Click on the title to link to the Leon Trotsky Internet Archive's copy of his 1923 article, "Not Alone By Politics Does Man Thrive", a good exposition of the problems of socialist cultural and economic construction in the early stages of the dictatorship of the proletariat.
Markin comment:
We live , at least those of us who fight for the Marxian version of the future international communist society, our day to day lives in some pretty rarefied theoretical and practical air. Although we have imbibed a real body of work like those original works of Marx and his co-worker Engels, the later interpretations of Lenin and Trotsky, and the myriad others who have made lesser contributions over the past 150 years or so, the class-struggle drought that we are going through over the past couple of decades, of necessity, should make us bring us to our knees. And then stand up, dust off the dirt and push on with the propaganda, cadre recruitment and education, and intervention into current political life necessary, as always, to pull us toward that goal. Thus, I already know the tasks ahead we need to perform, or have a pretty good idea. But for just the length of this piece I want to kind of, as is usual for many people at this time of year, make something of a reaffirmation (resolution, if you like) on why we need to continue to fight for that communist future.
Coming off the recent developments in America (and its ramifications internationally): the almost catastrophic economic downturn that has wreaked havoc on many working class families through unemployment, foreclosures and the closing off of educational opportunities; the impending climate control disaster that cries out for an international solution; the health care disaster that will continue to spiral out of control despite the bandage of a so-called ‘comprehensive’ health care bill; and, above all the troop escalation that Obama has staked his presidency on we communist should be sitting in the catbird seat. Any one of these should have had us on the ‘barricades’ long ago. Not so, unfortunately.
These crises cry out to high heaven for communist solutions- starting with that first long step the fight for workers governments, internationally. Yet, as the tepid (and I am being kind here) response of the anti-war left to war-monger Obama’s provocation on the Afghan troop escalations demonstrates we are on the extreme defensive. I will not even go into the subject of the response of the organized labor movement to the economic crisis, at least of its current leadership, as I do not want to see grown people cry. We can say the same for the struggles of racial and ethnic minorities, immigrants, class-war prisoners and others. There is more than enough material here to just throw in the towel and let the chips fall where they may.
No, one thousand times no. Hell, make that one million times no. The international capitalist imperialist system that we are saddled with cannot be the “end of history”. Only a fool, cynic or well-paid toady could think so. I wish to associate myself with the proposition- unambiguously, and in the teeth of ten millions pressures to do otherwise, to fight for the communist program in the Obamiad. That fight, is, as it always has been and always will be until we achieve the classless society the primary business of those who take the honorable name communist. I also stand in solidarity with the need to save and preserve that communist program, if not for now, then for future generations that will have to deal with their own versions of the class struggle.
For those versed in the goal of communism- the notion of a classless society where people would spent their time, especially their shortened work time, cooperatively; the notion that government would change its axis from a monstrous control over humankind to the mere administration of things; and, that through intermixing and intermingling racial divisions, ethnic tensions and conflicting religious expressions would be things for the historical museum. I won’t even tempt you with what the future would look like in terms of a replacement of the family as the basic unit of socialization, especially of children because I do not want every harried young mother and stay-at-home father in the world banging at my door today to sign up for the communist program today. All and all though isn't this an attractive program to sell. Agreed? Can even the most starry-eyed bourgeois apologist for international capitalism come up with anything even close? We have seen with the truncated, and totally inadequate, American heath care bill what they are willing to offer. No, thanks. I will fight for the communist program, and gladly.
*************
For those who want a more eloquent exposition of the communist future and, moreover, from one who had to deal very concretely with the issues that arose in trying to construct that future I will end this musing with the last few paragraphs from Chapter 8 of Bolshevik revolutionary Leon Trotsky’s 1924 cultural/political polemic,” Literature and Revolution”. Yes, to explain the communist program the way it should be expressed I am more than willing to defer to the “big” guns. Thanks, Comrade Trotsky.
Leon Trotsky:
“...Mankind will come out of the period of civil wars much poorer from terrific destructions, even without the earthquakes of the kind that occurred in Japan. The effort to conquer poverty, hunger, want in all its forms, that is, to conquer nature, will be the dominant tendency for decades to come. The passion for mechanical improvements, as in America, will accompany the first stage of every new Socialist society. The passive enjoyment of nature will disappear from art. Technique will become a more powerful inspiration for artistic work, and later on the contradiction itself between technique and nature will be solved in a higher synthesis.
The personal dreams of a few enthusiasts today for making life more dramatic and for educating man himself rhythmically, find a proper and real place in this outlook. Having rationalized his economic system, that is, having saturated it with consciousness and planfulness, man will not leave a trace of the present stagnant and worm-eaten domestic life. The care for food and education, which lies like a millstone on the present-day family, will be removed, and will become the subject of social initiative and of an endless collective creativeness. Woman will at last free herself from her semi-servile condition. Side by side with technique, education, in the broad sense of the psycho-physical molding of new generations, will take its place as the crown of social thinking. Powerful “parties” will form themselves around pedagogic systems. Experiments in social education and an emulation of different methods will take place to a degree which has not been dreamed of before. Communist life will not be formed blindly, like coral islands, but will be built consciously, will be tested by thought, will be directed and corrected. Life will cease to be elemental, and for this reason stagnant. Man, who will learn how to move rivers and mountains, how to build peoples’ palaces on the peaks of Mont Blanc and at the bottom of the Atlantic, will not only be able to add to his own life richness, brilliancy and intensity, but also a dynamic quality of the highest degree. The shell of life will hardly have time to form before it will burst open again under the pressure of new technical and cultural inventions and achievements. Life in the future will not be monotonous.
More than that. Man at last will begin to harmonize himself in earnest. He will make it his business to achieve beauty by giving the movement of his own limbs the utmost precision, purposefulness and economy in his work, his walk and his play. He will try to master first the semiconscious and then the subconscious processes in his own organism, such as breathing, the circulation of the blood, digestion, reproduction, and, within necessary limits, he will try to subordinate them to the control of reason and will. Even purely physiologic life will become subject to collective experiments. The human species, the coagulated Homo sapiens, will once more enter into a state of radical transformation, and, in his own hands, will become an object of the most complicated methods of artificial selection and psycho-physical training. This is entirely in accord with evolution. Man first drove the dark elements out of industry and ideology, by displacing barbarian routine by scientific technique, and religion by science. Afterwards he drove the unconscious out of politics, by overthrowing monarchy and class with democracy and rationalist parliamentarianism and then with the clear and open Soviet dictatorship. The blind elements have settled most heavily in economic relations, but man is driving them out from there also, by means of the Socialist organization of economic life. This makes it possible to reconstruct fundamentally the traditional family life. Finally, the nature of man himself is hidden in the deepest and darkest corner of the unconscious, of the elemental, of the sub-soil. Is it not self-evident that the greatest efforts of investigative thought and of creative initiative will be in that direction? The human race will not have ceased to crawl on all fours before God, kings and capital, in order later to submit humbly before the dark laws of heredity and a blind sexual selection! Emancipated man will want to attain a greater equilibrium in the work of his organs and a more proportional developing and wearing out of his tissues, in order to reduce the fear of death to a rational reaction of the organism towards danger. There can be no doubt that man’s extreme anatomical and physiological disharmony, that is, the extreme disproportion in the growth and wearing out of organs and tissues, give the life instinct the form of a pinched, morbid and hysterical fear of death, which darkens reason and which feeds the stupid and humiliating fantasies about life after death.
Man will make it his purpose to master his own feelings, to raise his instincts to the heights of consciousness, to make them transparent, to extend the wires of his will into hidden recesses, and thereby to raise himself to a new plane, to create a higher social biologic type, or, if you please, a superman.
It is difficult to predict the extent of self-government which the man of the future may reach or the heights to which he may carry his technique. Social construction and psycho-physical self-education will become two aspects of one and the same process. All the arts – literature, drama, painting, music and architecture will lend this process beautiful form. More correctly, the shell in which the cultural construction and self-education of Communist man will be enclosed, will develop all the vital elements of contemporary art to the highest point. Man will become immeasurably stronger, wiser and subtler; his body will become more harmonized, his movements more rhythmic, his voice more musical. The forms of life will become dynamically dramatic. The average human type will rise to the heights of an Aristotle, a Goethe, or a Marx. And above this ridge new peaks will rise.
Thursday, December 31, 2009
Wednesday, December 30, 2009
*Songs To While Away The Class Struggle By- Bob Dylan's "John Brown"
Click on the title to link to a “YouTube” film clip of Bob Dylan performing his "John Brown".
No, today I am not going to beat you over the head with a screed about how music, in whatever form, is not the revolution. You know that already, and if not life itself should have disabused you of that notion long ago. Music, however, has always had an important place in the history of progressive movements as a way to rouse the troops and keep the faith. I think back to the days of Cromwell’s plebeian New Model Army, singing New Testament psalms, while going off to do battle against England’s King Charles I’s royalist forces that started the whole modern revolutionary movement. Or the songs of the French revolution. Or those of the modern labor movement like “The Internationale”. I could go on, but you get the point.
In this series, presented under the headline “Songs To While Away The Class Struggle By”, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here.
Markin comment:
This is one of Dylan's lesser known anti-war oriented songs but, as usual hits the nail on the head about the real consequences of war, and who pays for them with their blood and lives.
John Brown Lyrics- Bob Dylan
John Brown went off to war to fight on a foreign shore.
His mama sure was proud of him!
He stood straight and tall in his uniform and all.
His mama's face broke out all in a grin.
"Oh son, you look so fine, I'm glad you're a son of mine,
You make me proud to know you hold a gun.
Do what the captain says, lots of medals you will get,
And we'll put them on the wall when you come home."
As that old train pulled out, John's ma began to shout,
Tellin' ev'ryone in the neighborhood:
"That's my son that's about to go, he's a soldier now, you know."
She made well sure her neighbors understood.
She got a letter once in a while and her face broke into a smile
As she showed them to the people from next door.
And she bragged about her son with his uniform and gun,
And these things you called a good old-fashioned war.
Oh! Good old-fashioned war!
Then the letters ceased to come, for a long time they did not come.
They ceased to come for about ten months or more.
Then a letter finally came saying, "Go down and meet the train.
Your son's a-coming home from the war."
She smiled and went right down, she looked everywhere around
But she could not see her soldier son in sight.
But as all the people passed, she saw her son at last,
When she did she could hardly believe her eyes.
Oh his face was all shot up and his hand was all blown off
And he wore a metal brace around his waist.
He whispered kind of slow, in a voice she did not know,
While she couldn't even recognize his face!
Oh! Lord! Not even recognize his face.
"Oh tell me, my darling son, pray tell me what they done.
How is it you come to be this way?"
He tried his best to talk but his mouth could hardly move
And the mother had to turn her face away.
"Don't you remember, Ma, when I went off to war
You thought it was the best thing I could do?
I was on the battleground, you were home . . . acting proud.
You wasn't there standing in my shoes."
"Oh, and I thought when I was there, God, what am I doing here?
I'm a-tryin' to kill somebody or die tryin'.
But the thing that scared me most was when my enemy came close
And I saw that his face looked just like mine."
Oh! Lord! Just like mine!
"And I couldn't help but think, through the thunder rolling and stink,
That I was just a puppet in a play.
And through the roar and smoke, this string is finally broke,
And a cannon ball blew my eyes away."
As he turned away to walk, his Ma was still in shock
At seein' the metal brace that helped him stand.
But as he turned to go, he called his mother close
And he dropped his medals down into her hand.
Copyright ©1963; renewed 1991 Special Rider Music
No, today I am not going to beat you over the head with a screed about how music, in whatever form, is not the revolution. You know that already, and if not life itself should have disabused you of that notion long ago. Music, however, has always had an important place in the history of progressive movements as a way to rouse the troops and keep the faith. I think back to the days of Cromwell’s plebeian New Model Army, singing New Testament psalms, while going off to do battle against England’s King Charles I’s royalist forces that started the whole modern revolutionary movement. Or the songs of the French revolution. Or those of the modern labor movement like “The Internationale”. I could go on, but you get the point.
In this series, presented under the headline “Songs To While Away The Class Struggle By”, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here.
Markin comment:
This is one of Dylan's lesser known anti-war oriented songs but, as usual hits the nail on the head about the real consequences of war, and who pays for them with their blood and lives.
John Brown Lyrics- Bob Dylan
John Brown went off to war to fight on a foreign shore.
His mama sure was proud of him!
He stood straight and tall in his uniform and all.
His mama's face broke out all in a grin.
"Oh son, you look so fine, I'm glad you're a son of mine,
You make me proud to know you hold a gun.
Do what the captain says, lots of medals you will get,
And we'll put them on the wall when you come home."
As that old train pulled out, John's ma began to shout,
Tellin' ev'ryone in the neighborhood:
"That's my son that's about to go, he's a soldier now, you know."
She made well sure her neighbors understood.
She got a letter once in a while and her face broke into a smile
As she showed them to the people from next door.
And she bragged about her son with his uniform and gun,
And these things you called a good old-fashioned war.
Oh! Good old-fashioned war!
Then the letters ceased to come, for a long time they did not come.
They ceased to come for about ten months or more.
Then a letter finally came saying, "Go down and meet the train.
Your son's a-coming home from the war."
She smiled and went right down, she looked everywhere around
But she could not see her soldier son in sight.
But as all the people passed, she saw her son at last,
When she did she could hardly believe her eyes.
Oh his face was all shot up and his hand was all blown off
And he wore a metal brace around his waist.
He whispered kind of slow, in a voice she did not know,
While she couldn't even recognize his face!
Oh! Lord! Not even recognize his face.
"Oh tell me, my darling son, pray tell me what they done.
How is it you come to be this way?"
He tried his best to talk but his mouth could hardly move
And the mother had to turn her face away.
"Don't you remember, Ma, when I went off to war
You thought it was the best thing I could do?
I was on the battleground, you were home . . . acting proud.
You wasn't there standing in my shoes."
"Oh, and I thought when I was there, God, what am I doing here?
I'm a-tryin' to kill somebody or die tryin'.
But the thing that scared me most was when my enemy came close
And I saw that his face looked just like mine."
Oh! Lord! Just like mine!
"And I couldn't help but think, through the thunder rolling and stink,
That I was just a puppet in a play.
And through the roar and smoke, this string is finally broke,
And a cannon ball blew my eyes away."
As he turned away to walk, his Ma was still in shock
At seein' the metal brace that helped him stand.
But as he turned to go, he called his mother close
And he dropped his medals down into her hand.
Copyright ©1963; renewed 1991 Special Rider Music
*Songs To While Away The Class Struggle By- Gerrard Winstanley's "The Digger's Song"
Click on the title to link to a YouTube film clip of The Digger's Song.
Markin comment:
No, today I am not going to beat you over the head with a screed about how music, in whatever form, is not the revolution. You know that already, and if not life itself should have disabused you of that notion long ago. Music, however, has always had an important place in the history of progressive movements as a way to rouse the troops and keep the faith. I think back to the days of Cromwell’s plebeian New Model Army, singing New Testament psalms, while going off to do battle against England’s King Charles I’s royalist forces that started the whole modern revolutionary movement. Or the songs of the French revolution. Or those of the modern labor movement like “The Internationale”. I could go on, but you get the point.
In this series, presented under the headline Songs To While Away The Class Struggle By, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here.
Markin comment on this song:
This is one of the greatest hits of the '40s-the 1640s- Hats off to Gerrard Winstanley and his band of primative communists, the Diggers, up on St. George's Hill. We will never forget you.
********
You Noble Diggers All (The Diggers' Song)
[Words Gerrard Winstanley]
Gerrard Winstanley (1609 - September 10, 1676) was an English Protestant religious reformer and political activist during the Protectorate of Oliver Cromwell. Winstanley was aligned with the group known as the True Levellers for their beliefs, based upon Christian communism, and as the Diggers for their actions because they took over public lands and dug them over to plant crops. [source: Wikipedia]
Winstanley's rallying song was sung by Leon Rosselson with Roy Bailey and Sue Harris, and accompanied by Martin Carthy on guitar, on Rosselson's 1979 album If I Knew Who the Enemy Was. Twenty years later, it was included in Harry's Gone Fishing.
In 2007, Chumbawamba sang the Diggers' Song on their live CD Get on With It.
Lyrics- The Digger's Song
You noble Diggers all, stand up now, stand up now,
You noble Diggers all, stand up now,
The waste land to maintain, seeing Cavaliers by name
Your digging do distain and your persons all defame
Stand up now, Diggers all.
Your houses they pull down, stand up now, stand up now,
Your houses they pull down, stand up now.
Your houses they pull down to fright poor men in town,
But the gentry must come down and the poor shall wear the crown.
Stand up now, Diggers all.
With spades and hoes and ploughs, stand up now, stand up now,
With spades and hoes and ploughs, stand up now.
Your freedom to uphold, seeing Cavaliers are bold
To kill you if they could and rights from you withhold.
Stand up now, Diggers all.
Their self-will is their law, stand up now, stand up now,
Their self-will is their law, stand up now.
Since tyranny came in they count it now no sin
To make a gaol a gin and to serve poor men therein.
Stand up now, Diggers all.
The gentry are all round, stand up now, stand up now,
The gentry are all round, stand up now.
The gentry are all round, on each side they are found,
Their wisdom's so profound to cheat us of the ground.
Stand up now, Diggers all.
The lawyers they conjoin, stand up now, stand up now,
The lawyers they conjoin, stand up now,
To arrest you they advise, such fury they devise,
But the devil in them lies, and hath blinded both their eyes.
Stand up now, Diggers all.
The clergy they come in, stand up now, stand up now,
The clergy they come in, stand up now.
The clergy they come in and say it is a sin
That we should now begin our freedom for to win.
Stand up now, Diggers all.
'Gainst lawyers and 'gainst priests, stand up now, stand up now,
'Gainst lawyers and 'gainst Priests, stand up now.
For tyrants are they both even flat against their oath,
To grant us they are loath free meat and drink and cloth.
Stand up now, Diggers all.
The club is all their law, stand up now, stand up now,
The club is all their law, stand up now.
The club is all their law to keep poor folk in awe,
Buth they no vision saw to maintain such a law.
Glory now, Diggers all.
Markin comment:
No, today I am not going to beat you over the head with a screed about how music, in whatever form, is not the revolution. You know that already, and if not life itself should have disabused you of that notion long ago. Music, however, has always had an important place in the history of progressive movements as a way to rouse the troops and keep the faith. I think back to the days of Cromwell’s plebeian New Model Army, singing New Testament psalms, while going off to do battle against England’s King Charles I’s royalist forces that started the whole modern revolutionary movement. Or the songs of the French revolution. Or those of the modern labor movement like “The Internationale”. I could go on, but you get the point.
In this series, presented under the headline Songs To While Away The Class Struggle By, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here.
Markin comment on this song:
This is one of the greatest hits of the '40s-the 1640s- Hats off to Gerrard Winstanley and his band of primative communists, the Diggers, up on St. George's Hill. We will never forget you.
********
You Noble Diggers All (The Diggers' Song)
[Words Gerrard Winstanley]
Gerrard Winstanley (1609 - September 10, 1676) was an English Protestant religious reformer and political activist during the Protectorate of Oliver Cromwell. Winstanley was aligned with the group known as the True Levellers for their beliefs, based upon Christian communism, and as the Diggers for their actions because they took over public lands and dug them over to plant crops. [source: Wikipedia]
Winstanley's rallying song was sung by Leon Rosselson with Roy Bailey and Sue Harris, and accompanied by Martin Carthy on guitar, on Rosselson's 1979 album If I Knew Who the Enemy Was. Twenty years later, it was included in Harry's Gone Fishing.
In 2007, Chumbawamba sang the Diggers' Song on their live CD Get on With It.
Lyrics- The Digger's Song
You noble Diggers all, stand up now, stand up now,
You noble Diggers all, stand up now,
The waste land to maintain, seeing Cavaliers by name
Your digging do distain and your persons all defame
Stand up now, Diggers all.
Your houses they pull down, stand up now, stand up now,
Your houses they pull down, stand up now.
Your houses they pull down to fright poor men in town,
But the gentry must come down and the poor shall wear the crown.
Stand up now, Diggers all.
With spades and hoes and ploughs, stand up now, stand up now,
With spades and hoes and ploughs, stand up now.
Your freedom to uphold, seeing Cavaliers are bold
To kill you if they could and rights from you withhold.
Stand up now, Diggers all.
Their self-will is their law, stand up now, stand up now,
Their self-will is their law, stand up now.
Since tyranny came in they count it now no sin
To make a gaol a gin and to serve poor men therein.
Stand up now, Diggers all.
The gentry are all round, stand up now, stand up now,
The gentry are all round, stand up now.
The gentry are all round, on each side they are found,
Their wisdom's so profound to cheat us of the ground.
Stand up now, Diggers all.
The lawyers they conjoin, stand up now, stand up now,
The lawyers they conjoin, stand up now,
To arrest you they advise, such fury they devise,
But the devil in them lies, and hath blinded both their eyes.
Stand up now, Diggers all.
The clergy they come in, stand up now, stand up now,
The clergy they come in, stand up now.
The clergy they come in and say it is a sin
That we should now begin our freedom for to win.
Stand up now, Diggers all.
'Gainst lawyers and 'gainst priests, stand up now, stand up now,
'Gainst lawyers and 'gainst Priests, stand up now.
For tyrants are they both even flat against their oath,
To grant us they are loath free meat and drink and cloth.
Stand up now, Diggers all.
The club is all their law, stand up now, stand up now,
The club is all their law, stand up now.
The club is all their law to keep poor folk in awe,
Buth they no vision saw to maintain such a law.
Glory now, Diggers all.
Tuesday, December 29, 2009
*From Renegade Eye- The Struggle in Iran Today- A Guest Commentary
Click on the title to link to a guest commentary on the current struggle in Iran from the "Renegade Eye" blog.
Markin comment:
The situation in Iran cries out to high heaven for a communist solution. Russian revolutionary leader Leon Trotsky's Theory of Permanent Revolution is fully applicable here. However, there is no vanguard party to lead this struggle so the question of what we get in the short term, other than the removal of the current regime, is rather problematic. All we can say for sure today, as we have for the past 30 odd years is- Down With The Mullahs! Fight For A Revolutionary Constituent Assembly! No political support for any bourgeois parties or politicians! Defend the Iranian peoples! Hands Off The Protesters! World Imperialism Hands Off Iran!
More, much more on this as events continue to unfold.
Markin comment:
The situation in Iran cries out to high heaven for a communist solution. Russian revolutionary leader Leon Trotsky's Theory of Permanent Revolution is fully applicable here. However, there is no vanguard party to lead this struggle so the question of what we get in the short term, other than the removal of the current regime, is rather problematic. All we can say for sure today, as we have for the past 30 odd years is- Down With The Mullahs! Fight For A Revolutionary Constituent Assembly! No political support for any bourgeois parties or politicians! Defend the Iranian peoples! Hands Off The Protesters! World Imperialism Hands Off Iran!
More, much more on this as events continue to unfold.
*Rumblings From The 1960's Heartland- S.E. Hinton's "The Outsider"- A Film Review
Click on the title to link to YouTube's film clip of Francis Ford Coppola's screen adaption of S.E. Hinton's classic tale of teenage alienation, "The Outsiders".
DVD Review
The Outsiders, Rob Lowe, Tom Cruise and every other rising young male star of the 1980s worth his salt, Dian Lane, directed by Francis Ford Coppola, Paramount Pictures, 1983
Recently I reviewed another film adaptation by the director Francis Ford of one of S.E. Hinton’s classic tales of American teenage working class alienation during the 1950s-1960s, “Rumblefish”. There the plot centered on the seemingly inescapable nihilism following the footsteps of a leader, and his ex-leader brother, of a by then passé white teenage gang. That film presented the anguish of youthful working class alienation in a very different and much less glamorous light than the teenage angst films of my youth, like Marlon Brando’s “The Wild Ones” and James Dean’s “Rebel Without A Cause”. I also mentioned in that review that I had been momentarily attracted, very attracted, to that ‘lifestyle’, coming as I did from that stratum of the working class that lived with few hopes and fewer dreams. It was a very near thing that shifted me away from that life, mainly the allure of books and less dangerous exploits.
I did not feel that same kind of identification here in this otherwise outstanding tale of youthful working class alienation out in the heartland in the hill of Oklahoma, “The Outsiders”. That, notwithstanding the fact that the main character and narrator, “Pony Boy”, is also very attracted to books (although “Gone With The Wind” and the poetry of Robert Frost seem odd choices to go ga-ga over). The difference. In “Rumblefish”, seemingly a much more experimental film on Coppola’s part and a more searing look at working class youth on Hinton’s part, the plot is is filled with examples of that unspoken danger, that unspoken destructive pathology and dead end nihilism that meant doom for at least some of the characters, and not just the easy to foresee one of early and untimely death that stalks those down at the edges of society.
Superficially, the plot of “The Outsiders” would have assumed that same fate for its characters. A small town out in the hill of Oklahoma where the class divisions are obvious has the working class “Greasers” lined up in combat against the middle class “Socs” with every cliché of the class struggle, except the political, thrown in for good measure. (Obviously portrayed, as well, note the sideburns long hair on the Greaser side and the chino pants on the frat guys side. You don’t need a scorecard on this one.) In summary: the two sides clash over nothing in particular except “turf”: hold grudges; seek revenge taking causalities, one fatally; and ending with a rumble where the Greasers have their momentary Pyrrhic victory.
Along the way there is plenty of time for youthful reflection by the narrator and his fellows about the ways of the class-ridden world, a few bouts heroism and a little off-hand (very off-hand) romance. As much as we know about the nature of modern class society this thing rings false. The moral here-even the most alienated Greaser, played to a tee by Matt Dillon, is really only searching for meaning to his life and a little society, only to get waylaid by that life in the end. Thus, this thing turns into something more like a cautionary tale than a slice of live down at the bottom edges of society. The more circumspect and existential “Rumblefish” gets my vote any day.
Note: Part of the problem with this film cinematically is that the leading male actors here, the likes of Rob Lowe, the late Patrick Swayze, Tom Cruise and Matt Dillon are all too ‘pretty’ to be Greasers. Although one can appreciate the talent pool that came out of this film I know from real life that, while the "greasers" of this world may have some raw sexually attractions they would hardly grace the pages of “Gentleman’s Quarterly”, or some such magazine. These guys could. That is what rings false here, as well as the assurances, hammered home to us throughout the story, that in democratic America even the down-trodden can lift themselves up and succeed. If they wash up a little.
DVD Review
The Outsiders, Rob Lowe, Tom Cruise and every other rising young male star of the 1980s worth his salt, Dian Lane, directed by Francis Ford Coppola, Paramount Pictures, 1983
Recently I reviewed another film adaptation by the director Francis Ford of one of S.E. Hinton’s classic tales of American teenage working class alienation during the 1950s-1960s, “Rumblefish”. There the plot centered on the seemingly inescapable nihilism following the footsteps of a leader, and his ex-leader brother, of a by then passé white teenage gang. That film presented the anguish of youthful working class alienation in a very different and much less glamorous light than the teenage angst films of my youth, like Marlon Brando’s “The Wild Ones” and James Dean’s “Rebel Without A Cause”. I also mentioned in that review that I had been momentarily attracted, very attracted, to that ‘lifestyle’, coming as I did from that stratum of the working class that lived with few hopes and fewer dreams. It was a very near thing that shifted me away from that life, mainly the allure of books and less dangerous exploits.
I did not feel that same kind of identification here in this otherwise outstanding tale of youthful working class alienation out in the heartland in the hill of Oklahoma, “The Outsiders”. That, notwithstanding the fact that the main character and narrator, “Pony Boy”, is also very attracted to books (although “Gone With The Wind” and the poetry of Robert Frost seem odd choices to go ga-ga over). The difference. In “Rumblefish”, seemingly a much more experimental film on Coppola’s part and a more searing look at working class youth on Hinton’s part, the plot is is filled with examples of that unspoken danger, that unspoken destructive pathology and dead end nihilism that meant doom for at least some of the characters, and not just the easy to foresee one of early and untimely death that stalks those down at the edges of society.
Superficially, the plot of “The Outsiders” would have assumed that same fate for its characters. A small town out in the hill of Oklahoma where the class divisions are obvious has the working class “Greasers” lined up in combat against the middle class “Socs” with every cliché of the class struggle, except the political, thrown in for good measure. (Obviously portrayed, as well, note the sideburns long hair on the Greaser side and the chino pants on the frat guys side. You don’t need a scorecard on this one.) In summary: the two sides clash over nothing in particular except “turf”: hold grudges; seek revenge taking causalities, one fatally; and ending with a rumble where the Greasers have their momentary Pyrrhic victory.
Along the way there is plenty of time for youthful reflection by the narrator and his fellows about the ways of the class-ridden world, a few bouts heroism and a little off-hand (very off-hand) romance. As much as we know about the nature of modern class society this thing rings false. The moral here-even the most alienated Greaser, played to a tee by Matt Dillon, is really only searching for meaning to his life and a little society, only to get waylaid by that life in the end. Thus, this thing turns into something more like a cautionary tale than a slice of live down at the bottom edges of society. The more circumspect and existential “Rumblefish” gets my vote any day.
Note: Part of the problem with this film cinematically is that the leading male actors here, the likes of Rob Lowe, the late Patrick Swayze, Tom Cruise and Matt Dillon are all too ‘pretty’ to be Greasers. Although one can appreciate the talent pool that came out of this film I know from real life that, while the "greasers" of this world may have some raw sexually attractions they would hardly grace the pages of “Gentleman’s Quarterly”, or some such magazine. These guys could. That is what rings false here, as well as the assurances, hammered home to us throughout the story, that in democratic America even the down-trodden can lift themselves up and succeed. If they wash up a little.
Saturday, December 26, 2009
*On The Slogan- "For A Freedom/Workers Party"- A Note For Discussion
Click on the title to link to the "End U.S. Wars" Web site for ex-Congresswoman Cynthia McKinney's address (scroll down) that is related to the commentary below.
The following note, although written on December 20, 2009, belongs with the entry for Cynthia McKinney’s speech below, originally posted on December 17, 2007, because a point I made in that entry is the focus of the comment here. Thanks, Internet blogger technology for this one.
Markin comment:
Note: December 20, 2009-Someone with whom I shared this entry on another blog that I belong to questioned me on the formulation of a “freedom/workers party” when I, off-handedly, called on Cynthia McKinney to break from all bourgeois parties and come over and work with us. He noted that on all previous occasions when I had evoked the “workers party fighting for a workers government” slogan there was not “freedom” used as part of the formulation. The comrade had a good point and I want to expand on it here.
Frankly, part of the use of the word “freedom”, in addition to the traditional fighting slogan of building a workers party that fights for a worker government, was a somewhat sloppy, cryptic and not fully thought out way of expressing a concept that I think is worth thinking about for the future as we fight for a class-struggle workers party, for socialist revolution, and for the goal of a classless international communist society. As I have repeatedly emphasized in this space a black working class-led trans-class black liberation struggle will be an important component in the fight for the coming American socialist revolution. That strategic perspective still holds true today, perhaps more so.
That said, I do not think that raising the slogan under discussion over the past few decades would have made political sense. The "freedom" idea brings back memories of civil rights days, and while that battle was narrowly centered on democratic rights, and, ultimately, did not finish the black liberation struggle, not by a long way, the central focus thereafter became bringing that liberation as a part of general propaganda for the communist program. However, some of the factors that underlined that perspective have eroded somewhat over the past few decades since the civil rights days, mainly the hellish effects that the deindustrialization (and de-unionization, which went hand and hand with it) of the American economy has had on the black, and now, other minority populations like Hispanics and immigrants.
Centered on the historic black question particularly, by almost every statistic from unemployment rates, net worth, educational opportunities, foreclosure rates and prison incarcerations rates (always a sure way to tell the real status of blacks, especially young black males) the black population has taken it on the chin. Although those conditions have been addressed in the general propaganda previously I think we need to think about bringing in an additional concept again that reflects that social reality today.
Formulations placing a special emphasis on the black question have a rather rich, if somewhat spotty, history in the American communist movement going back to the founding of the party back in 1919. Some of it centered on the black struggle in the South in the 1920s and 1930s when, despite the erroneous “third period” Stalinist Communist International policy of calling for a truncated form of national self-determination for blacks in some mythical “black belt”, the American Communist Party was in the vanguard of the black liberation struggle. My sense of the use of the slogan, however, does not go back that far. I am thinking more of the civil rights movement in the 1960s, when it was being led (or rather misled) by the black preachers and other middle class black elements (supported by, mainly, Northern white liberals, including me) whose strategy was a total political reliance on the good offices of the racist Democratic Party, a party in turn dependent for its national majorities on the hard segregationist South.
The most graphic example of this reliance came at the 1964 Democratic Convention in Atlantic City where Lyndon Johnson sought to be crowned the candidate of that party in his own right. The most burning question of the convention, however, was the seating of the traditional racist Mississippi Democratic Party. The Mississippi Freedom Democratic Party, led by the heroic civil rights militant Fannie Lou Hamer, was pieced off there by the national Democratic Party in the interests of… winning in 1964 against the arch-villain, Senator Barry Goldwater. Sound familiar? With those civil rights struggles still in progress (and in desperate need of some socialist intervention, not the abstention, or worst, of the Communist Party and the Socialist Workers Party) it was a natural spot to call for a “Freedom/Workers Party”, putting class and race issues together in a very algebraic way. And that brings us to the present.
Obviously, the exact conditions and questions posed today are not the same as then. However, I would argue that with the economic and social conditions in the black communities today (think, most graphically, of New Orleans, Los Angeles and, tragically, the decimation of black working class Detroit) that this slogan is due for a 21st century reincarnation. As an effective propaganda tool when confronting the first black elected president of the American imperium, Barack Obama, who has gone out of his way to avoid the burning issues of the black communities, I do not think I am being outlandish.
As for the call for Cynthia McKinney to break with the bourgeois parties in order to pose this slogan at this time. That was something of a convenient ruse. If Cynthia McKinney, personally, came over on our programmatic basis fine. If not- we still stand for a “freedom/workers party”. This question, I think, is still at the discussion stage. I, for example, am not sure that "freedom" is the right word for a shorthand way to address the crying need for a communist solution to the black liberation struggle. Nor are the special issues to be raised etched in stone, Although one should center on physically saving the mainly black inner-cities with massive public works at union rates. More on this later. What do you think?
The following note, although written on December 20, 2009, belongs with the entry for Cynthia McKinney’s speech below, originally posted on December 17, 2007, because a point I made in that entry is the focus of the comment here. Thanks, Internet blogger technology for this one.
Markin comment:
Note: December 20, 2009-Someone with whom I shared this entry on another blog that I belong to questioned me on the formulation of a “freedom/workers party” when I, off-handedly, called on Cynthia McKinney to break from all bourgeois parties and come over and work with us. He noted that on all previous occasions when I had evoked the “workers party fighting for a workers government” slogan there was not “freedom” used as part of the formulation. The comrade had a good point and I want to expand on it here.
Frankly, part of the use of the word “freedom”, in addition to the traditional fighting slogan of building a workers party that fights for a worker government, was a somewhat sloppy, cryptic and not fully thought out way of expressing a concept that I think is worth thinking about for the future as we fight for a class-struggle workers party, for socialist revolution, and for the goal of a classless international communist society. As I have repeatedly emphasized in this space a black working class-led trans-class black liberation struggle will be an important component in the fight for the coming American socialist revolution. That strategic perspective still holds true today, perhaps more so.
That said, I do not think that raising the slogan under discussion over the past few decades would have made political sense. The "freedom" idea brings back memories of civil rights days, and while that battle was narrowly centered on democratic rights, and, ultimately, did not finish the black liberation struggle, not by a long way, the central focus thereafter became bringing that liberation as a part of general propaganda for the communist program. However, some of the factors that underlined that perspective have eroded somewhat over the past few decades since the civil rights days, mainly the hellish effects that the deindustrialization (and de-unionization, which went hand and hand with it) of the American economy has had on the black, and now, other minority populations like Hispanics and immigrants.
Centered on the historic black question particularly, by almost every statistic from unemployment rates, net worth, educational opportunities, foreclosure rates and prison incarcerations rates (always a sure way to tell the real status of blacks, especially young black males) the black population has taken it on the chin. Although those conditions have been addressed in the general propaganda previously I think we need to think about bringing in an additional concept again that reflects that social reality today.
Formulations placing a special emphasis on the black question have a rather rich, if somewhat spotty, history in the American communist movement going back to the founding of the party back in 1919. Some of it centered on the black struggle in the South in the 1920s and 1930s when, despite the erroneous “third period” Stalinist Communist International policy of calling for a truncated form of national self-determination for blacks in some mythical “black belt”, the American Communist Party was in the vanguard of the black liberation struggle. My sense of the use of the slogan, however, does not go back that far. I am thinking more of the civil rights movement in the 1960s, when it was being led (or rather misled) by the black preachers and other middle class black elements (supported by, mainly, Northern white liberals, including me) whose strategy was a total political reliance on the good offices of the racist Democratic Party, a party in turn dependent for its national majorities on the hard segregationist South.
The most graphic example of this reliance came at the 1964 Democratic Convention in Atlantic City where Lyndon Johnson sought to be crowned the candidate of that party in his own right. The most burning question of the convention, however, was the seating of the traditional racist Mississippi Democratic Party. The Mississippi Freedom Democratic Party, led by the heroic civil rights militant Fannie Lou Hamer, was pieced off there by the national Democratic Party in the interests of… winning in 1964 against the arch-villain, Senator Barry Goldwater. Sound familiar? With those civil rights struggles still in progress (and in desperate need of some socialist intervention, not the abstention, or worst, of the Communist Party and the Socialist Workers Party) it was a natural spot to call for a “Freedom/Workers Party”, putting class and race issues together in a very algebraic way. And that brings us to the present.
Obviously, the exact conditions and questions posed today are not the same as then. However, I would argue that with the economic and social conditions in the black communities today (think, most graphically, of New Orleans, Los Angeles and, tragically, the decimation of black working class Detroit) that this slogan is due for a 21st century reincarnation. As an effective propaganda tool when confronting the first black elected president of the American imperium, Barack Obama, who has gone out of his way to avoid the burning issues of the black communities, I do not think I am being outlandish.
As for the call for Cynthia McKinney to break with the bourgeois parties in order to pose this slogan at this time. That was something of a convenient ruse. If Cynthia McKinney, personally, came over on our programmatic basis fine. If not- we still stand for a “freedom/workers party”. This question, I think, is still at the discussion stage. I, for example, am not sure that "freedom" is the right word for a shorthand way to address the crying need for a communist solution to the black liberation struggle. Nor are the special issues to be raised etched in stone, Although one should center on physically saving the mainly black inner-cities with massive public works at union rates. More on this later. What do you think?
*First Rumbling From The Black Community On The Afghan War Front- Ex- Congreewoman Cynthia McKinney At The December 12, 2009 Anti-War Rally
Click on the title to link, via the End U.S. Wars Web site (scroll down), to ex-Congresswoman (and 2008 Green Party candidate) Cynthia McKinney's address at the December 12, 2009 emergency anti-war rally in Washington, D.C..
This entry was originally posted on this site on December 17, 2009 as stated below, for informational purposes. Of course, the best laid plans don not always work out as my comment about the need for a freedom/workers party raised some eyebrows. Thus, I have moved this entry to be tied into today's posted commentary on the subject of the slogan of the freedom/workers party.
Markin comment:
This speech is mainly placed in this space for informational purposes as an example of the beginning of the first serious rumblings in the black community against the Obama administration. We communists have long known that the Obama 'honeymoon' is over on the question of Afghanistan (if he ever had one on that issue since one of his first key acts was a little commented-on troop escalation in February, 2009) but also is over on other issues that may be more pressing to others, especially blacks and Hispanics who overwhelmingly supported his candidacy, and who have been hit hard by these tough economic times.
My comment on this address is- Cynthia McKinney break with all the bourgeois parties, including the Green Party, and come fight for a freedom/worker party. That is where the future lies- get on board now because the train is leaving the station- and Obama and the other capitalist party politicians, large and small, are not on it.
This entry was originally posted on this site on December 17, 2009 as stated below, for informational purposes. Of course, the best laid plans don not always work out as my comment about the need for a freedom/workers party raised some eyebrows. Thus, I have moved this entry to be tied into today's posted commentary on the subject of the slogan of the freedom/workers party.
Markin comment:
This speech is mainly placed in this space for informational purposes as an example of the beginning of the first serious rumblings in the black community against the Obama administration. We communists have long known that the Obama 'honeymoon' is over on the question of Afghanistan (if he ever had one on that issue since one of his first key acts was a little commented-on troop escalation in February, 2009) but also is over on other issues that may be more pressing to others, especially blacks and Hispanics who overwhelmingly supported his candidacy, and who have been hit hard by these tough economic times.
My comment on this address is- Cynthia McKinney break with all the bourgeois parties, including the Green Party, and come fight for a freedom/worker party. That is where the future lies- get on board now because the train is leaving the station- and Obama and the other capitalist party politicians, large and small, are not on it.
Friday, December 25, 2009
*In Search Of The Great Working Class Love Song- Richard Thompson's "1952 Vincent Black Lightning"
Click on the title to link to a “YouTube” film clip of Richard Thompson (yes, that Richard Thompson from way back in Fairport Convention days) performing his classic tale of true working class (maybe lumpen?) love, “ 1952 Vincent Black Lightning”.
Markin comment:
This entry started life as a question posed by one of my class officer high school classmates with who I am in occasional contact, and who has this nasty habit of asking me to write questions in her incessant quest to know every flimsy detail of what, if anything, goes through of the minds of our well-aged fellow classmates. I have only myself to blame on this one though because I started off a couple of years ago actually performing this ‘service’ when I, innocently, thought there was some limit to such inquiries. In any case, as is my wont I turned her question around slightly to reflect the high tone class-struggle nature of this site, and in appreciation of the ethos of our old beaten down working class town.
*********
Yes, I know, just when you thought it was safe to, discretely, peruse this page without having to be bombarded by some outlandish commentary from a fellow classmate here he is again asking those infernal, eternal questions. Well, yes. For some time now I have been doing a little of this and a little of that, including some writing, in order to make ends meet. But now I have time for some serious writing and so it goes.
Today’s subject is prompted by a question that I have been asked about before - what music were you listening to back in the day? Well, for me at least that subject is exhausted. I no longer want to hear about how you fainted over “Teen Angel,” Johnny Angel,” or “Earth Angel”. Moreover, enough of “You’re Gonna Be Sorry,” “I’m Sorry,” and “Who’s Sorry Now”. And no more of “Tell Laura I Love Her,” “Oh Donna,” and “I Had A Girl Her Name Was Joanne”, or whatever woman’s name comes to mind. It is time, boys and girls, to move on to other musical influences from our more mature years.
But why, as the headline suggests, the search for the great working class love song? Well, hello! Our old town was (and is, as far as I can tell from a very recent trip to the old place) a quintessential working class town (especially before the deindustrialization of America). At least the great majority of us came from working class or working poor homes. Most songs, especially popular songs, reflect a kind of “one size fits all” lyric that could apply to anyone. What I am looking for is songs that in some way reflect that working class ethos that is still in our bones, whether we recognize it or not.
Needless to say, since I have posed the question, I have my choice already prepared. As will become obvious, once you read the lyrics, this song reflects my take on the male angst in the age old love problem. However, any woman classmate is more than free to choice songs that reflect her female angst angle (ouch, for that awkward formulation) on the class hit parade.
1952 Vincent Black Lightning-Richard Thompson
Said Red Molly to James that's a fine motorbike
A girl could feel special on any such like
Said James to Red Molly, well my hat's off to you
It's a Vincent Black Lightning, 1952
And I've seen you at the corners and cafes it seems
Red hair and black leather, my favorite color scheme
And he pulled her on behind
And down to Box Hill they did ride
Said James to Red Molly, here's a ring for your right hand
But I'll tell you in earnest I'm a dangerous man
I've fought with the law since I was seventeen
I robbed many a man to get my Vincent machine
Now I'm 21 years, I might make 22
And I don't mind dying, but for the love of you
And if fate should break my stride
Then I'll give you my Vincent to ride
Come down, come down, Red Molly, called Sergeant McRae
For they've taken young James Adie for armed robbery
Shotgun blast hit his chest, left nothing inside
Oh, come down, Red Molly to his dying bedside
When she came to the hospital, there wasn't much left
He was running out of road, he was running out of breath
But he smiled to see her cry
And said I'll give you my Vincent to ride
Says James, in my opinion, there's nothing in this world
Beats a 52 Vincent and a red headed girl
Now Nortons and Indians and Greeveses won't do
They don't have a soul like a Vincent 52
He reached for her hand and he slipped her the keys
He said I've got no further use for these
I see angels on Ariels in leather and chrome
Swooping down from heaven to carry me home
And he gave her one last kiss and died
And he gave her his Vincent to ride
Come on now, after reading these lyrics is any mere verbal profession of undying love, any taking somebody on a ride to some two-bit carnival ("Jersey Girl"), some buying a gold ring ("James Alley Blues")or some chintzy flowers going to mean anything? Hell, the guy is giving her his BIKE. Case closed.
Markin comment:
This entry started life as a question posed by one of my class officer high school classmates with who I am in occasional contact, and who has this nasty habit of asking me to write questions in her incessant quest to know every flimsy detail of what, if anything, goes through of the minds of our well-aged fellow classmates. I have only myself to blame on this one though because I started off a couple of years ago actually performing this ‘service’ when I, innocently, thought there was some limit to such inquiries. In any case, as is my wont I turned her question around slightly to reflect the high tone class-struggle nature of this site, and in appreciation of the ethos of our old beaten down working class town.
*********
Yes, I know, just when you thought it was safe to, discretely, peruse this page without having to be bombarded by some outlandish commentary from a fellow classmate here he is again asking those infernal, eternal questions. Well, yes. For some time now I have been doing a little of this and a little of that, including some writing, in order to make ends meet. But now I have time for some serious writing and so it goes.
Today’s subject is prompted by a question that I have been asked about before - what music were you listening to back in the day? Well, for me at least that subject is exhausted. I no longer want to hear about how you fainted over “Teen Angel,” Johnny Angel,” or “Earth Angel”. Moreover, enough of “You’re Gonna Be Sorry,” “I’m Sorry,” and “Who’s Sorry Now”. And no more of “Tell Laura I Love Her,” “Oh Donna,” and “I Had A Girl Her Name Was Joanne”, or whatever woman’s name comes to mind. It is time, boys and girls, to move on to other musical influences from our more mature years.
But why, as the headline suggests, the search for the great working class love song? Well, hello! Our old town was (and is, as far as I can tell from a very recent trip to the old place) a quintessential working class town (especially before the deindustrialization of America). At least the great majority of us came from working class or working poor homes. Most songs, especially popular songs, reflect a kind of “one size fits all” lyric that could apply to anyone. What I am looking for is songs that in some way reflect that working class ethos that is still in our bones, whether we recognize it or not.
Needless to say, since I have posed the question, I have my choice already prepared. As will become obvious, once you read the lyrics, this song reflects my take on the male angst in the age old love problem. However, any woman classmate is more than free to choice songs that reflect her female angst angle (ouch, for that awkward formulation) on the class hit parade.
1952 Vincent Black Lightning-Richard Thompson
Said Red Molly to James that's a fine motorbike
A girl could feel special on any such like
Said James to Red Molly, well my hat's off to you
It's a Vincent Black Lightning, 1952
And I've seen you at the corners and cafes it seems
Red hair and black leather, my favorite color scheme
And he pulled her on behind
And down to Box Hill they did ride
Said James to Red Molly, here's a ring for your right hand
But I'll tell you in earnest I'm a dangerous man
I've fought with the law since I was seventeen
I robbed many a man to get my Vincent machine
Now I'm 21 years, I might make 22
And I don't mind dying, but for the love of you
And if fate should break my stride
Then I'll give you my Vincent to ride
Come down, come down, Red Molly, called Sergeant McRae
For they've taken young James Adie for armed robbery
Shotgun blast hit his chest, left nothing inside
Oh, come down, Red Molly to his dying bedside
When she came to the hospital, there wasn't much left
He was running out of road, he was running out of breath
But he smiled to see her cry
And said I'll give you my Vincent to ride
Says James, in my opinion, there's nothing in this world
Beats a 52 Vincent and a red headed girl
Now Nortons and Indians and Greeveses won't do
They don't have a soul like a Vincent 52
He reached for her hand and he slipped her the keys
He said I've got no further use for these
I see angels on Ariels in leather and chrome
Swooping down from heaven to carry me home
And he gave her one last kiss and died
And he gave her his Vincent to ride
Come on now, after reading these lyrics is any mere verbal profession of undying love, any taking somebody on a ride to some two-bit carnival ("Jersey Girl"), some buying a gold ring ("James Alley Blues")or some chintzy flowers going to mean anything? Hell, the guy is giving her his BIKE. Case closed.
*Not Ready For Prime Time Class Struggle -Watch What Yo Eat-Please- "Water For Chocolate"-A Film Review
Click on the title to link to a "YouTube"film clip of a scene from the film, "Water For Chocolate".
DVD Review
Water For Chocolate, (in Spanish, English sub-titles), Marco Leonardi, Lumi Rivera, Walt Disney Video, 2000.
Apparently once you get on the topic of food there is no end to commentary on the subject. Recently I reviewed the food-centered “Julie and Julia” about the marathon efforts of a modern day blogger to race through and prepare every recipe in the famous Child’s cook book. Now we have a little Mexican import that has the mysteries, portents and usages of food, if not as the central plot then as an important prop in the narration of the story.
And that story? A tale straight out of the “magical realism” trend that is still, mainly, in vogue these days in novelistic treatments. In short, a tale of love, longing for love, love thwarted, love twisted, conventional family life Mexican style gone awry, old time views on the place of women and children in the nuclear family structure and all glue together by…endless scenes of the preparation of this and that in the ever present kitchen. A nice sent-up of a film and a cautionary tale or two to make one think. As I pointed out in the Child’s review though, I hope I do not have to revive that old feudal tradition of having someone taste my food before I eat it.
DVD Review
Water For Chocolate, (in Spanish, English sub-titles), Marco Leonardi, Lumi Rivera, Walt Disney Video, 2000.
Apparently once you get on the topic of food there is no end to commentary on the subject. Recently I reviewed the food-centered “Julie and Julia” about the marathon efforts of a modern day blogger to race through and prepare every recipe in the famous Child’s cook book. Now we have a little Mexican import that has the mysteries, portents and usages of food, if not as the central plot then as an important prop in the narration of the story.
And that story? A tale straight out of the “magical realism” trend that is still, mainly, in vogue these days in novelistic treatments. In short, a tale of love, longing for love, love thwarted, love twisted, conventional family life Mexican style gone awry, old time views on the place of women and children in the nuclear family structure and all glue together by…endless scenes of the preparation of this and that in the ever present kitchen. A nice sent-up of a film and a cautionary tale or two to make one think. As I pointed out in the Child’s review though, I hope I do not have to revive that old feudal tradition of having someone taste my food before I eat it.
*Not Ready For Prime Time Class Struggle-In The Time Of The 1960s Great Teenage Breakout- "Hairspray" - A Film Review
Click on the title to link to a "YouTube" of one of the songs from "Hairspray", "You Can't Stop The Beat".
DVD Review
Hairspray, starring John Travolta, Christopher Walkens, Michelle Pffeifer, directed by John Waters, 2007
If I were reviewing this off-beat musical comedy from a political perspective I would have to classify this film about the virtues of show tunes as a tool for racial harmony in early 1960s Baltimore, before the out-front racial polarization of the city was exposed to the world and Spiro Agnew hit the scene, as an integrationist’s daydream, and a segregationist’s nightmare. And at that political level the theme just doesn’t work, although the sub-theme about accepting differences (racial, ethnic, gender, size) has a certain appeal. But all of this is to take this sweet fluff of a film way beyond those rationale political parameters.
What does work? Well, a nice little odd-ball, not exactly cookie-cutter American family, circa 1960, with some big dreams and some big women get to play center stage in the quest for the American dream, or one of the early 1960s variant of it- stardom in the music and/or television world. The current “American Idol” is only the latest in a long line of such efforts. Here the plot revolves around becoming “top dog” on one of the old after school dance shows that were a staple of 1950s-early 1960s television to keep restless kids under control for a few hours until dad got home. To that extent the plot is just a ruse for some great songs about those above-mentioned social differences and how to deal with those differences in a quirky and dreamy interracial way.
The real kicker here though are the performances of John Travolta (yes, that John Travolta) as the over-sized mother, Edna, who can still dance up a storm, the usually bad guy-playing Christopher Walken as the supportive and skinny dad, Wilbur, and normally good girl, and always femme fatale Michelle Pffeifer, as the plotting television station manager makes this thing appealing to a non-teenager. And, of course Queen Latifah being, well…. Queen Latifah. The high school kids led by Wilbur and Edna's daughter Tracy (Nikki Blonsky), black and white, good or bad, sweet or vicious are just there to glue this thing together. Watch this couple of hours of an integrationist’s daydream.
Hairspray Cast - Come So Far (Got So Far To Go) Lyrics
QUEEN LATIFAH
Hey old friend, let's look back
On the crazy clothes we wore
Elijah Kelly
Ain't it fun to look back
And to see it's all been done before
ZAC EFRON
All those nights together
Are a special memory
NIKKI BLONSKY
And I can't wait for tomorrow
Just as long as you're
dancing next to me
EVERYONE
Cause it's so clear
Every year
We get stronger
ZAC EFRON
What's gone is gone
ELIJAH KELLEY
The past is the past
NIKKI BLONSKY
Turn the radio up
QUEEN LATIFAH
And then hit the gas
Cause . . .
EVERYONE
I know we've Come So Far
But we've Got So Far To Go
I know the road seems long
But it won't be long till it's time to go
So, most days we'll take it fast
And some nights lets we'll it slow
I know we've Come So Far
But baby, baby
We've Got So Far To Go
ZAC EFRON
Hey old friend, together
Side by side and year by year
NIKKI BLONSKY
The road was filled with twists
and turns
Oh but that's the road that
got us here
QUEEN LATIFAH
Let's move past the bad times
But before those memories fade
ELIJAH KELLEY
Let's forgive but not forget
And learn from all the mistakes we made
EVERYONE
Cause it's so clear
Every year
We get stronger
So don't give up
And don't say when
And just get back on the road again
Cause . . .
I know we've Come So Far
But we've Got So Far To Go
I know the road seems long
But it won't be long till it's
time to go
So, most days we'll take it fast
And some nights we'll take it slow
I know we've Come So Far
but baby, baby
We've Got So Far To Go
Hey old friend come along for the ride
There's plenty of room so jump inside
The highway's rocky every now and then
But it so much better than
where I've been
Just keep movin, at your own speed
Your heart is all the compass
you'll ever need
Let's keep cruisin the road we're on
Cause the rear view mirror only shows
what's gone, gone, gone
Got so far to go
Oh its so clear
ELIJAH KELLEY
Every year
We get stronger
EVERYONE
So shine that light
Take my hand
And let's dance into the promised land
Cause . . .
I know we've Come So Far
But we've Got So Far To Go
I know the road seems long
But it won't be long till it's
time to go
So, most days we'll take it fast
And some nights we'll take it slow
I know we've Come So Far
but baby, baby
We've Got So Far To Go
[Thanks to Lance Evans for lyrics]
[Thanks to Karina, Demetre Lindsey, Angelica for corrections
DVD Review
Hairspray, starring John Travolta, Christopher Walkens, Michelle Pffeifer, directed by John Waters, 2007
If I were reviewing this off-beat musical comedy from a political perspective I would have to classify this film about the virtues of show tunes as a tool for racial harmony in early 1960s Baltimore, before the out-front racial polarization of the city was exposed to the world and Spiro Agnew hit the scene, as an integrationist’s daydream, and a segregationist’s nightmare. And at that political level the theme just doesn’t work, although the sub-theme about accepting differences (racial, ethnic, gender, size) has a certain appeal. But all of this is to take this sweet fluff of a film way beyond those rationale political parameters.
What does work? Well, a nice little odd-ball, not exactly cookie-cutter American family, circa 1960, with some big dreams and some big women get to play center stage in the quest for the American dream, or one of the early 1960s variant of it- stardom in the music and/or television world. The current “American Idol” is only the latest in a long line of such efforts. Here the plot revolves around becoming “top dog” on one of the old after school dance shows that were a staple of 1950s-early 1960s television to keep restless kids under control for a few hours until dad got home. To that extent the plot is just a ruse for some great songs about those above-mentioned social differences and how to deal with those differences in a quirky and dreamy interracial way.
The real kicker here though are the performances of John Travolta (yes, that John Travolta) as the over-sized mother, Edna, who can still dance up a storm, the usually bad guy-playing Christopher Walken as the supportive and skinny dad, Wilbur, and normally good girl, and always femme fatale Michelle Pffeifer, as the plotting television station manager makes this thing appealing to a non-teenager. And, of course Queen Latifah being, well…. Queen Latifah. The high school kids led by Wilbur and Edna's daughter Tracy (Nikki Blonsky), black and white, good or bad, sweet or vicious are just there to glue this thing together. Watch this couple of hours of an integrationist’s daydream.
Hairspray Cast - Come So Far (Got So Far To Go) Lyrics
QUEEN LATIFAH
Hey old friend, let's look back
On the crazy clothes we wore
Elijah Kelly
Ain't it fun to look back
And to see it's all been done before
ZAC EFRON
All those nights together
Are a special memory
NIKKI BLONSKY
And I can't wait for tomorrow
Just as long as you're
dancing next to me
EVERYONE
Cause it's so clear
Every year
We get stronger
ZAC EFRON
What's gone is gone
ELIJAH KELLEY
The past is the past
NIKKI BLONSKY
Turn the radio up
QUEEN LATIFAH
And then hit the gas
Cause . . .
EVERYONE
I know we've Come So Far
But we've Got So Far To Go
I know the road seems long
But it won't be long till it's time to go
So, most days we'll take it fast
And some nights lets we'll it slow
I know we've Come So Far
But baby, baby
We've Got So Far To Go
ZAC EFRON
Hey old friend, together
Side by side and year by year
NIKKI BLONSKY
The road was filled with twists
and turns
Oh but that's the road that
got us here
QUEEN LATIFAH
Let's move past the bad times
But before those memories fade
ELIJAH KELLEY
Let's forgive but not forget
And learn from all the mistakes we made
EVERYONE
Cause it's so clear
Every year
We get stronger
So don't give up
And don't say when
And just get back on the road again
Cause . . .
I know we've Come So Far
But we've Got So Far To Go
I know the road seems long
But it won't be long till it's
time to go
So, most days we'll take it fast
And some nights we'll take it slow
I know we've Come So Far
but baby, baby
We've Got So Far To Go
Hey old friend come along for the ride
There's plenty of room so jump inside
The highway's rocky every now and then
But it so much better than
where I've been
Just keep movin, at your own speed
Your heart is all the compass
you'll ever need
Let's keep cruisin the road we're on
Cause the rear view mirror only shows
what's gone, gone, gone
Got so far to go
Oh its so clear
ELIJAH KELLEY
Every year
We get stronger
EVERYONE
So shine that light
Take my hand
And let's dance into the promised land
Cause . . .
I know we've Come So Far
But we've Got So Far To Go
I know the road seems long
But it won't be long till it's
time to go
So, most days we'll take it fast
And some nights we'll take it slow
I know we've Come So Far
but baby, baby
We've Got So Far To Go
[Thanks to Lance Evans for lyrics]
[Thanks to Karina, Demetre Lindsey, Angelica for corrections
Monday, December 21, 2009
*From The Steve Lendman Blog- Obama At One
Click on the title to link to an analysis of Barack Obama's first year in office as Commander-in-Chief of the American imperium.
Markin comment:
I am glad Steve Lendman found the time and interest to do this analysis of Obama's first year. (There is a second part of the blog that you can link to as well). I know I did not want to, nor did I intent to take on such a worthless project. The only thing I could add here is the general proposition that I have been guided by since it looked like Obama was going to become the next American imperial president- After Obama- Us!
Markin comment:
I am glad Steve Lendman found the time and interest to do this analysis of Obama's first year. (There is a second part of the blog that you can link to as well). I know I did not want to, nor did I intent to take on such a worthless project. The only thing I could add here is the general proposition that I have been guided by since it looked like Obama was going to become the next American imperial president- After Obama- Us!
Sunday, December 20, 2009
*The Ghost Classmate- A Personal Story And, Maybe, A Cautionary Tale
Every once in a while, although as much recently, some old high school classmates that I have stayed in touch with remind me that it has been 45 years since we went though those hallowed hall of the old school. That, knowledge, has on occasion sparked more than a few entries in this space. The following tale, although not filled with the humor that I tried to instill in of my earlier efforts, continues in that vein.
****
Not everyone who went through our old high school survived to tell the tale, or at least the way the tale was suppose to be told, or how they wanted it told. Moreover, we, as a class, after 45 years, are long enough in the tooth to have accumulated a growing list of causalities, of the wounded and broken, of the beaten down and disheveled. This entry is going to be about one of our classmates who got lost in the shuffle somehow and it only here, and only by me, that he gets his struggles voiced. I will not mention his name for you may have sat across from him in class, or given him what passed for "the nod" in the hallway back in the day, or had something of a ¿crush¿ on him because from pictures of him taken back then he certainly had that 'something' physically all the girls were swooning over. Let's just call him, as the title for this entry suggests- the ghost classmate (and in the interest of saving precious space in order to tell his story, shorten it to GC).
Now I will surprise you, I think. I did not know GC in our school days; at least I have no recollection of him from that time. I met him, or rather he met me, when we were in our early thirties in front one of the skid row run-down "hotels" that dotted the low rent (then) streets of the waterfront of San Francisco. My reason for being there is a tale for another day, after all this is GC's story, but rest assured I was not in that locale on vacation, nor was he. Ironically, at our first meeting we were both in the process of pan-handling the same area when the light of recognition hit him. After the usual exchange of personal information, and assorted other lies we spent some weeks together doing, as they say, the best we could. Then, one night, he split taking all his, and my, worldly possessions.
Fast forward. A few years later, when I was in significantly better circumstances, if not exactly in the clover, I was walking down Beacon Street in Boston when someone across the street on the Common started to yell my name. Well, the long and short of it, was that it was old GC, looking even more disheveled than when I had last seen him. After an exchange of personal data and other details I bought him some dinner. The important thing to know, however, is that from that day until very recently I have always been in touch with the man as he has descended further and further into the depths of the skid row ethos. But enough of the rough out-line, let me get to the heart of the matter.
I have left GC's circumstances deliberated vague until now. The reader might assume, given the circumstances of our first meeting, GC to be a man driven to the edge by alcohol, or drugs or any of the other common maladies that break a man¿s body, or his spirit. Those we can relate to, if not fully understand. No, GC was broken by his own almost psychotically-driven need to succeed, and in the process constantly failing. He had been, a number of times, diagnosed as clinically depressed. I am not sure I can convey, this side of a psychiatrist's couch, that condition in language the reader could comprehend. All that I can say is this man was so inside himself with the need to do the right thing, the honorable thing, the 'not bad' thing, that he never could do any of those. What a terrible rock to have to keep rolling up the mountain.
Here, however, to my mind is the real tragic part of this story, and the one point that I hope you will take away from this narration. GC and I talked many times about our youthful dreams, about how we were going to conquer this or that "mountain" and go on to the next one, how we would right this or that grievous wrong in the world, and about the, to borrow the English revolutionary and poet John Milton's words from his famous "Paradise Lost", need to discover the "the paradise within thee, happier far". Over the years though GC's dreams got measurably smaller and smaller, and then smaller still until there were no more dreams, only existence. That, my friends, is the stuff of tragedy, not conjured up Shakespearean tragedy. but real tragedy.
****
Not everyone who went through our old high school survived to tell the tale, or at least the way the tale was suppose to be told, or how they wanted it told. Moreover, we, as a class, after 45 years, are long enough in the tooth to have accumulated a growing list of causalities, of the wounded and broken, of the beaten down and disheveled. This entry is going to be about one of our classmates who got lost in the shuffle somehow and it only here, and only by me, that he gets his struggles voiced. I will not mention his name for you may have sat across from him in class, or given him what passed for "the nod" in the hallway back in the day, or had something of a ¿crush¿ on him because from pictures of him taken back then he certainly had that 'something' physically all the girls were swooning over. Let's just call him, as the title for this entry suggests- the ghost classmate (and in the interest of saving precious space in order to tell his story, shorten it to GC).
Now I will surprise you, I think. I did not know GC in our school days; at least I have no recollection of him from that time. I met him, or rather he met me, when we were in our early thirties in front one of the skid row run-down "hotels" that dotted the low rent (then) streets of the waterfront of San Francisco. My reason for being there is a tale for another day, after all this is GC's story, but rest assured I was not in that locale on vacation, nor was he. Ironically, at our first meeting we were both in the process of pan-handling the same area when the light of recognition hit him. After the usual exchange of personal information, and assorted other lies we spent some weeks together doing, as they say, the best we could. Then, one night, he split taking all his, and my, worldly possessions.
Fast forward. A few years later, when I was in significantly better circumstances, if not exactly in the clover, I was walking down Beacon Street in Boston when someone across the street on the Common started to yell my name. Well, the long and short of it, was that it was old GC, looking even more disheveled than when I had last seen him. After an exchange of personal data and other details I bought him some dinner. The important thing to know, however, is that from that day until very recently I have always been in touch with the man as he has descended further and further into the depths of the skid row ethos. But enough of the rough out-line, let me get to the heart of the matter.
I have left GC's circumstances deliberated vague until now. The reader might assume, given the circumstances of our first meeting, GC to be a man driven to the edge by alcohol, or drugs or any of the other common maladies that break a man¿s body, or his spirit. Those we can relate to, if not fully understand. No, GC was broken by his own almost psychotically-driven need to succeed, and in the process constantly failing. He had been, a number of times, diagnosed as clinically depressed. I am not sure I can convey, this side of a psychiatrist's couch, that condition in language the reader could comprehend. All that I can say is this man was so inside himself with the need to do the right thing, the honorable thing, the 'not bad' thing, that he never could do any of those. What a terrible rock to have to keep rolling up the mountain.
Here, however, to my mind is the real tragic part of this story, and the one point that I hope you will take away from this narration. GC and I talked many times about our youthful dreams, about how we were going to conquer this or that "mountain" and go on to the next one, how we would right this or that grievous wrong in the world, and about the, to borrow the English revolutionary and poet John Milton's words from his famous "Paradise Lost", need to discover the "the paradise within thee, happier far". Over the years though GC's dreams got measurably smaller and smaller, and then smaller still until there were no more dreams, only existence. That, my friends, is the stuff of tragedy, not conjured up Shakespearean tragedy. but real tragedy.
*Not Quite Ready For Prime Time Class Struggle- The Art Of Fine Cooking For The Servantless- “Julie and Julia”- A Film Review
Click on the title to link to a "The Sunday Boston Globe", December 13, 2009, review of writer/cook/apprentice butcher Julie Powell, author of the blog and book reviewed below.
Every once in a while there is something to review that I have watched, listened to or read that just does not fit the 'high' standards of this space. Something that is lacking in the way of lessons to be drawn for the pushing the class struggle forward. Or, put another way, this writer, on occasion has the need to stretch out and write something whimsical. Today commentary is one such example. So be it.
DVD Review
Julie and Julia, starring Meryl Streep, directed by Nora Ephron, 2009
I can boil water. My “soul mate” can boil water and, in addition, throw something into the pot. That, sadly, is the extent of our culinary acumen. That condition, nevertheless, does not preclude said “soul mate” from enthusiastically partaking in the recent mania for all things cookery. This last sentence is a round-about way of getting to the why of reviewing this recent film centered on a parallel presentation of the lives of a modern (maybe, post-modern, blog and all), alienated, middle class woman who gets caught up in a French cooking frenzy and the American post-World War II “queen” of that domain, the alienated, upper middle class woman, Julia Child.
Now it would be quite easy to sneer at the original premise of the plot- connecting the high-pitched old PBS icon Child with a "thoroughly modern Millie", Julie, in a fluffy, feel good piece of film about the travails of finding meaning in modern day life. Or to look askance at those old OSS (predecessor of the CIA) connections of old Julia and her husband, Paul. Or, more interestingly, the noblesse oblige premise of an intelligent woman with time on her hands behind her manic struggle to publish a book on fine French cooking for the average, servantless American housewife.
On most days I would be more than happy to throw some barbs that way. But here is the “skinny”. This is just , in its own way, a funny look at a couple of slices of Americana. Beside that, who has time to be critical, in the above-mentioned ways, when you have to concentrate on watching Meryl Streep BE Julia Child. (Director Nora Ephron, apparently, just let Streep goes through her paces, thankfully). As always that actress turns in a sterling performance, no matter what the part. Moreover, if those are not good and sufficient reasons for taking a dive on this subject, please remember that “soul mate”, who loved this film. I do not want to have to revive, in our household, the old tradition of having someone else taste my food before I eat it.
Every once in a while there is something to review that I have watched, listened to or read that just does not fit the 'high' standards of this space. Something that is lacking in the way of lessons to be drawn for the pushing the class struggle forward. Or, put another way, this writer, on occasion has the need to stretch out and write something whimsical. Today commentary is one such example. So be it.
DVD Review
Julie and Julia, starring Meryl Streep, directed by Nora Ephron, 2009
I can boil water. My “soul mate” can boil water and, in addition, throw something into the pot. That, sadly, is the extent of our culinary acumen. That condition, nevertheless, does not preclude said “soul mate” from enthusiastically partaking in the recent mania for all things cookery. This last sentence is a round-about way of getting to the why of reviewing this recent film centered on a parallel presentation of the lives of a modern (maybe, post-modern, blog and all), alienated, middle class woman who gets caught up in a French cooking frenzy and the American post-World War II “queen” of that domain, the alienated, upper middle class woman, Julia Child.
Now it would be quite easy to sneer at the original premise of the plot- connecting the high-pitched old PBS icon Child with a "thoroughly modern Millie", Julie, in a fluffy, feel good piece of film about the travails of finding meaning in modern day life. Or to look askance at those old OSS (predecessor of the CIA) connections of old Julia and her husband, Paul. Or, more interestingly, the noblesse oblige premise of an intelligent woman with time on her hands behind her manic struggle to publish a book on fine French cooking for the average, servantless American housewife.
On most days I would be more than happy to throw some barbs that way. But here is the “skinny”. This is just , in its own way, a funny look at a couple of slices of Americana. Beside that, who has time to be critical, in the above-mentioned ways, when you have to concentrate on watching Meryl Streep BE Julia Child. (Director Nora Ephron, apparently, just let Streep goes through her paces, thankfully). As always that actress turns in a sterling performance, no matter what the part. Moreover, if those are not good and sufficient reasons for taking a dive on this subject, please remember that “soul mate”, who loved this film. I do not want to have to revive, in our household, the old tradition of having someone else taste my food before I eat it.
Saturday, December 19, 2009
*From The HistoMat Blog- Leon Trotsky On Sport- A ' High Trotskyism' Moment
Click on to the title to link to the almost always informative, and sometimes irreverent, "HistoMat" blog for an in-depth 'high Trotskyist' analysis of sport, English-style. Go Manchester United!
Markin comment:
Only a question, really. What about another British pastime, golf? I have given my "high" Trotskyist analysis elsewhere on this site- "The Zen Of Golf (And Communist Revolution)".
Markin comment:
Only a question, really. What about another British pastime, golf? I have given my "high" Trotskyist analysis elsewhere on this site- "The Zen Of Golf (And Communist Revolution)".
*Guest Commentary From Carnival Of Socialism- On The Copehagen Climate Conference
Click on the title to link to a "Carnival Of Socialism" article on the disastrous happenings in Copenhagen.
Markin comment:
Once more we know that the fight for the communist program is more important that ever, damn it is now a matter of life and death for those of us on the planet. And that is no hyperbole.
Markin comment:
Once more we know that the fight for the communist program is more important that ever, damn it is now a matter of life and death for those of us on the planet. And that is no hyperbole.
Thursday, December 17, 2009
*From Green Left Global News- The Struggle Against Unemployment-"30 For 40"- A Guest Commentary
Click on the title to link an article that discusses the long-time labor proposition on unemployment- "30 for 40" from the "Green Left Global News" blog.
Markin comment:
In these hard time one does not need to be a high Trotskyist armed with the "Transitional Program" adopted by the Fourth International in 1938 to know something like the slogan (and struggle for) "30 for 40" is on the agenda- Hell, even the "greens" know this one.
Markin comment:
In these hard time one does not need to be a high Trotskyist armed with the "Transitional Program" adopted by the Fourth International in 1938 to know something like the slogan (and struggle for) "30 for 40" is on the agenda- Hell, even the "greens" know this one.
*From The Markin Anti-War Archives- Something Is Very Familiar Here- This Is Not Our War- Out Of Afghanistan Now!
Click on the title to link to the Lenin Internet Archive for an article from 1914 (the start of World War I), "The Tasks Of The Revolutionary Social-Democracy [the future Communists] In The European War".
Markin comment:
Below I have posted an archival entry originally posted on November 20, 2008 as an example of the kind of work we, a local ad hoc group of anti-imperialist activists-a did around the buildup to the Bush II Iraq War in 2002. The reason that I am placing it here, aside from the obvious need to draw the lessons from earlier anti-war struggles (see linked Lenin article above as well),is my comment last year, well prior to this year's Obama troop escalations, about the probable need to study those lessons from Iraq very closely if he had his way. Well, he has had his way. And we will have ours, as well. Troops Out Of Afghanistan and Iraq Now!
11/20/08
Commentary
This is a leaflet that a group of us put out locally here in Boston prior to the American invasion of Iraq in 2003. It is on the one had of historical interest, on the only the possible harbinger of things to come in Afghanistan if President-elect Obama has his way.
********
A CALL TO ALL ANTI-IMPERIALIST WORKERS/YOUTH: HAVE NO ILLUSIONS- WAR AGAINST IRAQ IS COMING!!!
THIS IS NOT OUR WAR -DEFEND IRAQ AGAINST U.S./UN AND ALLIED IMPERIALIST ATTACK!
SUPPORT EFFORTS BY IRAQI LEFTISTS, WORKERS, PEASANTS, KURDS AND OTHERS TO OVERTHROW THE HUSSEIN REGIME!
DOWN WITH THE UN STARVATION BLOCKADE!
As the United Nations Security Council vote on November 8, 2002 graphically points out the war-crazed Bush-led United States government is leading the world to war. Tens of thousands of American and British troops are getting positioned for a full-scale attack on Iraq, while other powers from Australia to Turkey elbow each other for a role in the slaughter and share of the loot. The White House has already revealed plans for a post-Saddam military occupation of Iraq. One look at the war chest of nuclear weapons that the United States has and threatens to use today and it is clear that the fate of life on this planet is threatened by the continued existence of this American led “ world disorder”. We must act.
In the coming war against Iraq working people and anti-imperialist youth in the United States and elsewhere we must stand for the military defense of Iraq without giving any political support to the Hussein regime. Hussein is a bloody oppressor of Iraqi workers, leftists, Shiite Muslims, the Kurdish people and others. As such he was in the past a close ally and client of the American government for a full two decades before he made a grab for Kuwait in 1990. Now the American government wants a more pliant regime and tighter control of the oil spigot, not the least to put economic rivals like Japan and Germany, who are more dependent on Near East oil, on rations. However, every victory for the American government and its allies in their predatory wars encourages further military adventures, every setback serves to assist the struggles of the working peoples and the oppressed of the world.
Historically, in wars between the imperialist predators and plunderers and their colonial and semicolonial victims anti-imperialists have a side. As Lenin, the leader of the Russian Revolution of October 1917 which stands as one the greatest antiwar movements ever, stressed in his 1915 pamphlet SOCIALISM AND WAR: “If tomorrow, Morocco were to declare war on France, or India on Britain, or Persia or China on Tsarist Russia, and so on, these would be ‘just,’ and ‘defensive’ wars irrespective of who would be the first to attack; any socialist would wish the oppressed, dependent and unequal states victory over the oppressor, slave-holding and predatory ‘Great Powers.” We must continue that tradition.
The tremendous military advantages of the United States against neocolonial Iraq- a country that has already been bled white through 12 years of United Nations sanctions which have killed more than one and one half million civilians- underscores the importance of class struggle in the imperialist centers as the chief means to give content to the call to defend Iraq. Every strike, every labor mobilization against war plans, every mass protest against attacks on workers and minorities, every struggle against domestic repression and against attacks on civil liberties represents a dent in the imperialist war drive. To put an end to war once and for all, the capitalist system that breeds war must be swept away. However, our immediate task is to stop the imperialist war drive.
The American ruling class manipulated the grief and horror felt by millions at the criminal and demented attack on the World Trade Center to wage war on Afghanistan. But the patriotic consensus in the United States is wearing thin and elsewhere there is massive opposition to a war against Iraq. War demands civil peace and from Los Angeles to London the imperialist war makers are revealed as vicious union-busters and strikebreakers. Declaring that a strike could “threaten national security,” the Bush administration has brought down the force of the capitalist state to coerce the powerful American dockers union, the ILWU, to work under the dictates of the union-busting employers association. Across the seas, British firefighters are threatened with strikebreaking by the army. Plunging stock markets rob millions of workers of their pensions while public scandals expose insatiable corporate greed. Tens of thousands of working people, including the entire workforce at a number of Fiat auto plants in Italy, face a future of crisis. Civil liberties have been shredded and the capitalists have intensified their assault on social welfare and other gains wrested through decades of workers struggles.
In the United States, not even the dizzying flag-waving or the heavy fist of state repression has induced the masses to embrace war with Iraq. In Europe, hundreds of thousands of workers and anti-imperialist youth have demonstrated their opposition to this war. The problem is that the anti-war protests in Europe have generally l been channeled into a national-chauvinist direction of getting one’s “own” rulers to stand up to the Americans. In America, many antiwar liberals and leftists plead, “Money for jobs, not for war” and so fuel the notion that fundamental priorities of the capitalist rulers can be altered to serve the interests of working people. The time for such illusions ran out long ago.
The truth is that this whole capitalist system is based on the extraction of profit for the owners of the means of production through the exploitation and subjugation of the workers who produce the wealth of society. War is a concentrated expression of this, as competing capitalist ruling classes scramble to steal natural resources and to carve out new markets for export of capital and fresh sources of cheap labor. Therefore, it is necessary to draw a distinction between bourgeois pacifism, which lulls the masses into passivity and embellishes capitalist democracy, and the yearning for peace of the masses.
Over the past period there have been opportunities to organize class struggle in opposition to imperialist war and for the international workers movement to break out of narrow nationalist and economist limits. During the 1999 U.S./NATO war against Serbia, Italian COBAS unions organized a one-million-strong political general strike against that war. Fiat workers, who today battle plant closings in Italy, organized a campaign of material aid- a campaign supported by all partisans of the international working class- for the workers of the Yugoslav Zastava auto plant, which had been bombed by the imperialists. In 2001, Japanese dockworkers at Sasebo pointed the way forward by “hot-cargoing” (refusing to handle) Japanese military goods for the war in Afghanistan. These types of actions here can concretize our opposition to this war.
Moreover, U.S. military bases across Europe and Asia, as well as high-tech spy installations such as Australia’s Pine Gap, have become deserving targets of antiwar protests by leftists and trade unions. It would be a good thing if the U.S. were deprived of its international launching pads for war against Iraq. For all of German chancellor Schroder’s electioneering against war in Iraq, it is highly unlikely that he will interfere in any way with the key American air bases and military installations across Germany which house some 70, 000 American troops. What we need is not an “antiwar movement” of social-chauvinist support to one’s own ruling class but an internationalist working class opposition to U.S./NATO bases
What is essential is to draw the class line and unshackle the working people and anti-imperialist youth from capitalist politicians, their agents in the trade unions and others who channel their justified hatred of war into illusory calls for parliamentary reforms of the profit-driven system that breeds war and, in West Europe, into support for their own ruling classes against the Americans. Here, in the heart of the beast the workers and anti-imperialist youth united front can point the way forward building an internationalist perspective in the antiwar protests. Our demands should be: Struggle against the bosses and their government here at home- “the main enemy is at home”! Defend Iraq against imperialist attack! Down with the United Nations starvation blockade! All U.S./ UN and allied troops out of the Persian Gulf and Near East!
JOIN AND BUILD THE ANTI-IMPERIALIST WORKERS/ YOUTH UNITED FRONT AGAINST THE COMING UNITED STATES/ UNITED NATIONS ATTACK ON IRAQ!
FOR MORE INFORMATION ON ORGANIZING: E-MAIL afjohns@earthlink.net
THE COMMITTEE FOR AN ANTI-IMPERIALIST WORKERS/ YOUTH UNITED FRONT AGAINST UNITED STATES/ UNITED NATIONS ATTACK ON IRAQ
CHECK BOSTON. INDY MEDIA. ORG CALENDAR MA-ACT SECTION FOR ANNOUNCEMENTS OF MEETINGS AND EVENTS
Labor Donated
Markin comment:
Below I have posted an archival entry originally posted on November 20, 2008 as an example of the kind of work we, a local ad hoc group of anti-imperialist activists-a did around the buildup to the Bush II Iraq War in 2002. The reason that I am placing it here, aside from the obvious need to draw the lessons from earlier anti-war struggles (see linked Lenin article above as well),is my comment last year, well prior to this year's Obama troop escalations, about the probable need to study those lessons from Iraq very closely if he had his way. Well, he has had his way. And we will have ours, as well. Troops Out Of Afghanistan and Iraq Now!
11/20/08
Commentary
This is a leaflet that a group of us put out locally here in Boston prior to the American invasion of Iraq in 2003. It is on the one had of historical interest, on the only the possible harbinger of things to come in Afghanistan if President-elect Obama has his way.
********
A CALL TO ALL ANTI-IMPERIALIST WORKERS/YOUTH: HAVE NO ILLUSIONS- WAR AGAINST IRAQ IS COMING!!!
THIS IS NOT OUR WAR -DEFEND IRAQ AGAINST U.S./UN AND ALLIED IMPERIALIST ATTACK!
SUPPORT EFFORTS BY IRAQI LEFTISTS, WORKERS, PEASANTS, KURDS AND OTHERS TO OVERTHROW THE HUSSEIN REGIME!
DOWN WITH THE UN STARVATION BLOCKADE!
As the United Nations Security Council vote on November 8, 2002 graphically points out the war-crazed Bush-led United States government is leading the world to war. Tens of thousands of American and British troops are getting positioned for a full-scale attack on Iraq, while other powers from Australia to Turkey elbow each other for a role in the slaughter and share of the loot. The White House has already revealed plans for a post-Saddam military occupation of Iraq. One look at the war chest of nuclear weapons that the United States has and threatens to use today and it is clear that the fate of life on this planet is threatened by the continued existence of this American led “ world disorder”. We must act.
In the coming war against Iraq working people and anti-imperialist youth in the United States and elsewhere we must stand for the military defense of Iraq without giving any political support to the Hussein regime. Hussein is a bloody oppressor of Iraqi workers, leftists, Shiite Muslims, the Kurdish people and others. As such he was in the past a close ally and client of the American government for a full two decades before he made a grab for Kuwait in 1990. Now the American government wants a more pliant regime and tighter control of the oil spigot, not the least to put economic rivals like Japan and Germany, who are more dependent on Near East oil, on rations. However, every victory for the American government and its allies in their predatory wars encourages further military adventures, every setback serves to assist the struggles of the working peoples and the oppressed of the world.
Historically, in wars between the imperialist predators and plunderers and their colonial and semicolonial victims anti-imperialists have a side. As Lenin, the leader of the Russian Revolution of October 1917 which stands as one the greatest antiwar movements ever, stressed in his 1915 pamphlet SOCIALISM AND WAR: “If tomorrow, Morocco were to declare war on France, or India on Britain, or Persia or China on Tsarist Russia, and so on, these would be ‘just,’ and ‘defensive’ wars irrespective of who would be the first to attack; any socialist would wish the oppressed, dependent and unequal states victory over the oppressor, slave-holding and predatory ‘Great Powers.” We must continue that tradition.
The tremendous military advantages of the United States against neocolonial Iraq- a country that has already been bled white through 12 years of United Nations sanctions which have killed more than one and one half million civilians- underscores the importance of class struggle in the imperialist centers as the chief means to give content to the call to defend Iraq. Every strike, every labor mobilization against war plans, every mass protest against attacks on workers and minorities, every struggle against domestic repression and against attacks on civil liberties represents a dent in the imperialist war drive. To put an end to war once and for all, the capitalist system that breeds war must be swept away. However, our immediate task is to stop the imperialist war drive.
The American ruling class manipulated the grief and horror felt by millions at the criminal and demented attack on the World Trade Center to wage war on Afghanistan. But the patriotic consensus in the United States is wearing thin and elsewhere there is massive opposition to a war against Iraq. War demands civil peace and from Los Angeles to London the imperialist war makers are revealed as vicious union-busters and strikebreakers. Declaring that a strike could “threaten national security,” the Bush administration has brought down the force of the capitalist state to coerce the powerful American dockers union, the ILWU, to work under the dictates of the union-busting employers association. Across the seas, British firefighters are threatened with strikebreaking by the army. Plunging stock markets rob millions of workers of their pensions while public scandals expose insatiable corporate greed. Tens of thousands of working people, including the entire workforce at a number of Fiat auto plants in Italy, face a future of crisis. Civil liberties have been shredded and the capitalists have intensified their assault on social welfare and other gains wrested through decades of workers struggles.
In the United States, not even the dizzying flag-waving or the heavy fist of state repression has induced the masses to embrace war with Iraq. In Europe, hundreds of thousands of workers and anti-imperialist youth have demonstrated their opposition to this war. The problem is that the anti-war protests in Europe have generally l been channeled into a national-chauvinist direction of getting one’s “own” rulers to stand up to the Americans. In America, many antiwar liberals and leftists plead, “Money for jobs, not for war” and so fuel the notion that fundamental priorities of the capitalist rulers can be altered to serve the interests of working people. The time for such illusions ran out long ago.
The truth is that this whole capitalist system is based on the extraction of profit for the owners of the means of production through the exploitation and subjugation of the workers who produce the wealth of society. War is a concentrated expression of this, as competing capitalist ruling classes scramble to steal natural resources and to carve out new markets for export of capital and fresh sources of cheap labor. Therefore, it is necessary to draw a distinction between bourgeois pacifism, which lulls the masses into passivity and embellishes capitalist democracy, and the yearning for peace of the masses.
Over the past period there have been opportunities to organize class struggle in opposition to imperialist war and for the international workers movement to break out of narrow nationalist and economist limits. During the 1999 U.S./NATO war against Serbia, Italian COBAS unions organized a one-million-strong political general strike against that war. Fiat workers, who today battle plant closings in Italy, organized a campaign of material aid- a campaign supported by all partisans of the international working class- for the workers of the Yugoslav Zastava auto plant, which had been bombed by the imperialists. In 2001, Japanese dockworkers at Sasebo pointed the way forward by “hot-cargoing” (refusing to handle) Japanese military goods for the war in Afghanistan. These types of actions here can concretize our opposition to this war.
Moreover, U.S. military bases across Europe and Asia, as well as high-tech spy installations such as Australia’s Pine Gap, have become deserving targets of antiwar protests by leftists and trade unions. It would be a good thing if the U.S. were deprived of its international launching pads for war against Iraq. For all of German chancellor Schroder’s electioneering against war in Iraq, it is highly unlikely that he will interfere in any way with the key American air bases and military installations across Germany which house some 70, 000 American troops. What we need is not an “antiwar movement” of social-chauvinist support to one’s own ruling class but an internationalist working class opposition to U.S./NATO bases
What is essential is to draw the class line and unshackle the working people and anti-imperialist youth from capitalist politicians, their agents in the trade unions and others who channel their justified hatred of war into illusory calls for parliamentary reforms of the profit-driven system that breeds war and, in West Europe, into support for their own ruling classes against the Americans. Here, in the heart of the beast the workers and anti-imperialist youth united front can point the way forward building an internationalist perspective in the antiwar protests. Our demands should be: Struggle against the bosses and their government here at home- “the main enemy is at home”! Defend Iraq against imperialist attack! Down with the United Nations starvation blockade! All U.S./ UN and allied troops out of the Persian Gulf and Near East!
JOIN AND BUILD THE ANTI-IMPERIALIST WORKERS/ YOUTH UNITED FRONT AGAINST THE COMING UNITED STATES/ UNITED NATIONS ATTACK ON IRAQ!
FOR MORE INFORMATION ON ORGANIZING: E-MAIL afjohns@earthlink.net
THE COMMITTEE FOR AN ANTI-IMPERIALIST WORKERS/ YOUTH UNITED FRONT AGAINST UNITED STATES/ UNITED NATIONS ATTACK ON IRAQ
CHECK BOSTON. INDY MEDIA. ORG CALENDAR MA-ACT SECTION FOR ANNOUNCEMENTS OF MEETINGS AND EVENTS
Labor Donated
*From The Streets-The First National Anti-War Rumblings In Washington, December 12, 2009- A Video Report
Click on the title to link to The "Enduswars" Website for a report on the first nationally-centered anti-war rally against the Obama wars. Forward!
Markin comment:
Let us get this clear- the sense of this rally was still at the Dear Mr. President, stop war, do good things, etc. stage. However, every thing in context. It is a start, a small start, on the way to getting what we are really going to need- "War-monger Obama- Immediate Unconditional Withdrawal Of All U.S.?Allied Troops (And Mercenaries) From Afghanistan (And Iraq, Too)!
Markin comment:
Let us get this clear- the sense of this rally was still at the Dear Mr. President, stop war, do good things, etc. stage. However, every thing in context. It is a start, a small start, on the way to getting what we are really going to need- "War-monger Obama- Immediate Unconditional Withdrawal Of All U.S.?Allied Troops (And Mercenaries) From Afghanistan (And Iraq, Too)!
Wednesday, December 16, 2009
*Hand Off The Copenhagen Climate Conference Protesters- Free All Arrestees
Click on the title to link to an "AP" article, December 16, 2009,detailing the police actions against the anti-climate conference protesters.
Markin comment:
It is not clear to me exactly what the anti-climate protesters expected to come out of this conference knowing that the number one abuser, the United States, and the other imperialist powers are basically calling the shots. (And trying, for their own purposes having little to do with climate control, to make China the fall guy). But this I know-those anti-globalization protesters have a right to be on the streets or in the conference rooms. All I would add here, given the grim news about the too rapid heating up of our old planet, is we better get busy with the business of making a socialist revolution in order to really get this impending climate disaster from coming much more quickly than currently projected. In the meantime-Hand Off The Protesters- Release All Detainees!
Markin comment:
It is not clear to me exactly what the anti-climate protesters expected to come out of this conference knowing that the number one abuser, the United States, and the other imperialist powers are basically calling the shots. (And trying, for their own purposes having little to do with climate control, to make China the fall guy). But this I know-those anti-globalization protesters have a right to be on the streets or in the conference rooms. All I would add here, given the grim news about the too rapid heating up of our old planet, is we better get busy with the business of making a socialist revolution in order to really get this impending climate disaster from coming much more quickly than currently projected. In the meantime-Hand Off The Protesters- Release All Detainees!
*The Roots of Bluesgrass Back In The Day- The Bluegrass Music Of Charlie Poole, The North Carolina Ramblers, and The Highlanders
Click on title to link to YouTube's film clip of Charlie Poole and his band performing "White House Blues"
CD Review
Charlie Poole: The North Carolina Ramblers and The Highlanders, 4 CD set, JSP Records, 2004
The roots of American folk music are not depleted by Child ballads, the blues, city or country, mountain music, cowboy songs or topical Tin Pan Alley tunes as the artist under review, Charlie Poole and his various bands, proved conclusively. Old Charlie took a little from each tradition and created some very nice sounds and arrangements that have been called the direct precursors to what we today call bluegrass music. I agree.
Some of the melodies are very familiar and repeated in various renditions on this four disc CD compilation of Charlie's "greatest hits". It is interesting to compare some different versions of the same song, like "Bill Mason", that are compiled here. While this CD is hardly strictly for the aficionado both that type of listener and novices to bluegrass music will be tapping their feet on many of the tracks on this one. Googling a list of Charlie Poole's lyrics indicated that almost all of them are contained in the songs here, in one form or another. Thus, this may be the definitive collection, although as noted by others more familiar than I with the intricacies of record production the technical quality of this compilation is uneven.
Here are the stick outs on each disc: Disc One -“Wild Horse”, “Budded Rose”, “Goodbye Booze”; Disc Two “Bill Mason”, “Don’t Let Your Deal Go Down”,“Blue Eyes”; Disc Three- "George Collins”, “ I Once Loved A Sailor”, “Baltimore Fire”, “Sweet Sunny South”; and, Disc Four- “Under The Double Eagle”, “San Antonio”, “If The River Was Whiskey”
Baltimore Fire
It was always through a falls by a narrow.
That I heard a cry I ever shall remember,
The fire sent and cast its burning embers
On another fated city of our land.
Fire, fire, I heard the cry
From every breeze that passes by,
All the world was one sad cry of pity
Strong men in angry praise,
Calling loud to Heaven for aid,
While the fire in ruin was laying
Fair Baltimore, the beautiful city
Amid an awful struggle of commotion,
The wind blew a gale from the ocean,
Brave firemen struggled with devotion,
But they after all proved in vain.
Bill Mason
Bill Mason was an engineer
He'd been on the road all of his life
I'll never forget the morning
He married himself a wife
Bill hadn't been married more than an hour
'Till up came a message from Kress
And ordered Bill to come down
And bring out the night express
While Maggie sat by the window
A waiting for the night express
And if she hadn't a done so
She'd have been a widow, I guess
There was some drunken rascals
That come down by the ridge
They come down by the railroad
And tore off the rail from the bridge
Well, Maggie heard them working
"I guess there's something wrong
In less than fifteen minutes
Bill's train would be along"
She couldn't come near to tell it
A mile it wouldn't've done
She just grabbed up the lantern
And made for the bridge alone
By Jove, Bill saw the signal
And stopped the night express
And found his Maggie crying
On the track in her wedding dress
Her crying and laughing for joy
Still holding on to the light
He came around the curve a-flying
Bill Mason's on time tonight
Budded Rose
Little sweetheart, we have parted
From each other we must go
Many miles may separate us
From this world and care and woe
But I treasure of the promise
That you made me in the lane
When you said we'd be together
When the roses bloom again
Now this parting gives us sorrow
Oh, it almost breaks my heart
But say, darling, will you love me
When we meet no more to part?
Down among the budded roses
I am nothing but a stem
I have parted from my darling
Never more to meet again
Will this parting be forever?
Will there be no coming day
When our hearts will be united
And all troubles pass away?
Darling, meet me up in heaven
That's my true and earnest prayer
If you loved me here on earth, dear
I am sure you'll love me there
If The River Was Whiskey
If the river was whiskey and I was a duck
I'd dive to the bottom and I'd never come up
Oh, tell me how long have I got to wait
Oh, can I get you now, must I hesitate?
If the river was whiskey and the branch was wine
You would see me in bathing just any old time
I was born in England, raised in France
I ordered a suit of clothes and they wouldn't
send the pants
I was born in Alabama, I was raised in Tennessee
If you don't like my peaches, don't shake on my tree
I looked down the road just as far as I could see
A man had my woman and the blues had me
I ain't no doctor but the doctor's son
I can do the doct'rin' till the doctor comes
Got the hesitation stockings, the hesitation shoes
Believe to my Lord I've got the hesitation blues
White House Blues
McKinley hollered, McKinley squalled
Doc said to McKinley, "I can't find that ball",
From Buffalo to Washington
Roosevelt in the White House, he's doing his best
McKinley in the graveyard, he's taking his rest
He's gone a long, long time
Hush up, little children, now don't you fret
You'll draw a pension at your papa's death
From Buffalo to Washington
Roosevelt in the White House drinking out of a silver cup
McKinley in the graveyard, he'll never wake up
He's gone a long, long time
Ain't but one thing that grieves my mind
That is to die and leave my poor wife behind
I'm gone a long, long time
Look here, little children, (don't) waste your breath
You'll draw a pension at your papa's death
From Buffalo to Washington
Standing at the station just looking at the time
See if I could run it by half past nine
From Buffalo to Washington
Came the train, she's just on time
She run a thousand miles from eight o'clock 'till nine,
From Buffalo to Washington
Yonder comes the train, she's coming down the line
Blowing in every station Mr. McKinley's a-dying
It's hard times, hard times
Look-it here you rascal, you see what you've done
You've shot my husband with that Iver-Johnson gun
Carry me back to Washington
Doc's on the horse, he tore down his rein
Said to that horse, "You've got to outrun this train"
From Buffalo to Washington
Doc come a-running, takes off his specs
Said "Mr McKinley, better pass in your checks
You're bound to die, bound to die"
CD Review
Charlie Poole: The North Carolina Ramblers and The Highlanders, 4 CD set, JSP Records, 2004
The roots of American folk music are not depleted by Child ballads, the blues, city or country, mountain music, cowboy songs or topical Tin Pan Alley tunes as the artist under review, Charlie Poole and his various bands, proved conclusively. Old Charlie took a little from each tradition and created some very nice sounds and arrangements that have been called the direct precursors to what we today call bluegrass music. I agree.
Some of the melodies are very familiar and repeated in various renditions on this four disc CD compilation of Charlie's "greatest hits". It is interesting to compare some different versions of the same song, like "Bill Mason", that are compiled here. While this CD is hardly strictly for the aficionado both that type of listener and novices to bluegrass music will be tapping their feet on many of the tracks on this one. Googling a list of Charlie Poole's lyrics indicated that almost all of them are contained in the songs here, in one form or another. Thus, this may be the definitive collection, although as noted by others more familiar than I with the intricacies of record production the technical quality of this compilation is uneven.
Here are the stick outs on each disc: Disc One -“Wild Horse”, “Budded Rose”, “Goodbye Booze”; Disc Two “Bill Mason”, “Don’t Let Your Deal Go Down”,“Blue Eyes”; Disc Three- "George Collins”, “ I Once Loved A Sailor”, “Baltimore Fire”, “Sweet Sunny South”; and, Disc Four- “Under The Double Eagle”, “San Antonio”, “If The River Was Whiskey”
Baltimore Fire
It was always through a falls by a narrow.
That I heard a cry I ever shall remember,
The fire sent and cast its burning embers
On another fated city of our land.
Fire, fire, I heard the cry
From every breeze that passes by,
All the world was one sad cry of pity
Strong men in angry praise,
Calling loud to Heaven for aid,
While the fire in ruin was laying
Fair Baltimore, the beautiful city
Amid an awful struggle of commotion,
The wind blew a gale from the ocean,
Brave firemen struggled with devotion,
But they after all proved in vain.
Bill Mason
Bill Mason was an engineer
He'd been on the road all of his life
I'll never forget the morning
He married himself a wife
Bill hadn't been married more than an hour
'Till up came a message from Kress
And ordered Bill to come down
And bring out the night express
While Maggie sat by the window
A waiting for the night express
And if she hadn't a done so
She'd have been a widow, I guess
There was some drunken rascals
That come down by the ridge
They come down by the railroad
And tore off the rail from the bridge
Well, Maggie heard them working
"I guess there's something wrong
In less than fifteen minutes
Bill's train would be along"
She couldn't come near to tell it
A mile it wouldn't've done
She just grabbed up the lantern
And made for the bridge alone
By Jove, Bill saw the signal
And stopped the night express
And found his Maggie crying
On the track in her wedding dress
Her crying and laughing for joy
Still holding on to the light
He came around the curve a-flying
Bill Mason's on time tonight
Budded Rose
Little sweetheart, we have parted
From each other we must go
Many miles may separate us
From this world and care and woe
But I treasure of the promise
That you made me in the lane
When you said we'd be together
When the roses bloom again
Now this parting gives us sorrow
Oh, it almost breaks my heart
But say, darling, will you love me
When we meet no more to part?
Down among the budded roses
I am nothing but a stem
I have parted from my darling
Never more to meet again
Will this parting be forever?
Will there be no coming day
When our hearts will be united
And all troubles pass away?
Darling, meet me up in heaven
That's my true and earnest prayer
If you loved me here on earth, dear
I am sure you'll love me there
If The River Was Whiskey
If the river was whiskey and I was a duck
I'd dive to the bottom and I'd never come up
Oh, tell me how long have I got to wait
Oh, can I get you now, must I hesitate?
If the river was whiskey and the branch was wine
You would see me in bathing just any old time
I was born in England, raised in France
I ordered a suit of clothes and they wouldn't
send the pants
I was born in Alabama, I was raised in Tennessee
If you don't like my peaches, don't shake on my tree
I looked down the road just as far as I could see
A man had my woman and the blues had me
I ain't no doctor but the doctor's son
I can do the doct'rin' till the doctor comes
Got the hesitation stockings, the hesitation shoes
Believe to my Lord I've got the hesitation blues
White House Blues
McKinley hollered, McKinley squalled
Doc said to McKinley, "I can't find that ball",
From Buffalo to Washington
Roosevelt in the White House, he's doing his best
McKinley in the graveyard, he's taking his rest
He's gone a long, long time
Hush up, little children, now don't you fret
You'll draw a pension at your papa's death
From Buffalo to Washington
Roosevelt in the White House drinking out of a silver cup
McKinley in the graveyard, he'll never wake up
He's gone a long, long time
Ain't but one thing that grieves my mind
That is to die and leave my poor wife behind
I'm gone a long, long time
Look here, little children, (don't) waste your breath
You'll draw a pension at your papa's death
From Buffalo to Washington
Standing at the station just looking at the time
See if I could run it by half past nine
From Buffalo to Washington
Came the train, she's just on time
She run a thousand miles from eight o'clock 'till nine,
From Buffalo to Washington
Yonder comes the train, she's coming down the line
Blowing in every station Mr. McKinley's a-dying
It's hard times, hard times
Look-it here you rascal, you see what you've done
You've shot my husband with that Iver-Johnson gun
Carry me back to Washington
Doc's on the horse, he tore down his rein
Said to that horse, "You've got to outrun this train"
From Buffalo to Washington
Doc come a-running, takes off his specs
Said "Mr McKinley, better pass in your checks
You're bound to die, bound to die"
Tuesday, December 15, 2009
*The Lessons Of The Republic Factory Occupation- A Guest Commentary From "Socialist Appeal"
Click on the title to link to an article in December 2009 "Socialist Appeal" concerning last year's factory take-over at the Republic Door and Window factory in Chicago.
Monday, December 14, 2009
*Up Close And Personal- Afghan Commander Westmoreland (Oops!) McChrystal Sees The Light At The End Of The Tunnel, Part 2
Click on title to link to a National Public Radio (NPR)/WBUR, December 10, 2009 story/interview about Afghan commander General McChrystal's take on prospects for "victory" in Afghanistan.
Markin comment:
Here's MY take on this one, again. Obama- Immediate Unconditional Withdrawal Of All U.S./Allied Troops (And Mercenaries) From Afghanistan (And Iraq)!
Markin comment:
Here's MY take on this one, again. Obama- Immediate Unconditional Withdrawal Of All U.S./Allied Troops (And Mercenaries) From Afghanistan (And Iraq)!
*Up Close And Personal- Afghan Commander Westmoreland (Oops!) McChrystal Sees The Light At The End Of The Tunnel, Part 1
Click on title to link to a "Washington Post", December 8, 2009 article about Afghan commander General McChrystal's take on prospects for "victory" in Afghanistan.
Markin comment:
Here's MY take on this one. Obama- Immediate Unconditional Withdrawal Of All U.S./Allied Troops (And Mercenaries) From Afghanistan (And Iraq)!
Markin comment:
Here's MY take on this one. Obama- Immediate Unconditional Withdrawal Of All U.S./Allied Troops (And Mercenaries) From Afghanistan (And Iraq)!
Sunday, December 13, 2009
* In Folklorist Harry Smith's House- The Memphis Jug Band- "K.C. Moan"
Click on title to link to YouTube's film clip of The Memphis Jug Band performing "K.C. Moan" from the Harry Smith anthology. Another wow!
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure
K. C. Moan
Lyrics: Traditional
Music: Traditional
Well, I thought I had heard that K C when she moan
Thought I heard that K C when she moan
Thought I heard that K C when she moan
Well, she sound like she got a heavy load
Yes and when I get back on the K C road
When I get back on the K C road
When I get back on the K C road
Gonna love my woman like I never loved before
Well I thought I heard that K C whistle moan
Well I thought I heard that K C whistle moan
Well I thought I heard that K C whistle moan
Well she blow like my woman's on board
When I get back on that K C road
When I get back on that K C road
When I get back on that K C road
Gonna love my baby like I never loved before
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure
K. C. Moan
Lyrics: Traditional
Music: Traditional
Well, I thought I had heard that K C when she moan
Thought I heard that K C when she moan
Thought I heard that K C when she moan
Well, she sound like she got a heavy load
Yes and when I get back on the K C road
When I get back on the K C road
When I get back on the K C road
Gonna love my woman like I never loved before
Well I thought I heard that K C whistle moan
Well I thought I heard that K C whistle moan
Well I thought I heard that K C whistle moan
Well she blow like my woman's on board
When I get back on that K C road
When I get back on that K C road
When I get back on that K C road
Gonna love my baby like I never loved before
*In Folklorist Harry Smith’s House-"Fishing Blues" — Henry Thomas (1928)
Click on the title to link to a presentation by the artist or of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure
Henry Thomas - Fishing Blues Lyrics
Went up on the hill about twelve o'clock.
Reached right back and got me a pole.
Went to the hardware and got me a hook.
Attached that line right on that hook.
Says you've been a-fishin' all the time.
I'm a-goin' fishin' too.
I bet your life, your lovin'wife.
Can catch more fish than you.
Any fish bite if you've got good bait.
Here's a little somethin' I would like to relate.
Any fish bite, you've got good bait.
I'm a-goin' a-fishin', yes, I'm a-goin' a-fishin',
I'm a-goin' a-fishin' too.
Looked down the river about one o'clock.
Spied this catfish swimmin' around.
I've got so hungry, didn't know what to do.
I'm gonna get me a catfish too.
Yes, you've been fishin' all the time.
I'm a-goin' a-fishin' too.
I bet your life your lovin' wife.
Catch more fish than you.
Any fish bite, got good bait.
Here's a little somethin' I would like to relate.
Any fish bite, you've got good bait.
I'm a-goin' a-fishin', yes, I'm goin' a-fishin',
I'm a-goin' a-fishin' too.
Put on your skillet, don't never mind your lead.
Mama gonna cook 'em with the short'nin' bread.
Says you been fishin' all the time.
I'm a-goin a-fishin' too.
I bet your life, your lovin' wife.
Can catch more fish than you.
Any fish bite, if you've got good bait.
Here's a little somethin' I would like to relate.
Any fish bite, you've got good bait.
I'm a-goin' a-fishin', yes, I'm goin' a-fishin',
I'm a-goin' a-fishin' too.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure
Henry Thomas - Fishing Blues Lyrics
Went up on the hill about twelve o'clock.
Reached right back and got me a pole.
Went to the hardware and got me a hook.
Attached that line right on that hook.
Says you've been a-fishin' all the time.
I'm a-goin' fishin' too.
I bet your life, your lovin'wife.
Can catch more fish than you.
Any fish bite if you've got good bait.
Here's a little somethin' I would like to relate.
Any fish bite, you've got good bait.
I'm a-goin' a-fishin', yes, I'm a-goin' a-fishin',
I'm a-goin' a-fishin' too.
Looked down the river about one o'clock.
Spied this catfish swimmin' around.
I've got so hungry, didn't know what to do.
I'm gonna get me a catfish too.
Yes, you've been fishin' all the time.
I'm a-goin' a-fishin' too.
I bet your life your lovin' wife.
Catch more fish than you.
Any fish bite, got good bait.
Here's a little somethin' I would like to relate.
Any fish bite, you've got good bait.
I'm a-goin' a-fishin', yes, I'm goin' a-fishin',
I'm a-goin' a-fishin' too.
Put on your skillet, don't never mind your lead.
Mama gonna cook 'em with the short'nin' bread.
Says you been fishin' all the time.
I'm a-goin a-fishin' too.
I bet your life, your lovin' wife.
Can catch more fish than you.
Any fish bite, if you've got good bait.
Here's a little somethin' I would like to relate.
Any fish bite, you've got good bait.
I'm a-goin' a-fishin', yes, I'm goin' a-fishin',
I'm a-goin' a-fishin' too.
*In Folklorist Harry Smith’s House-"Bob Lee Junior Blues" — The Memphis Jug Band (1927)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"The Spanish Merchant's Daughter" — The Stoneman Family (1930)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The Spanish Merchant's Daughter
Tarry Trousers
Download Midi File
John Renfro Davis
Information Lyrics
This version is from Sam Henry's Songs of the People. He relates it to sixteen different songs and cross references it to fourteen others! One of the songs it is related to is Oh No, John! Other versions of the song are a conversation between a mother and her daughter.
Tarry trousers refers to the sailor's practice of waterproofing their trousers with tar. This may be among the reasons sailors were referred to as "tars," a term used since 1676. Between 1857 and 1891 sailors also wore black 'tarpaulin' hats (boater-shaped with ribbon around the crown). The term "Jack Tar" has been in use since the 1780s.
A song with a theme similar to Oh No, John!, The Dumb Lady, Or, No no not I, I'le answer, was printed on a broadside circa 1672-84. It also appears in an earlier manuscript (circa 1635-40) but the lyrics are unreadable due to waterstains. It was published as Consent at Last in Thomas D'Urfey's Wit and Mirth or Pills to Purge Melancholy in 1700. It is also known as The Spanish Merchant's Daughter.
Yonder stands a pretty maiden,
Who she is I do not know,
I'll go court her for her beauty,
Let her answer yes or no.
'Pretty maid, I've come to court you,
If your favour I do gain
And you make me hearty welcome,
I will call this way again.'
'Sit you down, you're heart'ly welcome,
Sit you down and chat a while,
Sit you down, you're heart'ly welcome,
Suppose you do not call again?'
'Pretty little maid, I've gold and riches,
Pretty little maid, I've houses and lands,
Pretty little maid, I've worldly treasures.
And all will be at your command.'
'What do I care for your worldly treasures?
What do I care for your houses and lands?
What do I care for your gold and riches?
All that I want is a nice young man.'
'Why do you dive so deep in beauty?
It is a flower will soon decay,
It's like the rose that blooms in summer
When winter comes, it fades away.'
'My love wears the tarry trousers,
My love wears the jacket blue,
My love ploughs the deep blue ocean,
So, young man, be off with you.'
Variants at this site:
Oh No, John (1) (A set of bawdy lyrics)
Oh No, John (2) (Sanitized lyrics from Cecil Sharp)
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The Spanish Merchant's Daughter
Tarry Trousers
Download Midi File
John Renfro Davis
Information Lyrics
This version is from Sam Henry's Songs of the People. He relates it to sixteen different songs and cross references it to fourteen others! One of the songs it is related to is Oh No, John! Other versions of the song are a conversation between a mother and her daughter.
Tarry trousers refers to the sailor's practice of waterproofing their trousers with tar. This may be among the reasons sailors were referred to as "tars," a term used since 1676. Between 1857 and 1891 sailors also wore black 'tarpaulin' hats (boater-shaped with ribbon around the crown). The term "Jack Tar" has been in use since the 1780s.
A song with a theme similar to Oh No, John!, The Dumb Lady, Or, No no not I, I'le answer, was printed on a broadside circa 1672-84. It also appears in an earlier manuscript (circa 1635-40) but the lyrics are unreadable due to waterstains. It was published as Consent at Last in Thomas D'Urfey's Wit and Mirth or Pills to Purge Melancholy in 1700. It is also known as The Spanish Merchant's Daughter.
Yonder stands a pretty maiden,
Who she is I do not know,
I'll go court her for her beauty,
Let her answer yes or no.
'Pretty maid, I've come to court you,
If your favour I do gain
And you make me hearty welcome,
I will call this way again.'
'Sit you down, you're heart'ly welcome,
Sit you down and chat a while,
Sit you down, you're heart'ly welcome,
Suppose you do not call again?'
'Pretty little maid, I've gold and riches,
Pretty little maid, I've houses and lands,
Pretty little maid, I've worldly treasures.
And all will be at your command.'
'What do I care for your worldly treasures?
What do I care for your houses and lands?
What do I care for your gold and riches?
All that I want is a nice young man.'
'Why do you dive so deep in beauty?
It is a flower will soon decay,
It's like the rose that blooms in summer
When winter comes, it fades away.'
'My love wears the tarry trousers,
My love wears the jacket blue,
My love ploughs the deep blue ocean,
So, young man, be off with you.'
Variants at this site:
Oh No, John (1) (A set of bawdy lyrics)
Oh No, John (2) (Sanitized lyrics from Cecil Sharp)
*In Folklorist Harry Smith’s House-"Mountaineer's Courtship" — Ernest Stoneman and Hattie Stoneman (1926)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"I Wish I Was a Mole In the Ground" — Bascom Lamar Lunsford (1928)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Digital Tradition Mirror
I Wish I Was a Mole in the Ground
(This score available as ABC, SongWright, PostScript, PNG, or PMW, or a MIDI file)
Pennywhistle notation and Dulcimer tab for this song is also available
I Wish I Was a Mole in the Ground
I wish l was a mole in the ground.
Yes, I wish I was a mole in the ground:
'F I'se a mole in the ground, l'd root that mountain down,
And I wish I was a mole in the ground.
Oh, Kimpy wants a nine-dollar shawl.
Yes, Kimpy wants a nine-dollar shawl;
When I come o'er the hill with a forty-dollar bill,
'Tis "Baby, where you been so Iong?"
I been in the pen so long.
Yes, I been in the pen so long;
l been in the pen with the rough and rowdy men.
'Tis "Baby, where you been so long?"
I don't like a railroad man.
No, l don't like a railroad man;
'Cause a railroad man they'll kill you when he can,
And drink up your blood like wine.
I wish I was a lizard in the spring.
Ycs, l wish I was a l;zard in the spring;
'F I'se a lizard in the spring, I'd hear my darlin' sing,
An' I wish l was a lizard in the spring.
Come, Kimpy, let your hair roll down.
Kimpy let your hair roll down;
Let your hair roll down and your bangs curl around,
Oh, Kimpy, let your hair roll down.
l wish I was a mole in the ground.
Yes, I wish I was a mole in the ground:
'F I'se a mole in the ground, I'd root that mountain down,
An'I wish I was a mole in the ground.
From Bascom Lamar Lunceford.
RG
Thanks to Mudcat for the Digital Tradition!
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Digital Tradition Mirror
I Wish I Was a Mole in the Ground
(This score available as ABC, SongWright, PostScript, PNG, or PMW, or a MIDI file)
Pennywhistle notation and Dulcimer tab for this song is also available
I Wish I Was a Mole in the Ground
I wish l was a mole in the ground.
Yes, I wish I was a mole in the ground:
'F I'se a mole in the ground, l'd root that mountain down,
And I wish I was a mole in the ground.
Oh, Kimpy wants a nine-dollar shawl.
Yes, Kimpy wants a nine-dollar shawl;
When I come o'er the hill with a forty-dollar bill,
'Tis "Baby, where you been so Iong?"
I been in the pen so long.
Yes, I been in the pen so long;
l been in the pen with the rough and rowdy men.
'Tis "Baby, where you been so long?"
I don't like a railroad man.
No, l don't like a railroad man;
'Cause a railroad man they'll kill you when he can,
And drink up your blood like wine.
I wish I was a lizard in the spring.
Ycs, l wish I was a l;zard in the spring;
'F I'se a lizard in the spring, I'd hear my darlin' sing,
An' I wish l was a lizard in the spring.
Come, Kimpy, let your hair roll down.
Kimpy let your hair roll down;
Let your hair roll down and your bangs curl around,
Oh, Kimpy, let your hair roll down.
l wish I was a mole in the ground.
Yes, I wish I was a mole in the ground:
'F I'se a mole in the ground, I'd root that mountain down,
An'I wish I was a mole in the ground.
From Bascom Lamar Lunceford.
RG
Thanks to Mudcat for the Digital Tradition!
*In Folklorist Harry Smith’s House- "Sugar Baby" — Dock Boggs (1928)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Sugar Baby
Oh I've got no sugar baby now
All I can do is to seek peace with you
And I can't get along this a-way
Can't get along this a-way
All I can do, I've said all I can say
I'll send it to your mama next payday
Send you to your mama next payday.
I got no use for the red rockin' chair,
I've got no honey baby now
Got no sugar baby now
Who'll rock the cradle, who'll sing the song
Who'll rock the cradle when I'm gone
Who'll rock the cradle when I'm gone?
I'll rock the cradle, I'll sing the song
I'll rock the cradle when you gone.
It's all I can do
It's all I can say,
I will send you to your mama next payday
Laid her in the shade, give her every dime I made
What more could a poor boy do
What more could a poor boy do?
Oh I've got no honey baby now
Got no sugar baby now
Said all I can say, I've done all I can do
And I can't make a living with you
Can't make a living with you
found on: The Harry Smith Connection: A Live Tribute
words: Doc Boggs (traditional)
last performed: October 21, 1999, Lounge Ax, Chicago (Tweedy)
back to the Wilco lyrics archive
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Sugar Baby
Oh I've got no sugar baby now
All I can do is to seek peace with you
And I can't get along this a-way
Can't get along this a-way
All I can do, I've said all I can say
I'll send it to your mama next payday
Send you to your mama next payday.
I got no use for the red rockin' chair,
I've got no honey baby now
Got no sugar baby now
Who'll rock the cradle, who'll sing the song
Who'll rock the cradle when I'm gone
Who'll rock the cradle when I'm gone?
I'll rock the cradle, I'll sing the song
I'll rock the cradle when you gone.
It's all I can do
It's all I can say,
I will send you to your mama next payday
Laid her in the shade, give her every dime I made
What more could a poor boy do
What more could a poor boy do?
Oh I've got no honey baby now
Got no sugar baby now
Said all I can say, I've done all I can do
And I can't make a living with you
Can't make a living with you
found on: The Harry Smith Connection: A Live Tribute
words: Doc Boggs (traditional)
last performed: October 21, 1999, Lounge Ax, Chicago (Tweedy)
back to the Wilco lyrics archive
*In Folklorist Harry Smith’s House-"I Woke Up One Morning In May" — Didier Hebert (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Minglewood Blues" — Cannon's Jug Stompers (1928)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Minglewood Blues
Well don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
Well I got a letter mama and you ought to heard what it read
Lord I got a letter mama and you ought to heard what it read
If you're comin' back baby now's your only chance
Don't you never let no woman rule your mind
Well don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
So don't you wish that your fair girl was li'l and cute like mine
Boy don't you wish that your fair girl was li'l and cute like mine
Well she's a married woman, Lord she comes to see me some time
Don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
Well I got a letter mama and you ought to heard what it read
Lord I got a letter mama and you ought to heard what it read
If you're comin' back baby now's your only chance
Don't you never let no woman rule your mind
Well don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
So don't you wish that your fair girl was li'l and cute like mine
Boy don't you wish that your fair girl was li'l and cute like mine
Well she's a married woman, Lord she comes to see me some time
Don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
Well I got a letter mama and you ought to heard what it read
Lord I got a letter mama and you ought to heard what it read
If you're comin' back baby now's your only chance
Don't you never let no woman rule your mind
Well don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
So don't you wish that your fair girl was li'l and cute like mine
Boy don't you wish that your fair girl was li'l and cute like mine
Well she's a married woman, Lord she comes to see me some time
Don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, and worried all the time
Well don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
She'll leave you troubled, worried all the time
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
Minglewood Blues
Well don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
Well I got a letter mama and you ought to heard what it read
Lord I got a letter mama and you ought to heard what it read
If you're comin' back baby now's your only chance
Don't you never let no woman rule your mind
Well don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
So don't you wish that your fair girl was li'l and cute like mine
Boy don't you wish that your fair girl was li'l and cute like mine
Well she's a married woman, Lord she comes to see me some time
Don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
Well I got a letter mama and you ought to heard what it read
Lord I got a letter mama and you ought to heard what it read
If you're comin' back baby now's your only chance
Don't you never let no woman rule your mind
Well don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
So don't you wish that your fair girl was li'l and cute like mine
Boy don't you wish that your fair girl was li'l and cute like mine
Well she's a married woman, Lord she comes to see me some time
Don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
Well I got a letter mama and you ought to heard what it read
Lord I got a letter mama and you ought to heard what it read
If you're comin' back baby now's your only chance
Don't you never let no woman rule your mind
Well don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
So don't you wish that your fair girl was li'l and cute like mine
Boy don't you wish that your fair girl was li'l and cute like mine
Well she's a married woman, Lord she comes to see me some time
Don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, and worried all the time
Well don't you never let no woman rule your mind
Don't you never let no woman rule your mind
Well she'll leave you troubled, worried all the time
She'll leave you troubled, worried all the time
*In Folklorist Harry Smith’s House-"East Virginia" — Buell Kazee (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
"East Virginia"
I was born in East Virginia,
North Carolina I did roam,
There I met a fair young lady,
Her name I do not know.
Oh Her hair was dark and curly,
And her cheeks were rosy red,
On her breast she wore white lilies,
There I long to lay my head.
I dont want your greenback dollar,
I dont want your watch and chain,
All I want's your heart darling,
Say you'll take me back again.
The ocean's deep and I can't wade it
And I have no wings to fly
I'll just get me a blue eyed boatman
Or you'll row me over the tide
I'll go back to East Virginia
North Carolina ain't my home
I'll go back to East Virginia
Leaving North Carolinians alone
I'll go back to East Virginia
North Carolina ain't my home
I'll go back to East Virginia
Leaving North Carolinians alone
In case I missed anything here is the full song
I was born in East Virginia,
North Carolina I did go,
There I met a fair young lady,
And her name I do not know.
Oh, her hair was dark and curly,
And her cheeks were rosy red,
On her breast she wore white lilies,
Where I long to lay my head.
I don't want your greenback dollar,
I don't want your watch and chain,
All I want's your heart darling,
Say you'll take me back again.
The ocean's deep and I can't wade it,
And I have no wings to fly,
I'll just get me a blue eyed boatman,
Or you'll row me over the tide.
I'll go back to East Virginia,
North Carolina ain't my home,
I'll go back to East Virginia,
Leaving North Carolinians alone.
I'll go back to East Virginia,
North Carolina ain't my home,
I'll go back to East Virginia,
Leaving North Carolinians alone.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
"East Virginia"
I was born in East Virginia,
North Carolina I did roam,
There I met a fair young lady,
Her name I do not know.
Oh Her hair was dark and curly,
And her cheeks were rosy red,
On her breast she wore white lilies,
There I long to lay my head.
I dont want your greenback dollar,
I dont want your watch and chain,
All I want's your heart darling,
Say you'll take me back again.
The ocean's deep and I can't wade it
And I have no wings to fly
I'll just get me a blue eyed boatman
Or you'll row me over the tide
I'll go back to East Virginia
North Carolina ain't my home
I'll go back to East Virginia
Leaving North Carolinians alone
I'll go back to East Virginia
North Carolina ain't my home
I'll go back to East Virginia
Leaving North Carolinians alone
In case I missed anything here is the full song
I was born in East Virginia,
North Carolina I did go,
There I met a fair young lady,
And her name I do not know.
Oh, her hair was dark and curly,
And her cheeks were rosy red,
On her breast she wore white lilies,
Where I long to lay my head.
I don't want your greenback dollar,
I don't want your watch and chain,
All I want's your heart darling,
Say you'll take me back again.
The ocean's deep and I can't wade it,
And I have no wings to fly,
I'll just get me a blue eyed boatman,
Or you'll row me over the tide.
I'll go back to East Virginia,
North Carolina ain't my home,
I'll go back to East Virginia,
Leaving North Carolinians alone.
I'll go back to East Virginia,
North Carolina ain't my home,
I'll go back to East Virginia,
Leaving North Carolinians alone.
Saturday, December 12, 2009
*In Folklorist Harry Smith’s House-Volume Three: Songs-"The Coo Coo Bird" — Clarence Ashley (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
"The Coo Coo Bird (Cuckoo)"
Oh the cuckoo she's a pretty bird
She warbles as she flies
She never hollers coo coo till the fourth day
of July
Gonna build me log cabin
On a mountain so high
So I can see Willie as he goes on by
Well I've played cards in Texas
And I've played cards in Maine
Oh I'll bet you five dollars I'll beat you
next game
Jack of Diamonds Jack of Diamonds
Oh I know you of old
You robbed my poor pockets of silver and gold
Rye whiskey, rye whiskey
Oh I know you of old
You robbed my poor pockets of silver and gold
*Sometimes I feel much younger
Sometimes I feel so old
Sometimes the warm sun shines sometimes it's
dreadful cold
Oh the cuckoo she's a pretty bird
How I wish she was mine
She never drinks water she only drinks wine
(repeat first verse)
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
"The Coo Coo Bird (Cuckoo)"
Oh the cuckoo she's a pretty bird
She warbles as she flies
She never hollers coo coo till the fourth day
of July
Gonna build me log cabin
On a mountain so high
So I can see Willie as he goes on by
Well I've played cards in Texas
And I've played cards in Maine
Oh I'll bet you five dollars I'll beat you
next game
Jack of Diamonds Jack of Diamonds
Oh I know you of old
You robbed my poor pockets of silver and gold
Rye whiskey, rye whiskey
Oh I know you of old
You robbed my poor pockets of silver and gold
*Sometimes I feel much younger
Sometimes I feel so old
Sometimes the warm sun shines sometimes it's
dreadful cold
Oh the cuckoo she's a pretty bird
How I wish she was mine
She never drinks water she only drinks wine
(repeat first verse)
*In Folklorist Harry Smith’s House-"I'm In the Battle Field for My Lord" — Rev. D.C. Rice and His Sanctified Congregation (1929)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Fifty Miles of Elbow Room" — Rev. F.W. McGee (1931)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
*In Folklorist Harry Smith’s House-"Shine On Me" — Ernest Phipps and His Holiness Singers (1930)
Click on the title to link to a presentation of the song listed in the headline.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
The year 2009 has turned into something a year of review of the folk revival of the 1960s. In November I featured a posting of many of the episodes (via “YouTube”) of Pete Seeger’s classic folk television show from the 1960s, “Rainbow Quest”. I propose to do the same here to end out the year with as many of the selections from Harry Smith’s seminal “Anthology Of American Folk Music,” in one place, as I was able to find material for, either lyrics or "YouTube" performances (not necessarily by the original performer). This is down at the roots, for sure.
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