political activists can fight over. None, however, can deny its grandeur. Well, no one except those closet, and not so closet, modern day royalists, and their epigones that screech in horror and grasp for their necks every time the 14th of July comes around. They have closed the door of history behind them. Won’t they be surprised then the next time there is a surge of progressive human activity?
********
All great revolutions, like the French revolution under review here, are capable, especially when they are long over, of being analyzed from many prospectives. Moreover, official and academic historian have no other reason to exist except to keep revising the effects that such revolutions have had on future historical developments. Left wing political activists, on the other hand, try to draw the lessons of those earlier plebeian struggles in order to better understand the tasks ahead. As part of that understanding it is necessary to look at previous revolutions not only from the position of how it effected the plebes but to look at from the position of those who do not see the action of the plebeian masses as decisive, at least for the French Revolution.
Professor Lynn Hunt in the book under review, “Politics, Culture and Class In the French Revolution” has carved out a niche for herself exploring the morals, mores and customs of the insurgent revolutionary forces as they tried to legitimize their seizure of power. Moreover, she has done some extensive work culling through the statistics and other documentary evidence to see who, according to her lights, the main beneficiaries of the revolutionary struggle were. For those partisans of later social movements and revolutionary movements the questions posed by Professor Hunt’s study about the symbols and organization of power are a welcome addition.
If one, like this reviewer, spends his or her time looking at the base of society (here the urban sans culottes, the landless peasants and displaced village artisans)to see how those forces were brought to political life, organized, made politically effective (if only for a time, as noted above, before they as individuals like society in general also run out of revolutionary steam) and how they put pressure on their leaderships and how those leaderships responded to those pressures then one downplays the other social forces that are in play in a revolutionary period. Great revolutions, however, create all kinds of turmoil in layers of society that previously were dormant or were in control, although shakily. In that regard, virtually a sure sign that a pre-revolutionary situation exists is when a portion of the old ruling elite (or their agents) begins to make revolutionary noises. That is the value of Professor Hunt’s study.
All political/social movements have their rituals, symbols and customs. Of special note here is Professor Hunt’s focus on the work of the politician/artist David in creating many of the visual ‘myths’ of the revolution. The book is loaded with many other interesting cultural tidbits, as well. For those of us who cherish the memory of the French Revolution as the forerunner of greater social movements this little work is a welcome addition. For those unfamiliar with the inner workings of the French revolution a more generalized study is warranted before you tackle this work. Then come back here and appreciate this more intriguing and specialized study.
"La Marseillaise"
Allons enfants de la patrie,
Le jour de gloire est arrivé
Contre nous de la tyrannie
L'étendard sanglant est levé
Entendez vous dans les campagnes,
Mugir ces féroces soldats?
Ils viennent jusque dans nos bras
Egorger nos fils, nos compagnes!
Refrain
Aux armes, citoyens!
Formez vos bataillons!
Marchons! Marchons!
Qu'un sang impur
Abreuve nos sillons!
Amour sacré de la patrie,
Conduis, soutiens nos bras vengeurs!
Liberté, Liberté cherie,
Combats avec tes defenseurs!
Sous nos drapeaux, que la victoire
Accoure à tes males accents!
Que tes ennemis expirants
Voient ton triomphe et notre gloire!
Refrain
Nous entrerons dans la carrière
Quand nos ainés n'y seront plus;
Nous y trouverons leur poussière
Et la trace de leurs vertus.
Bien moins jaloux de leur survivre
Que de partager leur cercueil,
Nous aurons le sublime orgueil
De les venger ou de les suivre!
Refrain
Book Review
Politics, Culture, and Class in the French Revolution, Lynn Hunt, University Of California Press, Berkeley, 1984
This year marks the commemoration of the 220th Anniversary of the great French Revolution. Democrats, socialists, communists and others rightly celebrate that event as a milestone in humankind’s history. Whether there are still lessons to be learned from the experience is an open question that political activists can fight over. None, however, can deny its grandeur. Well, no one except those closet, and not so closet, modern day royalists, and their epigones that screech in horror and grasp for their necks every time the 14th of July comes around. They have closed the door of history behind them. Won’t they be surprised then the next time there is a surge of progressive human activity?
********
All great revolutions, like the French revolution under review here, are capable, especially when they are long over, of being analyzed from many prospectives. Moreover, official and academic historian have no other reason to exist except to keep revising the effects that such revolutions have had on future historical developments. Left wing political activists, on the other hand, try to draw the lessons of those earlier plebeian struggles in order to better understand the tasks ahead. As part of that understanding it is necessary to look at previous revolutions not only from the position of how it effected the plebes but to look at from the position of those who do not see the action of the plebeian masses as decisive, at least for the French Revolution.
Professor Lynn Hunt in the book under review, “Politics, Culture and Class In the French Revolution” has carved out a niche for herself exploring the morals, mores and customs of the insurgent revolutionary forces as they tried to legitimize their seizure of power. Moreover, she has done some extensive work culling through the statistics and other documentary evidence to see who, according to her lights, the main beneficiaries of the revolutionary struggle were. For those partisans of later social movements and revolutionary movements the questions posed by Professor Hunt’s study about the symbols and organization of power are a welcome addition.
If one, like this reviewer, spends his or her time looking at the base of society (here the urban sans culottes, the landless peasants and displaced village artisans)to see how those forces were brought to political life, organized, made politically effective (if only for a time, as noted above, before they as individuals like society in general also run out of revolutionary steam) and how they put pressure on their leaderships and how those leaderships responded to those pressures then one downplays the other social forces that are in play in a revolutionary period. Great revolutions, however, create all kinds of turmoil in layers of society that previously were dormant or were in control, although shakily. In that regard, virtually a sure sign that a pre-revolutionary situation exists is when a portion of the old ruling elite (or their agents) begins to make revolutionary noises. That is the value of Professor Hunt’s study.
All political/social movements have their rituals, symbols and customs. Of special note here is Professor Hunt’s focus on the work of the politician/artist David in creating many of the visual ‘myths’ of the revolution. The book is loaded with many other interesting cultural tidbits, as well. For those of us who cherish the memory of the French Revolution as the forerunner of greater social movements this little work is a welcome addition. For those unfamiliar with the inner workings of the French revolution a more generalized study is warranted before you tackle this work. Then come back here and appreciate this more intriguing and specialized study.
"La Marseillaise"
Allons enfants de la patrie,
Le jour de gloire est arrivé
Contre nous de la tyrannie
L'étendard sanglant est levé
Entendez vous dans les campagnes,
Mugir ces féroces soldats?
Ils viennent jusque dans nos bras
Egorger nos fils, nos compagnes!
Refrain
Aux armes, citoyens!
Formez vos bataillons!
Marchons! Marchons!
Qu'un sang impur
Abreuve nos sillons!
Amour sacré de la patrie,
Conduis, soutiens nos bras vengeurs!
Liberté, Liberté cherie,
Combats avec tes defenseurs!
Sous nos drapeaux, que la victoire
Accoure à tes males accents!
Que tes ennemis expirants
Voient ton triomphe et notre gloire!
Refrain
Nous entrerons dans la carrière
Quand nos ainés n'y seront plus;
Nous y trouverons leur poussière
Et la trace de leurs vertus.
Bien moins jaloux de leur survivre
Que de partager leur cercueil,
Nous aurons le sublime orgueil
De les venger ou de les suivre!
Refrain
Labels: David, DEMOCRATIC POLITICS, democratic revolution, french revolution, leon trotsky, Lynn Hunt, robespierre, saint just, sans culottes
posted by markin at
12:15 PM
0 Comments
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*Last Minute Update On The Music Of The French Revolution- The Hit Parade
Click On Title To Link To National Public Radio's (NPR)Segment On The Sounds Of The French Revolution. It is not hip-hop, blues, folk, jazz or the thousand and one other types of music that have drifted onto this space but if it takes a certain combination of factors to make a great revolution then music is surely part of the mix.
Labels: democratic revolution, french imperialism, french revolution, robespierre, saint just, sans culottes
posted by markin at
7:42 AM
0 Comments
Tuesday, July 14, 2009
Link
*In The Time Of The French Revolution- "La Marseillaise"
Click On Title To Link To YouTube's Film Clip Of "La Marseillaise". Not With The Same Feel As In The 1790's But What Can One Do.
"La Marseillaise"
Allons enfants de la patrie,
Le jour de gloire est arrivé
Contre nous de la tyrannie
L'étendard sanglant est levé
Entendez vous dans les campagnes,
Mugir ces féroces soldats?
Ils viennent jusque dans nos bras
Egorger nos fils, nos compagnes!
Refrain
Aux armes, citoyens!
Formez vos bataillons!
Marchons! Marchons!
Qu'un sang impur
Abreuve nos sillons!
Amour sacré de la patrie,
Conduis, soutiens nos bras vengeurs!
Liberté, Liberté cherie,
Combats avec tes defenseurs!
Sous nos drapeaux, que la victoire
Accoure à tes males accents!
Que tes ennemis expirants
Voient ton triomphe et notre gloire!
Refrain
Nous entrerons dans la carrière
Quand nos ainés n'y seront plus;
Nous y trouverons leur poussière
Et la trace de leurs vertus.
Bien moins jaloux de leur survivre
Que de partager leur cercueil,
Nous aurons le sublime orgueil
De les venger ou de les suivre!
Refrain
"La Marseillaise"
Allons enfants de la patrie,
Le jour de gloire est arrivé
Contre nous de la tyrannie
L'étendard sanglant est levé
Entendez vous dans les campagnes,
Mugir ces féroces soldats?
Ils viennent jusque dans nos bras
Egorger nos fils, nos compagnes!
Refrain
Aux armes, citoyens!
Formez vos bataillons!
Marchons! Marchons!
Qu'un sang impur
Abreuve nos sillons!
Amour sacré de la patrie,
Conduis, soutiens nos bras vengeurs!
Liberté, Liberté cherie,
Combats avec tes defenseurs!
Sous nos drapeaux, que la victoire
Accoure à tes males accents!
Que tes ennemis expirants
Voient ton triomphe et notre gloire!
Refrain
Nous entrerons dans la carrière
Quand nos ainés n'y seront plus;
Nous y trouverons leur poussière
Et la trace de leurs vertus.
Bien moins jaloux de leur survivre
Que de partager leur cercueil,
Nous aurons le sublime orgueil
De les venger ou de les suivre!
Refrain
Labels: 1789, french imperialism, french revolution, July 14, robespierre, saint just
posted by markin at
2:16 PM
0 Comments
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*Poet's Corner- William Wordsworth's Ode To The French Revolution
Click On Title To Link To William Wordsworth's Web Page.
Commentary
Here is William Wordsworth's famous ode to the beginning of the French revolution full of all the youthful enthusiasm such a world historic event can elicit. That he, like many another former 'friend' of revolutions over the ages, went over to the other side when things got too hot does not take away from his efforts here.
The French Revolution as it appeared to Enthusiasts
. Oh! pleasant exercise of hope and joy!
For mighty were the auxiliars which then stood
Upon our side, we who were strong in love!
Bliss was it in that dawn to be alive,
But to be young was very heaven!—
Oh! times, In which the meagre, stale, forbidding ways
Of custom, law, and statute, took at once
The attraction of a country in romance!
When Reason seemed the most to assert her rights,
When most intent on making of herself
A prime Enchantress--to assist the work
Which then was going forward in her name!
Not favoured spots alone, but the whole earth,
The beauty wore of promise, that which sets
(As at some moment might not be unfelt
Among the bowers of paradise itself )
The budding rose above the rose full blown.
What temper at the prospect did not wake
To happiness unthought of? The inert
Were roused, and lively natures rapt away!
They who had fed their childhood upon dreams,
The playfellows of fancy, who had made
All powers of swiftness, subtilty, and strength
Their ministers,--who in lordly wise had stirred
Among the grandest objects of the sense,
And dealt with whatsoever they found there
As if they had within some lurking right
To wield it;--they, too, who, of gentle mood,
Had watched all gentle motions, and to these
Had fitted their own thoughts, schemers more wild,
And in the region of their peaceful selves;--
Now was it that both found, the meek and lofty
Did both find, helpers to their heart's desire,
And stuff at hand, plastic as they could wish;
Were called upon to exercise their skill,
Not in Utopia, subterranean fields,
Or some secreted island, Heaven knows where!
But in the very world, which is the world
Of all of us,--the place where in the end
We find our happiness, or not at all!
William Wordsworth
Commentary
Here is William Wordsworth's famous ode to the beginning of the French revolution full of all the youthful enthusiasm such a world historic event can elicit. That he, like many another former 'friend' of revolutions over the ages, went over to the other side when things got too hot does not take away from his efforts here.
The French Revolution as it appeared to Enthusiasts
. Oh! pleasant exercise of hope and joy!
For mighty were the auxiliars which then stood
Upon our side, we who were strong in love!
Bliss was it in that dawn to be alive,
But to be young was very heaven!—
Oh! times, In which the meagre, stale, forbidding ways
Of custom, law, and statute, took at once
The attraction of a country in romance!
When Reason seemed the most to assert her rights,
When most intent on making of herself
A prime Enchantress--to assist the work
Which then was going forward in her name!
Not favoured spots alone, but the whole earth,
The beauty wore of promise, that which sets
(As at some moment might not be unfelt
Among the bowers of paradise itself )
The budding rose above the rose full blown.
What temper at the prospect did not wake
To happiness unthought of? The inert
Were roused, and lively natures rapt away!
They who had fed their childhood upon dreams,
The playfellows of fancy, who had made
All powers of swiftness, subtilty, and strength
Their ministers,--who in lordly wise had stirred
Among the grandest objects of the sense,
And dealt with whatsoever they found there
As if they had within some lurking right
To wield it;--they, too, who, of gentle mood,
Had watched all gentle motions, and to these
Had fitted their own thoughts, schemers more wild,
And in the region of their peaceful selves;--
Now was it that both found, the meek and lofty
Did both find, helpers to their heart's desire,
And stuff at hand, plastic as they could wish;
Were called upon to exercise their skill,
Not in Utopia, subterranean fields,
Or some secreted island, Heaven knows where!
But in the very world, which is the world
Of all of us,--the place where in the end
We find our happiness, or not at all!
William Wordsworth
Labels: babeuf, french revolution, GIRONDINS, JACOBINS, leon trotsky, Primative communism, William Wordsworth
posted by markin at
12:58 PM
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Link
*In Honor Of The 220th Anniversary Of The French Revolution- The Pre-Revolutionary Period- William Doyle's View
Click On Title To Link To Wikipedia's Entry For The French Revolution. As Always With This Source It Is A Good Place To Start In Order To Look Elsewhere For More Specific, And Sometimes More Reliable, Information.
Book Review
The Origins Of The French Revolution, Second Edition, William Doyle, Oxford University Press, 1989
This year marks the commemoration of the 220th Anniversary of the great French Revolution. Democrats, socialists, communists and others rightly celebrate that event as a milestone in humankind’s history. Whether there are still lessons to be learned from the experience is an open question that political activists can fight over. None, however, can deny its grandeur. Well, no one except those closet and not so closet royalists and their epigones who screech in horror and grasp for their necks every time the 14th of July comes around. They have closed the door of history behind them. Won’t they be surprised then the next time there is a surge of progressive human activity?
********
All great revolutions, like the French revolution under review here, are capable, especially when they are long over, of being analyzed from many prospectives. Moreover, official and academic historian have no other reason to exist except to keep revising the effects that such revolutions have had on future historical developments. Left wing political activists, on the other hand, try to draw the lessons of those earlier plebeian struggles in order to better understand the tasks ahead. As part of that understanding it is necessary to look at previous revolutions not only from the position of how it effected the plebes but to look at from the position of those who do not see the action of the plebeian masses as decisive, at least for the French Revolution. If one wants to get a feel for the old way of looking at history from the top down then you can do no better than to look at the fairly recent example of Professor William Doyle’s “Origins Of The French Revolution”.
If one, like this reviewer, spends his or her time looking at the base of society (here the urban sans culottes, the landless peasants and displaced village artisans)to see how those forces were brought to political life, organized, made politically effective (if only for a time, as noted above, before they as individuals like society in general also run out of revolutionary steam) and how they put pressure on their leaderships and how those leaderships responded to those pressures then one downplays the other social forces that are in play in a revolutionary period. Great revolutions, however, create all kinds of turmoil in layers of society that previously were dormant or were in control, although shakily. In that regard, virtually a sure sign that a pre-revolutionary situation exists is when a portion of the old ruling elite (or their agents) begins to make revolutionary noises.
Professor Doyle has taken that important insight and made it one of his central arguments, that is , in the end the upwardly mobile, self-improving nobility (the meritocracy in today’s terms) in France rather than being frustrated with the old regime just wanted to tweak things here or there in order to make it more efficient. This is where his emphasis on looking at the effect of policies at the top of society leads him to a false conclusion. If revolutions merely occurred just because of the question of problems with circulation of elites then the plebeian masses of the cities (led by the sans culottes here) and those of the countryside (the peasants and village artisans) could not have been brought onto the political stage in their wake.
That said, Professor Doyle is not alone in favoring this argument. I noted in a review of Professor Simon Schama’s “Citizen" for last year’s commemoration a very similar, if more lengthy and wide ranging argument. So in the end here is the real reason to grab this book with both hands. Part I of this work contains an incredible essay by Professor Doyle on the state of historical writing on the revolution since 1939 (up to 1988, the time of the second edition). He goes through the ebb and flow of various theories too numerous to detail here. Let us put it this way. If you want to find out the sources for various views on the French Revolution, at least in the academy, then this is your prime source. For that, if not for the general argument of the book, kudos Professor Doyle.
******
Here is William Wordsworth's famous ode to the beginning of the French revolution full of all the youthful enthusiasm such a world historic event can elicit. That he, like many another former 'friend' of revolutions over the ages, went over to the other side when things got too hot does not take away from his efforts here.
The French Revolution as it appeared to Enthusiasts
. Oh! pleasant exercise of hope and joy!
For mighty were the auxiliars which then stood
Upon our side, we who were strong in love!
Bliss was it in that dawn to be alive,
But to be young was very heaven!—
Oh! times, In which the meagre, stale, forbidding ways
Of custom, law, and statute, took at once
The attraction of a country in romance!
When Reason seemed the most to assert her rights,
When most intent on making of herself
A prime Enchantress--to assist the work
Which then was going forward in her name!
Not favoured spots alone, but the whole earth,
The beauty wore of promise, that which sets
(As at some moment might not be unfelt
Among the bowers of paradise itself )
The budding rose above the rose full blown.
What temper at the prospect did not wake
To happiness unthought of? The inert
Were roused, and lively natures rapt away!
They who had fed their childhood upon dreams,
The playfellows of fancy, who had made
All powers of swiftness, subtilty, and strength
Their ministers,--who in lordly wise had stirred
Among the grandest objects of the sense,
And dealt with whatsoever they found there
As if they had within some lurking right
To wield it;--they, too, who, of gentle mood,
Had watched all gentle motions, and to these
Had fitted their own thoughts, schemers more wild,
And in the region of their peaceful selves;--
Now was it that both found, the meek and lofty
Did both find, helpers to their heart's desire,
And stuff at hand, plastic as they could wish;
Were called upon to exercise their skill,
Not in Utopia, subterranean fields,
Or some secreted island, Heaven knows where!
But in the very world, which is the world
Of all of us,--the place where in the end
We find our happiness, or not at all!
William Wordsworth
Book Review
The Origins Of The French Revolution, Second Edition, William Doyle, Oxford University Press, 1989
This year marks the commemoration of the 220th Anniversary of the great French Revolution. Democrats, socialists, communists and others rightly celebrate that event as a milestone in humankind’s history. Whether there are still lessons to be learned from the experience is an open question that political activists can fight over. None, however, can deny its grandeur. Well, no one except those closet and not so closet royalists and their epigones who screech in horror and grasp for their necks every time the 14th of July comes around. They have closed the door of history behind them. Won’t they be surprised then the next time there is a surge of progressive human activity?
********
All great revolutions, like the French revolution under review here, are capable, especially when they are long over, of being analyzed from many prospectives. Moreover, official and academic historian have no other reason to exist except to keep revising the effects that such revolutions have had on future historical developments. Left wing political activists, on the other hand, try to draw the lessons of those earlier plebeian struggles in order to better understand the tasks ahead. As part of that understanding it is necessary to look at previous revolutions not only from the position of how it effected the plebes but to look at from the position of those who do not see the action of the plebeian masses as decisive, at least for the French Revolution. If one wants to get a feel for the old way of looking at history from the top down then you can do no better than to look at the fairly recent example of Professor William Doyle’s “Origins Of The French Revolution”.
If one, like this reviewer, spends his or her time looking at the base of society (here the urban sans culottes, the landless peasants and displaced village artisans)to see how those forces were brought to political life, organized, made politically effective (if only for a time, as noted above, before they as individuals like society in general also run out of revolutionary steam) and how they put pressure on their leaderships and how those leaderships responded to those pressures then one downplays the other social forces that are in play in a revolutionary period. Great revolutions, however, create all kinds of turmoil in layers of society that previously were dormant or were in control, although shakily. In that regard, virtually a sure sign that a pre-revolutionary situation exists is when a portion of the old ruling elite (or their agents) begins to make revolutionary noises.
Professor Doyle has taken that important insight and made it one of his central arguments, that is , in the end the upwardly mobile, self-improving nobility (the meritocracy in today’s terms) in France rather than being frustrated with the old regime just wanted to tweak things here or there in order to make it more efficient. This is where his emphasis on looking at the effect of policies at the top of society leads him to a false conclusion. If revolutions merely occurred just because of the question of problems with circulation of elites then the plebeian masses of the cities (led by the sans culottes here) and those of the countryside (the peasants and village artisans) could not have been brought onto the political stage in their wake.
That said, Professor Doyle is not alone in favoring this argument. I noted in a review of Professor Simon Schama’s “Citizen" for last year’s commemoration a very similar, if more lengthy and wide ranging argument. So in the end here is the real reason to grab this book with both hands. Part I of this work contains an incredible essay by Professor Doyle on the state of historical writing on the revolution since 1939 (up to 1988, the time of the second edition). He goes through the ebb and flow of various theories too numerous to detail here. Let us put it this way. If you want to find out the sources for various views on the French Revolution, at least in the academy, then this is your prime source. For that, if not for the general argument of the book, kudos Professor Doyle.
******
Here is William Wordsworth's famous ode to the beginning of the French revolution full of all the youthful enthusiasm such a world historic event can elicit. That he, like many another former 'friend' of revolutions over the ages, went over to the other side when things got too hot does not take away from his efforts here.
The French Revolution as it appeared to Enthusiasts
. Oh! pleasant exercise of hope and joy!
For mighty were the auxiliars which then stood
Upon our side, we who were strong in love!
Bliss was it in that dawn to be alive,
But to be young was very heaven!—
Oh! times, In which the meagre, stale, forbidding ways
Of custom, law, and statute, took at once
The attraction of a country in romance!
When Reason seemed the most to assert her rights,
When most intent on making of herself
A prime Enchantress--to assist the work
Which then was going forward in her name!
Not favoured spots alone, but the whole earth,
The beauty wore of promise, that which sets
(As at some moment might not be unfelt
Among the bowers of paradise itself )
The budding rose above the rose full blown.
What temper at the prospect did not wake
To happiness unthought of? The inert
Were roused, and lively natures rapt away!
They who had fed their childhood upon dreams,
The playfellows of fancy, who had made
All powers of swiftness, subtilty, and strength
Their ministers,--who in lordly wise had stirred
Among the grandest objects of the sense,
And dealt with whatsoever they found there
As if they had within some lurking right
To wield it;--they, too, who, of gentle mood,
Had watched all gentle motions, and to these
Had fitted their own thoughts, schemers more wild,
And in the region of their peaceful selves;--
Now was it that both found, the meek and lofty
Did both find, helpers to their heart's desire,
And stuff at hand, plastic as they could wish;
Were called upon to exercise their skill,
Not in Utopia, subterranean fields,
Or some secreted island, Heaven knows where!
But in the very world, which is the world
Of all of us,--the place where in the end
We find our happiness, or not at all!
William Wordsworth
Labels: babeuf, bourgeois politics, french revolution, GIRONDINS, JACOBINS, leon trotsky, primitive communism, sans culottes, SCIENTIFIC SOCIALISM, William Wordsworth
posted by markin at
12:55 PM
0 Comments
Link
The Night Belongs To......, Vietnam (Oops!) Afghanistan Update At A Glance
Click On Title To Link To "Boston Globe" Article By Farrah Stockman, Dated July 14, 2009, Which Might Help Explain The "Oops" Of The Title Of This Entry.
Commentary
Now that the Obama Administration has waded knee-deep into "The Big Poppy", Afghanistan, and made that war its own, including a recent signature 4000 Marine excursion deep into Taliban territory we are starting to see the outlines of the problem that confronted the Kennedy Administration and its lead advocate, the late War Secretary Robert S. McNamara. As the posted article indicates the American military presence can be overwhelming and appear to be invincible.....during the day. The night, however, belongs to the Taliban. Sound familiar? I will not, as I tried not to do with Iraq as well, overdraw the analogies between the wars, objectives, goals of the opponents and other factors in this benighted region and the Vietnam War that consumed a good portion of my youth. I do, nevertheless, make this point early on in this escalating conflict. When the deal goes down the American forces will be in Afghanistan propping up the increasingly corrupt and inept Karzai government for a minute. Or a couple of minutes. What then? The Taliban after almost eight years, seemingly, has the capacity to wait that time out. Since I made the point I also make the proposal and, in the end, what appears to be the rational solution. Immediate Unconditional Withdrawal Of All U.S./Allied Troops From Afghanistan! And while this will be of no avail now that the American Commander-in-Chief has dug in his heels-Obama,remember the fate of one Robert Strange McNamara.
Commentary
Now that the Obama Administration has waded knee-deep into "The Big Poppy", Afghanistan, and made that war its own, including a recent signature 4000 Marine excursion deep into Taliban territory we are starting to see the outlines of the problem that confronted the Kennedy Administration and its lead advocate, the late War Secretary Robert S. McNamara. As the posted article indicates the American military presence can be overwhelming and appear to be invincible.....during the day. The night, however, belongs to the Taliban. Sound familiar? I will not, as I tried not to do with Iraq as well, overdraw the analogies between the wars, objectives, goals of the opponents and other factors in this benighted region and the Vietnam War that consumed a good portion of my youth. I do, nevertheless, make this point early on in this escalating conflict. When the deal goes down the American forces will be in Afghanistan propping up the increasingly corrupt and inept Karzai government for a minute. Or a couple of minutes. What then? The Taliban after almost eight years, seemingly, has the capacity to wait that time out. Since I made the point I also make the proposal and, in the end, what appears to be the rational solution. Immediate Unconditional Withdrawal Of All U.S./Allied Troops From Afghanistan! And while this will be of no avail now that the American Commander-in-Chief has dug in his heels-Obama,remember the fate of one Robert Strange McNamara.
Labels: OPPOSITION TO THE AFGHAN OCCUPATION, opposition to the iraq war, opposition to Vietnam War
posted by markin at
12:34 PM
0 Comments
About Me
- Name: markin
- Location: Boston, Massachusetts, United States
I am an old militant who is trying to use these pages to collect my thoughts about books of a political and/or historical nature that I have read over the years. I am also trying to direct today's youth to books they NEED to read in order to understand the nature of the struggle against war and social injustice, what people before us did about it, and how we can learn from their mistakes (and successes, as well). In short, some books you need to read if you want to change this sorry world for the better. I also support the work of the Partisan Defense Committee, a non-sectarian, legal and social defense organization that supports class-war prisoners and organizes around other social issues. For more information google Partisan Defense Committee or write them at Box 99 Canal Street Station, New York, New York 1001. That organization stands in the tradition of the International Labor Defense which in the 1920's led the , unfortunately unsuccessful, fight to save Sacco and Vanzetti. I will post more information later. Stay tuned.
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