Click On Title To Link To Barack Obama's Speech At Egypt's Cairo University on June 4, 2009.
Commentary
What is this? Has Markin gone off the deep end and forgotten that humankind is only gifted, officially, with two hands (although even a child knows that every bourgeois politician has had a third grafted on- you know-on the one hand, and on the other and on the…., well, you know the rest)? Moreover, why is he spilling any ink on the subject of some lanky bourgeois politician’s, United State President or not, off-hand professorial speech on the hellish fate of the Muslim world to invited guests at Egypt’s Cairo University? Good questions.
In the normal course of events I would peruse such speeches and then move on, sometimes, as here, having felt that I had wasted precious time by even doing that much. Furthermore, being a newshound of sorts, I would have already had my fill of pundits, bloggers, and anyone with some half-baked opinion on the subject and been ready to go screaming into the night. This little Obama set speech, however, has set my teeth on edge. Frankly, I am irked (I am being polite, as this is a family-friendly site) at this bombastic little (okay, not so little) twerp going on and on about the problems of the Middle East, Islamic/Western tensions and the like without so much as raising one concrete proposition to “solve” the problems in that benighted region. Enough!
From some of the person-on- the- street interviews of Muslims in its aftermath I am not alone in seeing that “the emperor has no clothes”. You know, little things like getting the historically oppressed Palestinians out of the refugee camps of Gaza and the West Bank and into their own state, getting the United States the hell out of Iraq and Afghanistan (and as is becoming more apparent, Pakistan), stopping the drone attacks on civilians, Muslim civilians, everywhere in the region and stopping one, just one, concrete block headed toward building of yet another Israeli settlement in the Occupied Territories. I could go on and on, but you get my drift.
One thing about being the Commander-in-Chief of the American imperium is never having to really say you are sorry. Mr. Obama did his duty in Cairo and then to show his even-handedness (or rather three-handedness) he showed up at the Buchenwald concentration camps in order to shore up his Israeli/American Jewish flank. Get it. This is worth no more ink though, except this. U.S. Out Of Iraq And Afghanistan! Defend The Palestinian people!
Saturday, June 06, 2009
*You Can't Go Home Again, Can You?- August Wilson's "Jitney"
Click On Title To Link To August Wilson Homepage
Play Review
Jitney (1977), August Wilson, Theater Communications Group, New York, 2007
Okay, blame it on the recently departed Studs Terkel and his damn interview books. I had just been reading his "The Spectator", a compilation of some of his interviews of various authors, actors and other celebrities from his long-running Chicago radio program when I came across an interview that he had with the playwright under review here, August Wilson. Of course, that interview dealt with things near and dear to their hearts on the cultural front and mine as well. Our mutual love of the blues, our concerns about the history and fate of black people and the other oppressed of capitalist society and our need to express ourselves politically in the best way we can. For Studs it was the incessant interviews, for me it is incessant political activity and for the late August Wilson it was his incessant devotion to his century cycle of ten plays that covered a range of black experiences over the 20th century.
Strangely, although I was familiar with the name of the playwright August Wilson and was aware that he had produced a number of plays that were performed at a college-sponsored repertory theater here in Boston I had not seen or read his plays prior to reading the Terkel interview. Naturally when I read there that one of the plays being discussed was entitled "Ma Rainey's Black Bottom" about the legendary female blues singer from the 1920's I ran out to get a copy of the play. That play has been reviewed elsewhere in this space but as is my habit when I read an author who "speaks" to me I grab everything I can by him or her to see where they are going with the work. This is doubly true in the case of Brother Wilson as his work is purposefully structured as an integrated cycle, and as an intensive dramatic look at the black historical experience of the 20th century that has driven a lot of my own above-mentioned political activism.
By the time that this review appears I will have already reviewed five of the ten plays in August Wilson’s Century cycle. On the first five I believe that I ran out of fulsome praise for his work and particularly for his tightly woven story and dialogue. Rather than keep following that path for the next five plays I would prefer to concentrate on some of the dialogue that makes Brother Wilson’s work so compelling. For those who want to peek at my general observations you can look at my review of “Gem Of The Ocean” (the first play chronologically in the cycle).
In all previously reviewed plays I noticed some piece of dialogue that seemed to me to sum up the essence of the play. Sometimes that is done by the lead character as was the case with Troy Maxton in “Fences” when he (correctly) stated that there should been “no too early” in regard to the possibilities of black achievement and prospects in America. Other times it is by a secondary character in the form of some handed down black folk wisdom as means to survive in racially-hardened America. In “Jitney” this task falls to Doub in Act Two when he cuts through all of the rhetoric and accusations a that some blacks were (and still are) making about white abandonment of the struggle for racial equality in America. His retort: ain’t no whites give a damn about you, you don’t exist for them.
These lines are doubly poignant in play where the central occupation is that of “homegrown” private cab drivers that sprang up in the black ghettos because the licensed cabbies wouldn’t go into black neighborhoods. Powerful stuff. As I have noted previously that says more in a couple of sentences about a central aspect of black experience in America at the end of the 20th century than many manifestos, treatises or sociological/psychological studies. That Wilson can weave that hard understanding into a play of less than one hundred pages and drive the plot line of a story that deals with the contradiction between black aspirations and the reality of the hard fact that many blacks were left behind heading into in the Reaganite 1980’s when all the “boats were to be lifted to by the rising tide”. Given the hard fate for most blacks in housing, education and jobs today Brother Wilson is on to something. As I have also noted previously- that, my friends, is still something to consider in the so-called “post-racial” Obamiad. We shall see.
Play Review
Jitney (1977), August Wilson, Theater Communications Group, New York, 2007
Okay, blame it on the recently departed Studs Terkel and his damn interview books. I had just been reading his "The Spectator", a compilation of some of his interviews of various authors, actors and other celebrities from his long-running Chicago radio program when I came across an interview that he had with the playwright under review here, August Wilson. Of course, that interview dealt with things near and dear to their hearts on the cultural front and mine as well. Our mutual love of the blues, our concerns about the history and fate of black people and the other oppressed of capitalist society and our need to express ourselves politically in the best way we can. For Studs it was the incessant interviews, for me it is incessant political activity and for the late August Wilson it was his incessant devotion to his century cycle of ten plays that covered a range of black experiences over the 20th century.
Strangely, although I was familiar with the name of the playwright August Wilson and was aware that he had produced a number of plays that were performed at a college-sponsored repertory theater here in Boston I had not seen or read his plays prior to reading the Terkel interview. Naturally when I read there that one of the plays being discussed was entitled "Ma Rainey's Black Bottom" about the legendary female blues singer from the 1920's I ran out to get a copy of the play. That play has been reviewed elsewhere in this space but as is my habit when I read an author who "speaks" to me I grab everything I can by him or her to see where they are going with the work. This is doubly true in the case of Brother Wilson as his work is purposefully structured as an integrated cycle, and as an intensive dramatic look at the black historical experience of the 20th century that has driven a lot of my own above-mentioned political activism.
By the time that this review appears I will have already reviewed five of the ten plays in August Wilson’s Century cycle. On the first five I believe that I ran out of fulsome praise for his work and particularly for his tightly woven story and dialogue. Rather than keep following that path for the next five plays I would prefer to concentrate on some of the dialogue that makes Brother Wilson’s work so compelling. For those who want to peek at my general observations you can look at my review of “Gem Of The Ocean” (the first play chronologically in the cycle).
In all previously reviewed plays I noticed some piece of dialogue that seemed to me to sum up the essence of the play. Sometimes that is done by the lead character as was the case with Troy Maxton in “Fences” when he (correctly) stated that there should been “no too early” in regard to the possibilities of black achievement and prospects in America. Other times it is by a secondary character in the form of some handed down black folk wisdom as means to survive in racially-hardened America. In “Jitney” this task falls to Doub in Act Two when he cuts through all of the rhetoric and accusations a that some blacks were (and still are) making about white abandonment of the struggle for racial equality in America. His retort: ain’t no whites give a damn about you, you don’t exist for them.
These lines are doubly poignant in play where the central occupation is that of “homegrown” private cab drivers that sprang up in the black ghettos because the licensed cabbies wouldn’t go into black neighborhoods. Powerful stuff. As I have noted previously that says more in a couple of sentences about a central aspect of black experience in America at the end of the 20th century than many manifestos, treatises or sociological/psychological studies. That Wilson can weave that hard understanding into a play of less than one hundred pages and drive the plot line of a story that deals with the contradiction between black aspirations and the reality of the hard fact that many blacks were left behind heading into in the Reaganite 1980’s when all the “boats were to be lifted to by the rising tide”. Given the hard fate for most blacks in housing, education and jobs today Brother Wilson is on to something. As I have also noted previously- that, my friends, is still something to consider in the so-called “post-racial” Obamiad. We shall see.
Friday, June 05, 2009
*The Domino Theory In The Democratic Struggle For Gay Marriage Rights- New Hampshire Falls
Click On Title To Link To Boston Globe Article On The Recent Legislative Action In New Hampshire That Has Sanctioned Gay Marriage Rights.
Mini-commentary
I have already made the germane points about this issue elsewhere on this site overt the past couple of months as things have gone quickly. Kudos for New Hampshire as the fifth New England state to ratify, one way or another, gay marriage rights. This once rather stolid, conservative state has dramatically shifted from the days when the late, unlamented Willaim Loeb, publisher of the conservative "Manchester Union Leader" held sway over that body politic. Nevertheless I would feel a whole lot better about the fate of this struggle if places like Alabama or....California got on board. Forward.
Mini-commentary
I have already made the germane points about this issue elsewhere on this site overt the past couple of months as things have gone quickly. Kudos for New Hampshire as the fifth New England state to ratify, one way or another, gay marriage rights. This once rather stolid, conservative state has dramatically shifted from the days when the late, unlamented Willaim Loeb, publisher of the conservative "Manchester Union Leader" held sway over that body politic. Nevertheless I would feel a whole lot better about the fate of this struggle if places like Alabama or....California got on board. Forward.
*He's Got Them "Bourgeois Blues"- The Music Of Lead Belly
Click On Title To Link To YouTube's Clip Of Lead Belly Doing "Bourgeois Blues".
CD REVIEW
The Bourgeois Blues, Lead Belly, St. Clair Records, 2005
This major part of this review has been used previously to look at other Lead Belly (and Woody Guthrie) materials in order to give the pair their proper due as the “first wave” folk revivalists that those of us from the “Generation of ‘68” gravitated to when Bobby Dee, Bobby Darin and others pop teenage singers from the early 1960’s stopped “speaking” to us. With the exception of the point about the Smithsonian booklet the points raised there can serve here for Lead Belly alone.
“If any of the older generation, the “Generation of ‘68” needs an introduction to Woody Guthrie or Lead Belly then I ask what planet have you been on. Woody’s “This Land Is Your Land” is practically a national anthem (and in some quarters is just that). And Lead Belly’s “Goodnight, Irene” is in that same category. So to have the two highlighted on one program, as they had been in life on a number of occasions is a treat. This tribute has the further virtue of highlighting original performances by them unlike a DVD documentary and accompanying CD “A Shared Vision” reviewed earlier in this space that was composed of tribute performances by some of those who, like John Mellencamp, have been influenced by their work, individually or collectively.
As always with a Smithsonian/Folkways production the CD includes a booklet of copious liner notes that detail, for the folk historian or the novice alike, the history of each song and its genesis. I am always surprised by the insightful detail provided and as much as I know about this milieu always find something new in them. Moreover, the information here provided inevitably details the rather mundane genesis of some very famous songs. Here, for example, “Bring Me Little Water, Sylvie” is just what it says back in Lead Belly’s old family farm hand days.”
I do not believe that I need to detail the work of Lead Belly but will finish with a note of what you should make sure to hear. “Goodnight, Irene” and “John Hardy”, of course. “Where Did You Sleep Last Night” has aged well. All of this is rounded out by a Lead Belly classic “The Bourgeois Blues” about the fate of blacks trying to live in Washington, D.C. in the old days (1930’s) that seems to resonant today to my ear, at least politically.
Just in case you don't want to take my word for it here are the lyrics.
Lead Belly - The Bourgeois Blues Lyrics
Lord, in a bourgeois town
It's a bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Home of the brave, land of the free
I don't wanna be mistreated by no bourgeoisie
Lord, in a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Well, me and my wife we were standing upstairs
We heard the white man say "I don't want no n----rs up there"
Lord, in a bourgeois town
Uhm, bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Well, them white folks in Washington they know how
To call a colored man a n----r just to see him bow
Lord, it's a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around
I tell all the colored folks to listen to me
Don't try to find you no home in Washington, DC
`Cause it's a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Alabama Bound lyrics
I'm Alabama bound
I'm Alabama bound
And if the train don't stop and turn around
I'm Alabama bound
Oh, don't you leave me here
Oh, don't you leave me here
But if you must go anyhow
Just leave a dime for beer
Oh don't you be like me
Oh don't you be like me
Drink your good sweet cherry wine
And let that whiskey be
Well your hair don't curve
And your eyes ain't blue
Well if you don't want me, Polly Ann
Well I don't want you
Rock Island Line lyrics
Cat's in the cupboard and she can't find me
Oh the Rock Island Line is a mighty fine line
Oh the Rock Island Line is the road to ride
If you want to ride, you gotta ride it like you're flyin'
Get your ticket at the station on the Rock Island Line
Maybe I'm right, maybe I'm wrong
Lawd you gonna miss me when I'm gone
Oh the Rock Island Line is a mighty fine line
Oh the Rock Island Line is the road to ride
If you want to ride, you gotta ride it like you're flyin'
Get your ticket at the station on the Rock Island Line
Jesus died to save our sins
Glory to God I'm gonna see Him again
Oh the Rock Island Line is a mighty fine line
Oh the Rock Island Line is the road to ride
If you want to ride, you gotta ride it like you're flyin'
Get your ticket at the station on the Rock Island Line
Moses stood on the Red Sea shore
Smothin' the water with a two-by-four
Oh the Rock Island Line is a mighty fine line
Oh the Rock Island Line is the road to ride
If you want to ride, you gotta ride it like you're flyin'
Get your ticket at the station on the Rock Island Line
Take This Hammer lyrics
Take this hammer, carry it to the captain
Take this hammer, carry it to the captain
Take this hammer, carry it to the captain
Tell him I'm gone
Tell him I'm gone
If he asks you was I runnin'
If he asks you was I runnin'
If he asks you was I runnin'
Tell him I was flyin'
Tell him I was flyin'
If he asks you was I laughin'
If he asks you was I laughin'
If he asks you was I laughin'
Tell him I was cryin'
Tell him I was cryin'
They wanna feed me cornbread and molasses
They wanna feed me cornbread and molasses
They wanna feed me cornbread and molasses
But I got my pride
Well, I got my pride
(Good Night) Irene lyrics
Last Saturday night, I got married,
Me and my wife settled down
Now me and my wife are parted,
I'm gonna take another stroll downtown
Sometimes I live in the country,
Sometimes I live in town
Sometimes I take a great notion,
To jump into the river and drown
I love Irene, God knows I do,
I'll love her till the seas run dry
But if Irene should turn me down,
I'd take the morphine and die
Stop rambling, stop your gambling,
Stop staying out late at night
Go home to your wife and your family,
CD REVIEW
The Bourgeois Blues, Lead Belly, St. Clair Records, 2005
This major part of this review has been used previously to look at other Lead Belly (and Woody Guthrie) materials in order to give the pair their proper due as the “first wave” folk revivalists that those of us from the “Generation of ‘68” gravitated to when Bobby Dee, Bobby Darin and others pop teenage singers from the early 1960’s stopped “speaking” to us. With the exception of the point about the Smithsonian booklet the points raised there can serve here for Lead Belly alone.
“If any of the older generation, the “Generation of ‘68” needs an introduction to Woody Guthrie or Lead Belly then I ask what planet have you been on. Woody’s “This Land Is Your Land” is practically a national anthem (and in some quarters is just that). And Lead Belly’s “Goodnight, Irene” is in that same category. So to have the two highlighted on one program, as they had been in life on a number of occasions is a treat. This tribute has the further virtue of highlighting original performances by them unlike a DVD documentary and accompanying CD “A Shared Vision” reviewed earlier in this space that was composed of tribute performances by some of those who, like John Mellencamp, have been influenced by their work, individually or collectively.
As always with a Smithsonian/Folkways production the CD includes a booklet of copious liner notes that detail, for the folk historian or the novice alike, the history of each song and its genesis. I am always surprised by the insightful detail provided and as much as I know about this milieu always find something new in them. Moreover, the information here provided inevitably details the rather mundane genesis of some very famous songs. Here, for example, “Bring Me Little Water, Sylvie” is just what it says back in Lead Belly’s old family farm hand days.”
I do not believe that I need to detail the work of Lead Belly but will finish with a note of what you should make sure to hear. “Goodnight, Irene” and “John Hardy”, of course. “Where Did You Sleep Last Night” has aged well. All of this is rounded out by a Lead Belly classic “The Bourgeois Blues” about the fate of blacks trying to live in Washington, D.C. in the old days (1930’s) that seems to resonant today to my ear, at least politically.
Just in case you don't want to take my word for it here are the lyrics.
Lead Belly - The Bourgeois Blues Lyrics
Lord, in a bourgeois town
It's a bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Home of the brave, land of the free
I don't wanna be mistreated by no bourgeoisie
Lord, in a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Well, me and my wife we were standing upstairs
We heard the white man say "I don't want no n----rs up there"
Lord, in a bourgeois town
Uhm, bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Well, them white folks in Washington they know how
To call a colored man a n----r just to see him bow
Lord, it's a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around
I tell all the colored folks to listen to me
Don't try to find you no home in Washington, DC
`Cause it's a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around
Alabama Bound lyrics
I'm Alabama bound
I'm Alabama bound
And if the train don't stop and turn around
I'm Alabama bound
Oh, don't you leave me here
Oh, don't you leave me here
But if you must go anyhow
Just leave a dime for beer
Oh don't you be like me
Oh don't you be like me
Drink your good sweet cherry wine
And let that whiskey be
Well your hair don't curve
And your eyes ain't blue
Well if you don't want me, Polly Ann
Well I don't want you
Rock Island Line lyrics
Cat's in the cupboard and she can't find me
Oh the Rock Island Line is a mighty fine line
Oh the Rock Island Line is the road to ride
If you want to ride, you gotta ride it like you're flyin'
Get your ticket at the station on the Rock Island Line
Maybe I'm right, maybe I'm wrong
Lawd you gonna miss me when I'm gone
Oh the Rock Island Line is a mighty fine line
Oh the Rock Island Line is the road to ride
If you want to ride, you gotta ride it like you're flyin'
Get your ticket at the station on the Rock Island Line
Jesus died to save our sins
Glory to God I'm gonna see Him again
Oh the Rock Island Line is a mighty fine line
Oh the Rock Island Line is the road to ride
If you want to ride, you gotta ride it like you're flyin'
Get your ticket at the station on the Rock Island Line
Moses stood on the Red Sea shore
Smothin' the water with a two-by-four
Oh the Rock Island Line is a mighty fine line
Oh the Rock Island Line is the road to ride
If you want to ride, you gotta ride it like you're flyin'
Get your ticket at the station on the Rock Island Line
Take This Hammer lyrics
Take this hammer, carry it to the captain
Take this hammer, carry it to the captain
Take this hammer, carry it to the captain
Tell him I'm gone
Tell him I'm gone
If he asks you was I runnin'
If he asks you was I runnin'
If he asks you was I runnin'
Tell him I was flyin'
Tell him I was flyin'
If he asks you was I laughin'
If he asks you was I laughin'
If he asks you was I laughin'
Tell him I was cryin'
Tell him I was cryin'
They wanna feed me cornbread and molasses
They wanna feed me cornbread and molasses
They wanna feed me cornbread and molasses
But I got my pride
Well, I got my pride
(Good Night) Irene lyrics
Last Saturday night, I got married,
Me and my wife settled down
Now me and my wife are parted,
I'm gonna take another stroll downtown
Sometimes I live in the country,
Sometimes I live in town
Sometimes I take a great notion,
To jump into the river and drown
I love Irene, God knows I do,
I'll love her till the seas run dry
But if Irene should turn me down,
I'd take the morphine and die
Stop rambling, stop your gambling,
Stop staying out late at night
Go home to your wife and your family,
Wednesday, June 03, 2009
*Joe Turner Get Away From My Door- August Wilson's "Joe Turner's Come And Gone"
Click On Title To Link To August Wilson Homepage.
Play Review
Joe Turner’s Come And Gone, August Wilson, New American Library, New York, 1988
The first couple of paragraphs of this review have been used as introduction to other August Wilson Century Cycle plays as well.
Okay, blame it on the recently departed Studs Terkel and his damn interview books. I had just been reading his "The Spectator", a compilation of some of his interviews of various authors, actors and other celebrities from his long-running Chicago radio program when I came across an interview that he had with the playwright under review here, August Wilson. Of course, that interview dealt with things near and dear to their hearts on the cultural front and mine as well. Our mutual love of the blues, our concerns about the history and fate of black people and the other oppressed of capitalist society and our need to express ourselves politically in the best way we can. For Studs it was the incessant interviews, for me it is incessant political activity and for the late August Wilson it was his incessant devotion to his century cycle of ten plays that covered a range of black experiences over the 20th century.
The old blues song "Joe Turner's Come and Gone" is a familiar one to me. I have heard it in many versions, some where Joe is a good guy and others, as here with August Wilson's concept of Joe, bad. Bad, indeed, for black people who tried in the second decade of the 20th century to try to make a decent life for themselves and their families. The specific case highlighted in the play is the fate of one Herald Loomis (and his daughter). Herald, having come up against Joe Turner's justice (read white Jim Crow justice) and paid the price with the lost of his wife, as well as part of his sanity, is searching to find his roots.
In the opening play of this series "Gem of the Ocean" we find the characters there trying to figure out what to do with their new found freedom. Here were are involved in a search to find meaning for the black family, the black man and anyone else who is confounded by the race question, circa 1910. One of the most dramatic lines in the whole play is when one of the boarders at Seth's Holly's house, Molly, who is about to go off with fellow boarder Jeremy for parts unknown in order to have fun or just to get a fresh start. She says- "I will go anywhere with you-except the South". That, my friends, says as much about this play as anything else. Of course, as always with Wilson one gets a deep dialogue, a very real feel for the confined space that the whites, North or South have left for blacks and with the exception of the link with the white travelling salesman Selig are not part of the flow of national capitalist society. Yes, "Joe Turner's Come and Gone", circa 1911 style, is gone but are we so sure that he is gone for good? As always, kudos, Brother Wilson.
Play Review
Joe Turner’s Come And Gone, August Wilson, New American Library, New York, 1988
The first couple of paragraphs of this review have been used as introduction to other August Wilson Century Cycle plays as well.
Okay, blame it on the recently departed Studs Terkel and his damn interview books. I had just been reading his "The Spectator", a compilation of some of his interviews of various authors, actors and other celebrities from his long-running Chicago radio program when I came across an interview that he had with the playwright under review here, August Wilson. Of course, that interview dealt with things near and dear to their hearts on the cultural front and mine as well. Our mutual love of the blues, our concerns about the history and fate of black people and the other oppressed of capitalist society and our need to express ourselves politically in the best way we can. For Studs it was the incessant interviews, for me it is incessant political activity and for the late August Wilson it was his incessant devotion to his century cycle of ten plays that covered a range of black experiences over the 20th century.
The old blues song "Joe Turner's Come and Gone" is a familiar one to me. I have heard it in many versions, some where Joe is a good guy and others, as here with August Wilson's concept of Joe, bad. Bad, indeed, for black people who tried in the second decade of the 20th century to try to make a decent life for themselves and their families. The specific case highlighted in the play is the fate of one Herald Loomis (and his daughter). Herald, having come up against Joe Turner's justice (read white Jim Crow justice) and paid the price with the lost of his wife, as well as part of his sanity, is searching to find his roots.
In the opening play of this series "Gem of the Ocean" we find the characters there trying to figure out what to do with their new found freedom. Here were are involved in a search to find meaning for the black family, the black man and anyone else who is confounded by the race question, circa 1910. One of the most dramatic lines in the whole play is when one of the boarders at Seth's Holly's house, Molly, who is about to go off with fellow boarder Jeremy for parts unknown in order to have fun or just to get a fresh start. She says- "I will go anywhere with you-except the South". That, my friends, says as much about this play as anything else. Of course, as always with Wilson one gets a deep dialogue, a very real feel for the confined space that the whites, North or South have left for blacks and with the exception of the link with the white travelling salesman Selig are not part of the flow of national capitalist society. Yes, "Joe Turner's Come and Gone", circa 1911 style, is gone but are we so sure that he is gone for good? As always, kudos, Brother Wilson.
Monday, June 01, 2009
*Honor Doctor Tiller- Defend Abortion Providers And Abortion Clinics!
Click On Title To Link To March 21 2009 Commentary On The Late Heroic Abortion Provider Kansas Doctor George Tiller.
Commentary
markin said...
This following message in quotes (along with some other comments) was left on a March 21, 2009 commentary on the legal defense of Doctor Tiller on this blog after I posted the information there about the murder of Doctor George Tiller on May 31, 2009.
“Anonymous has left a new comment on your post "*Defend Dr. George Tiller!- Free Abortion on Deman...":
Barack Obama should seek punishment against the murderer of Tiller.”
Markin responds: More appropriately, for leftist militants and other progressives, is not the question of whether Barack Obama should seek punishment against the murderer of Doctor Tiller but that we should be actively propagandizing and agitating for the defense of abortion providers and abortion clinics by working class organizations and other interested progressive organizations. Starting right now! No more Doctor Tillers! Defend Abortion Providers! Defend Abortion Clinics!
Commentary
markin said...
This following message in quotes (along with some other comments) was left on a March 21, 2009 commentary on the legal defense of Doctor Tiller on this blog after I posted the information there about the murder of Doctor George Tiller on May 31, 2009.
“Anonymous has left a new comment on your post "*Defend Dr. George Tiller!- Free Abortion on Deman...":
Barack Obama should seek punishment against the murderer of Tiller.”
Markin responds: More appropriately, for leftist militants and other progressives, is not the question of whether Barack Obama should seek punishment against the murderer of Doctor Tiller but that we should be actively propagandizing and agitating for the defense of abortion providers and abortion clinics by working class organizations and other interested progressive organizations. Starting right now! No more Doctor Tillers! Defend Abortion Providers! Defend Abortion Clinics!
*The Struggle Continues- August Wilson's "Gem Of The Ocean"
Click On Title To Link To August Wilson Homepage.
Play/Book Review
Gem Of The Ocean, August Wilson, Theater Communication Group, New York, 2007
The first couple of paragraphs of this review have been used as introduction to other August Wilson Century Cycle plays as well.
Okay, blame it on the recently departed Studs Terkel and his damn interview books. I had just been reading his "The Spectator", a compilation of some of his interviews of various authors, actors and other celebrities from his long-running Chicago radio program when I came across an interview that he had with the playwright under review here, August Wilson. Of course, that interview dealt with things near and dear to their hearts on the cultural front and mine as well. Our mutual love of the blues, our concerns about the history and fate of black people and the other oppressed of capitalist society and our need to express ourselves politically in the best way we can. For Studs it was the incessant interviews, for me it is incessant political activity and for the late August Wilson it was his incessant devotion to his century cycle of ten plays that covered a range of black experiences over the 20th century.
Although "Gem Of The Ocean" was not August Wilson's first play written in what has become the century cycle it is first in time at the turn of the 20th century. To set the context it was time when black chattel slavery had been abolished legally but after the time, at least in the South (and de facto in the North), that Jim Crow ruled race relations in America. The great promise of the Civil War and the post-war Reconstruction period gave way to the doctrine, if one can call it that, of "separate but equal". The struggle to come to terms with that hard reality , and the realization that an additional struggle or two were going to be necessary in order to regain that promise, sets the tone for the play and for the cycle.
As for the actual dynamics of this play itself it takes place in 1904, in as is most usually the case in Wilson's work budding industrial Pittsburgh, a place that theoretically could provide hope for the black masses heading north from the dead-end of the agrarian South. That hard dirty wage slavery could provide some positive relief shows the precarious position of blacks at that time. Moreover, this is a mixed blessing as blacks could be just as easily used as `scabs', and then discarded, as an core component of the labor force.
The story hinges around the actions that occur at one of the mills when blacks go on strike themselves for better wages and working conditions. Enter, one Citizen freshly arrived from the South but also frustrated by his prospects. He commits crime and another takes the fall for it. Then, all hell breaks loose until the time of redemption.
The agent of redemption will be none other than Aunt Ester, a figure who hovers around other Wilson plays, Black Mary as her lady-in waiting and Solly Two Kings, a hardened veteran of the black struggle for equality and himself a slave before he became an agent on the Underground Railroad a job he never gave up even after the abolition of slavery. It is that premise-one that the fight for black equality is neither a given nor an easy task that, without giving the plot away, creates the dramatic tension here. Along the way we cross swords with the Booker T. Washington figure of Caesar as the black agent of the unseen (in the play) white power elite to provide the contrary notion that black self-help and black folk wisdom is passé and that one must accept that this is a dog-eat-dog world. As always Wilson provides powerful dialogue to move the action and, once again, I hear that little bluesy, gospelly music in the background that always pushes the rhythm of these works. Kudos, once again, Brother Wilson. The struggle continues.
Play/Book Review
Gem Of The Ocean, August Wilson, Theater Communication Group, New York, 2007
The first couple of paragraphs of this review have been used as introduction to other August Wilson Century Cycle plays as well.
Okay, blame it on the recently departed Studs Terkel and his damn interview books. I had just been reading his "The Spectator", a compilation of some of his interviews of various authors, actors and other celebrities from his long-running Chicago radio program when I came across an interview that he had with the playwright under review here, August Wilson. Of course, that interview dealt with things near and dear to their hearts on the cultural front and mine as well. Our mutual love of the blues, our concerns about the history and fate of black people and the other oppressed of capitalist society and our need to express ourselves politically in the best way we can. For Studs it was the incessant interviews, for me it is incessant political activity and for the late August Wilson it was his incessant devotion to his century cycle of ten plays that covered a range of black experiences over the 20th century.
Although "Gem Of The Ocean" was not August Wilson's first play written in what has become the century cycle it is first in time at the turn of the 20th century. To set the context it was time when black chattel slavery had been abolished legally but after the time, at least in the South (and de facto in the North), that Jim Crow ruled race relations in America. The great promise of the Civil War and the post-war Reconstruction period gave way to the doctrine, if one can call it that, of "separate but equal". The struggle to come to terms with that hard reality , and the realization that an additional struggle or two were going to be necessary in order to regain that promise, sets the tone for the play and for the cycle.
As for the actual dynamics of this play itself it takes place in 1904, in as is most usually the case in Wilson's work budding industrial Pittsburgh, a place that theoretically could provide hope for the black masses heading north from the dead-end of the agrarian South. That hard dirty wage slavery could provide some positive relief shows the precarious position of blacks at that time. Moreover, this is a mixed blessing as blacks could be just as easily used as `scabs', and then discarded, as an core component of the labor force.
The story hinges around the actions that occur at one of the mills when blacks go on strike themselves for better wages and working conditions. Enter, one Citizen freshly arrived from the South but also frustrated by his prospects. He commits crime and another takes the fall for it. Then, all hell breaks loose until the time of redemption.
The agent of redemption will be none other than Aunt Ester, a figure who hovers around other Wilson plays, Black Mary as her lady-in waiting and Solly Two Kings, a hardened veteran of the black struggle for equality and himself a slave before he became an agent on the Underground Railroad a job he never gave up even after the abolition of slavery. It is that premise-one that the fight for black equality is neither a given nor an easy task that, without giving the plot away, creates the dramatic tension here. Along the way we cross swords with the Booker T. Washington figure of Caesar as the black agent of the unseen (in the play) white power elite to provide the contrary notion that black self-help and black folk wisdom is passé and that one must accept that this is a dog-eat-dog world. As always Wilson provides powerful dialogue to move the action and, once again, I hear that little bluesy, gospelly music in the background that always pushes the rhythm of these works. Kudos, once again, Brother Wilson. The struggle continues.
Sunday, May 31, 2009
*Honor The Memory Of Kansas Abortion Provider Doctor George Tiller- Free Abortion On Demand! Defend Abortion Providers And Clinics!
Click On Title To Link To Associated Press Article On The Murder Of Kansas Abortion Provider, Dr. George Tiller. Despite many personal trials and tribulations he provided this service to Kansas women in need in the face of many legal, political and social threats. All honor to his memory. And the best way to do so is to fight, and fight hard, for the right to free abortion on demand. Forward!
******
Below is a repost of an article from the Partisan Defense Committee concerning the most recent legal harassment of the late Doctor Tiller. Honor his memory.
Guest Commentary
March Is Women's History Month
This entry is passed on from the Partisan Defense Committee. At a time when everyone is "keeping it on the low" about President Barack Obama's retro position on abortion noted in the article Doctor Tiller, a real hero of the women's rights movement (when it counts) needs serious defense.
Free Abortion on Demand!
Defend Dr. George Tiller!
After decades of intimidation and terror, courageous abortion provider Dr. George Tiller goes on trial March 16, threatened with 19 years in prison. One of the few remaining physicians providing “late-term” abortions in the U.S., Dr. Tiller and the staff of his Wichita Women’s Health Care Services have repeatedly been targeted by anti-abortion fanatics. Tiller’s clinic was bombed in 1986, and in 1993 he survived being shot several times in an assassination attempt. Tiller faces 19 misdemeanor counts of violating the state’s law requiring two doctors, without financial or legal ties to each other, to sign off on abortions done late in pregnancy (in Kansas, the arbitrary calculus of “late-term” is set at 22 weeks). Prosecutors claim that Tiller had a financial relationship with the doctor who provided a second opinion. These bogus charges are being used to railroad a courageous doctor who puts medical science and concern for his patients above his own well-being. The labor movement and all defenders of women’s rights must stand in defense of Dr. Tiller and demand: Stop the witchhunt against George Tiller! Drop the charges!
The attack on Dr. Tiller is part of a drive, by legal and extralegal means, to intimidate abortion providers and ultimately do away with women’s right to abortion. According to papers filed by Tiller’s lawyers, the district attorney obtained under false pretenses a court order directing a Wichita hotel to turn over registration records containing patients’ names. Under the pretext of investigating “child rape,” these records were then matched with medical records that Tiller was required to submit to the state, in order to discover the names of Tiller’s patients. D.A. Phill Kline, who launched the legal crusade against Tiller, was so frenzied in his campaign against abortion clinics that the state Supreme Court in December chastised him for showing “little, if any, respect” for “the rule of law” (Topeka Capital-Journal, 6 December 2008).
Nevertheless, on February 25 the judge in the criminal case against Tiller denied a defense motion to throw out prosecution evidence and refused to dismiss the case. Noting that the charges against Tiller had been filed by Kline’s successor as attorney general, a “pro-choice” Democrat, the judge ludicrously concluded that Kline’s actions “could not have tainted the investigation and prosecution of this case” (AP, 25 February).
The law being used to go after Tiller is just one of a slew of measures which have made abortion virtually inaccessible to a large number of women in this country. This is especially true for the young, working-class and poor, who already have limited access to decent health care, childcare, affordable housing or even enough food to feed their families. Today, 36 states prohibit abortions after a specified point in pregnancy. Fully 34 states require one or both parents of young women under 18 to be notified and/or consent to an abortion. And 87 percent of U.S. counties—97 percent in nonmetropolitan areas—do not have an abortion provider.
Abortion is a politically explosive issue because it raises the question of the equality of women. This simple medical procedure provides women with some control over whether or not to have children. For this reason it is viewed as a threat to the institution of the family, which is a crucial prop for the system of capitalist exploitation. In order for safe and legal abortion to become a reality for working-class, minority and immigrant women, we call for free abortion on demand as part of free quality health care for all.
The increasing curtailment of the right to abortion reflects the policies of both the Democratic and Republican parties. As we wrote in “Drop the Charges Against Dr. George Tiller!” (WV No. 924, 7 November 2008):
“The reactionary demagogy of the Republicans is longstanding and obvious enough. But the fact is that there has been little ‘choice’ for poor women since Democrat Jimmy Carter (who now has become an international ‘human rights’ icon) signed into law in 1977 the Hyde Amendment eliminating Medicaid coverage for abortions. During Democrat Clinton’s eight years in office, welfare for mothers was axed, safe access to abortion was effectively gutted across much of the country, as the number of abortion providers plummeted 14 percent between 1992 and 1996, and a huge number of restrictive laws were passed.”
President Barack Obama provoked a hysterical uproar among anti-abortion bigots when he nominated as Health and Human Services Secretary Kansas governor Kathleen Sebelius, a “pro-choice” Democrat who sponsored an April 2007 event at the governor’s residence with Tiller and his clinic’s staff. Yet during the election campaign, Obama told the Christian magazine Relevant that he opposed mental health exceptions for “late-term” abortion bans because “I don’t think that ‘mental distress’ qualifies as the health of the mother” (AP, 4 July 2008). In office, Obama stripped from his economic stimulus package a proposal to allow states to expand Medicaid coverage of contraception and other family planning services. Obama’s proposed 2010 budget has been hailed by liberals for setting aside $634 billion for health care, but the reality is that about half that sum would come from spending cuts in programs such as Medicare and Medicaid.
The attacks on abortion rights are part of a campaign of social reaction aimed at regimenting the entire population—not just women, but black people, immigrants, gays and the working class as a whole. While the anti-abortion bigots call themselves “pro-life,” they enthusiastically support the racist death penalty. The U.S. has one of the highest rates of infant mortality in the industrialized world.
The fight for abortion rights, decent living conditions and free quality health care mandates that we build a revolutionary workers party. The working class has the social power necessary to mobilize in defense of not only women, but all the oppressed. But to exercise that power it is necessary to wage a political struggle against the labor bureaucracy that keeps working people tied to the Democratic Party. The elimination of the right to abortion would redound against all working people. As we have often underlined, democratic rights either go forward together or fall back separately. The working class is uniquely situated to bring capitalist rule to an end. For women’s liberation through socialist revolution!
******
Below is a repost of an article from the Partisan Defense Committee concerning the most recent legal harassment of the late Doctor Tiller. Honor his memory.
Guest Commentary
March Is Women's History Month
This entry is passed on from the Partisan Defense Committee. At a time when everyone is "keeping it on the low" about President Barack Obama's retro position on abortion noted in the article Doctor Tiller, a real hero of the women's rights movement (when it counts) needs serious defense.
Free Abortion on Demand!
Defend Dr. George Tiller!
After decades of intimidation and terror, courageous abortion provider Dr. George Tiller goes on trial March 16, threatened with 19 years in prison. One of the few remaining physicians providing “late-term” abortions in the U.S., Dr. Tiller and the staff of his Wichita Women’s Health Care Services have repeatedly been targeted by anti-abortion fanatics. Tiller’s clinic was bombed in 1986, and in 1993 he survived being shot several times in an assassination attempt. Tiller faces 19 misdemeanor counts of violating the state’s law requiring two doctors, without financial or legal ties to each other, to sign off on abortions done late in pregnancy (in Kansas, the arbitrary calculus of “late-term” is set at 22 weeks). Prosecutors claim that Tiller had a financial relationship with the doctor who provided a second opinion. These bogus charges are being used to railroad a courageous doctor who puts medical science and concern for his patients above his own well-being. The labor movement and all defenders of women’s rights must stand in defense of Dr. Tiller and demand: Stop the witchhunt against George Tiller! Drop the charges!
The attack on Dr. Tiller is part of a drive, by legal and extralegal means, to intimidate abortion providers and ultimately do away with women’s right to abortion. According to papers filed by Tiller’s lawyers, the district attorney obtained under false pretenses a court order directing a Wichita hotel to turn over registration records containing patients’ names. Under the pretext of investigating “child rape,” these records were then matched with medical records that Tiller was required to submit to the state, in order to discover the names of Tiller’s patients. D.A. Phill Kline, who launched the legal crusade against Tiller, was so frenzied in his campaign against abortion clinics that the state Supreme Court in December chastised him for showing “little, if any, respect” for “the rule of law” (Topeka Capital-Journal, 6 December 2008).
Nevertheless, on February 25 the judge in the criminal case against Tiller denied a defense motion to throw out prosecution evidence and refused to dismiss the case. Noting that the charges against Tiller had been filed by Kline’s successor as attorney general, a “pro-choice” Democrat, the judge ludicrously concluded that Kline’s actions “could not have tainted the investigation and prosecution of this case” (AP, 25 February).
The law being used to go after Tiller is just one of a slew of measures which have made abortion virtually inaccessible to a large number of women in this country. This is especially true for the young, working-class and poor, who already have limited access to decent health care, childcare, affordable housing or even enough food to feed their families. Today, 36 states prohibit abortions after a specified point in pregnancy. Fully 34 states require one or both parents of young women under 18 to be notified and/or consent to an abortion. And 87 percent of U.S. counties—97 percent in nonmetropolitan areas—do not have an abortion provider.
Abortion is a politically explosive issue because it raises the question of the equality of women. This simple medical procedure provides women with some control over whether or not to have children. For this reason it is viewed as a threat to the institution of the family, which is a crucial prop for the system of capitalist exploitation. In order for safe and legal abortion to become a reality for working-class, minority and immigrant women, we call for free abortion on demand as part of free quality health care for all.
The increasing curtailment of the right to abortion reflects the policies of both the Democratic and Republican parties. As we wrote in “Drop the Charges Against Dr. George Tiller!” (WV No. 924, 7 November 2008):
“The reactionary demagogy of the Republicans is longstanding and obvious enough. But the fact is that there has been little ‘choice’ for poor women since Democrat Jimmy Carter (who now has become an international ‘human rights’ icon) signed into law in 1977 the Hyde Amendment eliminating Medicaid coverage for abortions. During Democrat Clinton’s eight years in office, welfare for mothers was axed, safe access to abortion was effectively gutted across much of the country, as the number of abortion providers plummeted 14 percent between 1992 and 1996, and a huge number of restrictive laws were passed.”
President Barack Obama provoked a hysterical uproar among anti-abortion bigots when he nominated as Health and Human Services Secretary Kansas governor Kathleen Sebelius, a “pro-choice” Democrat who sponsored an April 2007 event at the governor’s residence with Tiller and his clinic’s staff. Yet during the election campaign, Obama told the Christian magazine Relevant that he opposed mental health exceptions for “late-term” abortion bans because “I don’t think that ‘mental distress’ qualifies as the health of the mother” (AP, 4 July 2008). In office, Obama stripped from his economic stimulus package a proposal to allow states to expand Medicaid coverage of contraception and other family planning services. Obama’s proposed 2010 budget has been hailed by liberals for setting aside $634 billion for health care, but the reality is that about half that sum would come from spending cuts in programs such as Medicare and Medicaid.
The attacks on abortion rights are part of a campaign of social reaction aimed at regimenting the entire population—not just women, but black people, immigrants, gays and the working class as a whole. While the anti-abortion bigots call themselves “pro-life,” they enthusiastically support the racist death penalty. The U.S. has one of the highest rates of infant mortality in the industrialized world.
The fight for abortion rights, decent living conditions and free quality health care mandates that we build a revolutionary workers party. The working class has the social power necessary to mobilize in defense of not only women, but all the oppressed. But to exercise that power it is necessary to wage a political struggle against the labor bureaucracy that keeps working people tied to the Democratic Party. The elimination of the right to abortion would redound against all working people. As we have often underlined, democratic rights either go forward together or fall back separately. The working class is uniquely situated to bring capitalist rule to an end. For women’s liberation through socialist revolution!
*Roosevelt Sykes Is In The House- The "Honey Dripper" Plays His Boogie-Woogie Piano
Click On Title To Link To YouTube's Clip Of Roosevelt Sykes doing "Gulfport Boogie"
DVD REVIEW
Roosevelt Sykes and Big Bill Broonzy, Roosevelt Sykes and Big Bill Broonzy, Yazoo Productions, 200
The last time that the name Roosevelt Sykes was mentioned in this space was to highlight his boogie-woogie piano performances in a country blues compilation entitled “Rural Blues’, Volume 3. There I mentioned the following- “However, the ‘king of the hill’ on this one is Roosevelt Sykes’s piano work and vocals on “Hush Oh Hush” and “I’m Tired”. Roosevelt Sykes is one of those guys you keep hearing about if you listen to enough blues. Now I know why. Needless to say you will be seeing a separate individual review of his work in this space later.” And here it is.
In this documentary film you get to see Roosevelt in person with old soft hat on his head (I think that’s what they call that kind of hat. Being a child of the hatless Kennedy era I am not up on the sartorial distinctions on this question.), cigar in his mouth, keeping time with his foot and stretching his fingers all across the keyboard just like the way that you would think that the old time boogie-woogie guys would do it if you had to describe what they were up to in words. The smoked-filled 1950’s jazz club atmosphere of the film gives just the right feel to Sykes’ work. Outstanding here is his version of “The Nighttime Is The Right Time”.
I should note that the reason I got this film was to get a look at Roosevelt. As an added treat there is footage of Big Bill Broonzy doing a separate nightclub act in the same kind of atmosphere as that of the Sykes segment. And maybe just a little bit more provocative with a white hipster ‘dame’ in the picture. Dangerous stuff. Moreover, there are added segments of Big Bill wailing his acoustic guitar in practice that, I believe, came from one of Stefan Grossman’s “Legends of The Country Blues” volumes. Nice.
“Night Time Is The Right Time”
You know the night time, darling
(night and day)
Is the right time
(night and day)
To be
(night and day)
With the one you love, now
(night and day)
Say now oh baby
(night and day)
When I come home baby, now
(night and day)
I wanna be with the one I love, now
(night and day)
You know what I'm thinking of
(night and day)
I know the night time
(night and day, oh)
Whoa, is the right time
(night and day, oh)
To be with the one you love, now
(night and day)
I said to be with the one you love
(night and day)
You know my mother, now
(night and day)
Had to die, now
(night and day)
Umm, and my father
(night and day)
Well he broke down and cry
(night and day)
Whoah! whoa baby
(night and day)
When I come home baby now
(night and day)
I want you to hold my hand
(night and day)
Yeah, tight as you can
(night and day)
I know the night time
(night and day, oh)
Whoah is the right time
(night and day, oh)
To be with the one you love
(night and day)
You know what I'm thinking of
(night and day)
Whoah! sing your song, Margie
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Oh, Baby
(night and day)
Do I love you?
(night and day)
No one above you
(night and day)
Hold me tight
(night and day)
And make everything all right
(night and day)
Because the night time
(night and day)
Oh, is the right time
(night and day)
To be with the one you love now
(night and day)
Oh yeah
(night and day)
Tease me
(night and day)
Squeeze me
(night and day)
Leave me
(night and day)
Ah, don't leave me
(night and day)
Lawdy baby
(night and day)
Take my hand, now
(night and day)
I don't need
(night and day)
No other man
(night and day)
Because the night time
(night and day)
Ow, is the right time
(night and day)
To be with the one you love
(night and day)
Oh yeah
(night and day)
I said baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Whoah! baby now
(night and day)
Oh come on baby
(night and day)
You know I want you by my side
(night and day)
I want you to keep
(night and day)
Oh keep me satisfied
(night and day)
I know the night time
(night and day)
Everyday is the right time
(night and day)
Yeah to be with the one you love now
(night and day)
Well you know it's all right
Roosevelt Sykes
Ice Cream Freezer lyrics
My baby owns a ice cream freezer
She let's me put my milk in her can
Mercy!
My baby owns a ice cream freezer
She let's me put my milk in her can
Her freezer ain't to be churned
By no other man
Some people crave vanilla or strawberry
But-a black walnut is all I love
Mercy!
Some people crave vanilla or strawberry
But-a black walnut is all I love
When I put my spoon in her freezer
Man, it fits just like a rubber glove
Mercy!
Now, she turns her freezer
So slow an easy
She said, 'Daddy can you hold back
And stick around? ' (I'll try, ha-ha)
As she turn her freezer
So slow an easy
She say, 'Now, daddy can you jus hold back
And stick around? '
I'll say, I b'lieve you spoke jus a little too late
Pretty mama
I gotta let that flavor come runnin' down
'Mercy, mercy, man, yeah'
Ho, yeah!
'Let it roll on a while in the night'
'Ho, til the break of day'
'Ho, til the break of day'
'My, my, my, my'
'Ho while'
She said, 'Now, you done used my freezer
You said, 'Daddy, you look like
You gettin' ready to leave' (quite natural)
My, my
She said, 'Now, you done uses my freezer
'Look like you gettin' ready to leave'
She said, 'But you're still welcome to my can
When you have more cream to freeze'
More cream to freeze.
Roosevelt Sykes
She's Got It lyrics
Worked the gulf port from Memphis, Tennessee
Help me find Mrs. Mercy Dee
I just found a girl, she's got
Just found a girl and she's got
She's got the kind of lovin' I've been lookin' for
Well, she looks so fine
All dressed up in plaid
She start in to makin' love
She goes ravin' mad
I just found a girl an she's got
Just found a girl, she's got
Just found a girl got
The lovin' I've been lookin' for
My, my, my
Whoa (alittle right here)
Let it ride a while (roll another one right here)
Oh yeah
My, my (another one left)
She's no virgin but she's outta sight
She say I can suit her appetite
I just found a girl, she's got a
I just found a girl, and she's got
She's got the kind of lovin' I've been lookin' for
My, my (add a little)
'Let it rock now' (another, another all the way)
'Oh yeah' (another there)
Hurry up, baby
I'm gon' be in here quiet as a mouse
Come on baby, in this house
Cause I just found a girl and
She's got a, I just found that girl
And she's got, she's got
The kind of lovin' I've been lookin' for
My, my, my, my
'Ride now' (right here)
'Roll' (roll it)
'Let it ride a while'
My, my (right here)
'Gonna shake a little while now' (right here a little)
'Ho, yeah' (alright boys, right there)
'Oh, yeah'
My, my (outta here)
Well, I just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got it
Just found a girl and she's got it
Just found a girl
She's got the love I've been lookin' for
Oh, my.
DVD REVIEW
Roosevelt Sykes and Big Bill Broonzy, Roosevelt Sykes and Big Bill Broonzy, Yazoo Productions, 200
The last time that the name Roosevelt Sykes was mentioned in this space was to highlight his boogie-woogie piano performances in a country blues compilation entitled “Rural Blues’, Volume 3. There I mentioned the following- “However, the ‘king of the hill’ on this one is Roosevelt Sykes’s piano work and vocals on “Hush Oh Hush” and “I’m Tired”. Roosevelt Sykes is one of those guys you keep hearing about if you listen to enough blues. Now I know why. Needless to say you will be seeing a separate individual review of his work in this space later.” And here it is.
In this documentary film you get to see Roosevelt in person with old soft hat on his head (I think that’s what they call that kind of hat. Being a child of the hatless Kennedy era I am not up on the sartorial distinctions on this question.), cigar in his mouth, keeping time with his foot and stretching his fingers all across the keyboard just like the way that you would think that the old time boogie-woogie guys would do it if you had to describe what they were up to in words. The smoked-filled 1950’s jazz club atmosphere of the film gives just the right feel to Sykes’ work. Outstanding here is his version of “The Nighttime Is The Right Time”.
I should note that the reason I got this film was to get a look at Roosevelt. As an added treat there is footage of Big Bill Broonzy doing a separate nightclub act in the same kind of atmosphere as that of the Sykes segment. And maybe just a little bit more provocative with a white hipster ‘dame’ in the picture. Dangerous stuff. Moreover, there are added segments of Big Bill wailing his acoustic guitar in practice that, I believe, came from one of Stefan Grossman’s “Legends of The Country Blues” volumes. Nice.
“Night Time Is The Right Time”
You know the night time, darling
(night and day)
Is the right time
(night and day)
To be
(night and day)
With the one you love, now
(night and day)
Say now oh baby
(night and day)
When I come home baby, now
(night and day)
I wanna be with the one I love, now
(night and day)
You know what I'm thinking of
(night and day)
I know the night time
(night and day, oh)
Whoa, is the right time
(night and day, oh)
To be with the one you love, now
(night and day)
I said to be with the one you love
(night and day)
You know my mother, now
(night and day)
Had to die, now
(night and day)
Umm, and my father
(night and day)
Well he broke down and cry
(night and day)
Whoah! whoa baby
(night and day)
When I come home baby now
(night and day)
I want you to hold my hand
(night and day)
Yeah, tight as you can
(night and day)
I know the night time
(night and day, oh)
Whoah is the right time
(night and day, oh)
To be with the one you love
(night and day)
You know what I'm thinking of
(night and day)
Whoah! sing your song, Margie
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Oh, Baby
(night and day)
Do I love you?
(night and day)
No one above you
(night and day)
Hold me tight
(night and day)
And make everything all right
(night and day)
Because the night time
(night and day)
Oh, is the right time
(night and day)
To be with the one you love now
(night and day)
Oh yeah
(night and day)
Tease me
(night and day)
Squeeze me
(night and day)
Leave me
(night and day)
Ah, don't leave me
(night and day)
Lawdy baby
(night and day)
Take my hand, now
(night and day)
I don't need
(night and day)
No other man
(night and day)
Because the night time
(night and day)
Ow, is the right time
(night and day)
To be with the one you love
(night and day)
Oh yeah
(night and day)
I said baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Whoah! baby now
(night and day)
Oh come on baby
(night and day)
You know I want you by my side
(night and day)
I want you to keep
(night and day)
Oh keep me satisfied
(night and day)
I know the night time
(night and day)
Everyday is the right time
(night and day)
Yeah to be with the one you love now
(night and day)
Well you know it's all right
Roosevelt Sykes
Ice Cream Freezer lyrics
My baby owns a ice cream freezer
She let's me put my milk in her can
Mercy!
My baby owns a ice cream freezer
She let's me put my milk in her can
Her freezer ain't to be churned
By no other man
Some people crave vanilla or strawberry
But-a black walnut is all I love
Mercy!
Some people crave vanilla or strawberry
But-a black walnut is all I love
When I put my spoon in her freezer
Man, it fits just like a rubber glove
Mercy!
Now, she turns her freezer
So slow an easy
She said, 'Daddy can you hold back
And stick around? ' (I'll try, ha-ha)
As she turn her freezer
So slow an easy
She say, 'Now, daddy can you jus hold back
And stick around? '
I'll say, I b'lieve you spoke jus a little too late
Pretty mama
I gotta let that flavor come runnin' down
'Mercy, mercy, man, yeah'
Ho, yeah!
'Let it roll on a while in the night'
'Ho, til the break of day'
'Ho, til the break of day'
'My, my, my, my'
'Ho while'
She said, 'Now, you done used my freezer
You said, 'Daddy, you look like
You gettin' ready to leave' (quite natural)
My, my
She said, 'Now, you done uses my freezer
'Look like you gettin' ready to leave'
She said, 'But you're still welcome to my can
When you have more cream to freeze'
More cream to freeze.
Roosevelt Sykes
She's Got It lyrics
Worked the gulf port from Memphis, Tennessee
Help me find Mrs. Mercy Dee
I just found a girl, she's got
Just found a girl and she's got
She's got the kind of lovin' I've been lookin' for
Well, she looks so fine
All dressed up in plaid
She start in to makin' love
She goes ravin' mad
I just found a girl an she's got
Just found a girl, she's got
Just found a girl got
The lovin' I've been lookin' for
My, my, my
Whoa (alittle right here)
Let it ride a while (roll another one right here)
Oh yeah
My, my (another one left)
She's no virgin but she's outta sight
She say I can suit her appetite
I just found a girl, she's got a
I just found a girl, and she's got
She's got the kind of lovin' I've been lookin' for
My, my (add a little)
'Let it rock now' (another, another all the way)
'Oh yeah' (another there)
Hurry up, baby
I'm gon' be in here quiet as a mouse
Come on baby, in this house
Cause I just found a girl and
She's got a, I just found that girl
And she's got, she's got
The kind of lovin' I've been lookin' for
My, my, my, my
'Ride now' (right here)
'Roll' (roll it)
'Let it ride a while'
My, my (right here)
'Gonna shake a little while now' (right here a little)
'Ho, yeah' (alright boys, right there)
'Oh, yeah'
My, my (outta here)
Well, I just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got it
Just found a girl and she's got it
Just found a girl
She's got the love I've been lookin' for
Oh, my.
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