Happy Birthday To You-Once Again, The Voice of The Generation Of '68?- Bob Dylan Unplugged

Happy Birthday To You-

By Lester Lannon

I am devoted to a local folk station WUMB which is run out of the campus of U/Mass-Boston over near Boston Harbor. At one time this station was an independent one based in Cambridge but went under when their significant demographic base deserted or just passed on once the remnant of the folk minute really did sink below the horizon.

So much for radio folk history except to say that the DJs on many of the programs go out of their ways to commemorate or celebrate the birthdays of many folk, rock, blues and related genre artists. So many and so often that I have had a hard time keeping up with noting those occurrences in this space which after all is dedicated to such happening along the historical continuum.

To “solve” this problem I have decided to send birthday to that grouping of musicians on an arbitrary basis as I come across their names in other contents or as someone here has written about them and we have them in the archives. This may not be the best way to acknowledge them, but it does do so in a respectful manner.    

Click on title to link to YouTube's film clip of Bob Dylan performing "Blowin' In The Wind" in 1963.


CD REVIEW


The Times They Are A-Changing, Bob Dylan, Columbia, 1963


In this selection we have some outright folk classics that will endure for the ages like those of his early hero Woody Guthrie have endured. "The Times They are A-Changing" still sounds good today although the generational tensions and the alienation from authorities highlighted there is markedly less now than than in those days-not a good thing, by the way. "The Ballad of Hollis Brown" is a powerful tale out of John Steinbeck's "Grapes of Wrath" about the plight of an up against the wall family farmer out on the then hardscrabble prairies (and it has only gotten worst since and Dylan made one of his periodic 'comebacks' doing this song at a Farm Aid concert in the 1980's).

"With God On Our Side" like "Masters of War" is a powerful anti-war song although some of the tensions of the Cold War period in which it was written have gone (only to replaced today by the fears generated by the `war on terrorism'). "Only A Pawn In Their Game" was a powerful expression of rage after the murder of civil rights worker Medgar Evers. The "Hattie Carroll" song shows Dylan's range by dealing with injustice from a different perspective (and a different class) than "Only A Pawn In Their Game". But with no let up in highlighting blatant discrimination and animus in either case. Finally, in reviewing these early Dylan albums (and some of the later ones, as well) I have noticed that they are not complete without at least one song about lost love, longing or perfidy. Here, there is no exception to that rule with the haunting, pleading voice of "Boots of Spanish Leather".

posted by markin at 10:49 AM

7 Comments:
Kim said...
The problem is that Dylan himself clearly states that Masters of War is not an anti-war song:

Q: Give me an example of a song that has been widely
misinterpreted.

A: Take "Masters Of War." Every time I sing it, someone writes
that it's an antiwar song. But there's no antiwar sentiment in
that song. I'm not a pacifist. I don't think I've ever been one.
If you look closely at the song, it's about what Eisenhower was
saying about the dangers of the military-industrial complex in
this country. I believe strongly in everyone's right to defend
themselves by every means necessary... you are affected as a
writer and a person by the culture and spirit of the times. I was
tuned into it then, I'm tuned into it now. None of us are immune
to the spirit of the age. It affects us whether we know it or
whether we like it or not.

from http://expectingrain.com/dok/int/2003tour.html

And I think to say that "With God on Our Side" is an anti-war song is reducing the song to something topical. The idea that it is simply an anti-war song really ignores the last verse in the piece regarding Judas Iscariot. Judas Iscariot fought in no war, so then, if this is an anti-war song why is he even in the picture?
I believe it is far less an anti-war song and far more a song about asking the question: what does it mean to believe in God? To me, it's more about asking the question: shouldn't we be on God's side and not He on ours?

THIS question then throws into the spotlight the idea that God is on the side of America and that she is always right. Dylan, it seems to me, is not quite buying into that. None of us should. But he's not an either/or kind of a guy. He's not an "America is all bad or all good" kind. Hattie Carroll bites into two groups, and both come out severly wounded: the racists and their racist application of "justice" AND the liberals who decry injustice but do nothing about it.

7:10 PM
markin said...
When I used the term ‘anti-war’ in relationship to Bob Dylan’s song Masters of War I meant that in a generic sense rather than giving it some specific political or pacific meaning. According to the Dylan quote that Kim cited in her comment there is a tendency, including by Dylan, to equate the terms ‘anti-war’ and ‘pacifist’. I would not give such a narrow meaning to the term ‘anti-war’. In Dylan’s context it is essentially anti-militarism, especially the dramatically American militarism of the time by the Brecht-like phrases that he uses. That concept does not preclude the concept of just wars against the escalation of such militarism. Leftists except probably Quakers, as a rule, subscribe to some form of just war theory. Certainly in my youth the concept of just war meant supporting the struggle of the Vietnamese against the American presence.

One need not go back that far for an example, though. Much closer in time is the current ‘struggle’ by Iraqi forces against the American presence there. Although the situation is definitely murkier than in Vietnam, to the extent that any one is fighting directly against the American presence (as opposed to indiscriminately bombing everything that moves), theirs is an example of just war. Hell, in 2003 the simple act of the Iraqis, with or without Sadaam, defending themselves against the American invasion was an example of a just war. So Kim, you see that ‘anti-war’ is a pretty elastic term and that brother Dylan and I are, after all, not so far away in our idea that everyone has a right to defend themselves. It is a question of whose right to such defense is supported at any given point that is at issue.

After the above rather abstract discussion, let us cut to the chase about whether Masters of War is an ‘anti-war’ song. During the Vietnam War I was involved with a group of active duty anti-Vietnam War G.I.s (Army soldiers, in this case) who faced court-martial for disobeying lawful orders. Those orders being refused were orders to go to Vietnam, a rather serious offense for a soldier. As part of their defense at the court-martial a few of them, when they got on the stand to make statements, started reciting Master of War in order to have it placed in the transcript of trial. The colonels and majors who made up the court-martial board tried to, red-faced with anger, stop them. Those officers, at least, knew what ‘anti-war’ lyrics were when they heard them. Enough said, I think.

11:01 AM
markin said...
The question of whether “With God On Our Side” is an anti-war song is a little more problematic than that of “Masters of War”. I would only comment that one should not get hung up on the ‘god’ part as I consider this more a common political convention of the time in order to get a hearing for your song (a not unimportant consideration, by the way) that a universalistic appeal to for America to get “on the right side of god”. In the 1960’s, an age wedded to existential concepts, references to god could be as directed to the void as they could to some religious supreme being. Later, as Dylan entertained more religious feelings in his life and in his work that argument might make more sense but certainly not in the early 1960’s. If one did not have a sense of irony then, one was ‘lost’. That ironic sense is why we listened to Dylan and others. They expressed in song things about the world that disturbed us at the time.

What really interests me today about Dylan’s lyrics on this song is how passive they are in relationship to the task that he has presented. In those days, the threat of nuclear annihilation was palpable as things like the Cold War –driven nuclear arms race and the Cuban Missile Crisis made plain. Dylan was apparently entirely willing to let some ultimately ‘just’ god pull the chestnuts out of the fire for us. Alternately, in those days a number of us preferred to take to the streets to organize the fight for nuclear disarmament. “God” could come along if he/she wanted to-no questions asked. Hell, we were so desperate for recruits that Judas Iscariot was welcome if he wanted to turn over a new leaf.

11:12 AM
markin said...
Here are the lyrics to Masters of War and you can make your own judgment about whether it is an anti-war song or not. I have given my opinion above. Markin

Masters Of War

Come you masters of war
You that build all the guns
You that build the death planes
You that build the big bombs
You that hide behind walls
You that hide behind desks
I just want you to know
I can see through your masks

You that never done nothin'
But build to destroy
You play with my world
Like it's your little toy
You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly

Like Judas of old
You lie and deceive
A world war can be won
You want me to believe
But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain

You fasten the triggers
For the others to fire
Then you set back and watch
When the death count gets higher
You hide in your mansion
As young people's blood
Flows out of their bodies
And is buried in the mud

You've thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world
For threatening my baby
Unborn and unnamed
You ain't worth the blood
That runs in your veins

How much do I know
To talk out of turn
You might say that I'm young
You might say I'm unlearned
But there's one thing I know
Though I'm younger than you
Even Jesus would never
Forgive what you do

Let me ask you one question
Is your money that good
Will it buy you forgiveness
Do you think that it could
I think you will find
When your death takes its toll
All the money you made
Will never buy back your soul

And I hope that you die
And your death'll come soon
I will follow your casket
In the pale afternoon
And I'll watch while you're lowered
Down to your deathbed
And I'll stand o'er your grave
'Til I'm sure that you're dead

Copyright ©1963; renewed 1991 Special Rider Music

7:31 AM
markin said...
A Voice Of His Generation

Nod To Bob: An Artists’ Tribute To Bob Dylan on his Sixtieth Birthday, various artists, Red House Records, 2001

A musical performer knows that he or she has arrived when they have accumulated enough laurels and created enough songs to be worthy, at least in some record producer eyes, to warrant a tribune album. When they are also alive to accept the accolades as two out of the four of the artists under review are, which is only proper, that is all to the good (this is part of a larger review of tributes to Greg Brown, Bob Dylan, Mississippi John Hurt and Hank Williams). That said, not all tribute albums are created equally. Some are full of star-studded covers, others with lesser lights who have been influenced by the artist that they are paying tribute to. As a general proposition though I find it a fairly rare occurrence, as I noted in a review of the "Timeless" tribute album to Hank Williams, that the cover artist outdoes the work of the original recording artist. With that point in mind I will give my "skinny" on the cover artists here.


It seems hard to believe now both as to the performer as well as to what was being attempted that anyone would take umbrage at a performer using an electric guitar to tell a folk story (or any story for that matter). It is not necessary to go into all the details of what or what did not happen with Pete Seeger at the Newport Folk Festival in 1965 to know that one should be glad, glad as hell, that Bob Dylan continued to listen to his own drummer and carry on a career based on electronic music.

Others have, endlessly, gone on about Bob Dylan’s role as the voice of his generation (and mine), his lyrics and what they do or do not mean and his place in the rock or folk pantheons, or both. I just want to comment on a few songs and cover artists on this 60th birthday album. Overall this Red House Records (a well-known alternate folk tradition recording outfit) production is a true folkies’ tribute to old Bob where the artists while well-known in the folk field probably as not as familiar to the general listener. Nevertheless several covers stick out: John Gorka’s rendition of the longing that pervades “Girl Of The North Country" is fine, as is the desperate longing of Martin Simpson’s “Boots Of Spanish Leather”. Greg Brown does a rousing version of “Pledging My Time” and the long time folk singer Rosalie Sorrels does a beautifully measured version of “Tomorrow Is A Long Time”. The finale is appropriately done by old time folkie, and early day Dylan companion on the folk scene Ramblin’ Jack Elliot with “Don’t Think Twice, It’s All Right” Solid work here. Kudos.

3:32 PM
markin said...
In the interest of completeness concerning my earleir evaluation of the Dylan songs "Masters Of War" and "With Good On Our Side" on his early albums here are the lyrics to the latter song.

Interestingly, except for changing the Cold War theme against the Russians then to the so-called War On Terror now against seemingly every Moslem that any American presidential administration can get it hands on (Bush in Iraq and Afgahnistan) and Obama (same and, maybe, Pakistan) these lyrics "speak" to me today. The word they speak is hubris, American hubris, that the rest of the world has had reason to fear, and rightly so. What do they "speak" to you?

"With God On Our Side"

Oh my name it is nothin'
My age it means less
The country I come from
Is called the Midwest
I's taught and brought up there
The laws to abide
And the land that I live in
Has God on its side.

Oh the history books tell it
They tell it so well
The cavalries charged
The Indians fell
The cavalries charged
The Indians died
Oh the country was young
With God on its side.

The Spanish-American
War had its day
And the Civil War too
Was soon laid away
And the names of the heroes
I's made to memorize
With guns on their hands
And God on their side.

The First World War, boys
It came and it went
The reason for fighting
I never did get
But I learned to accept it
Accept it with pride
For you don't count the dead
When God's on your side.

When the Second World War
Came to an end
We forgave the Germans
And then we were friends
Though they murdered six million
In the ovens they fried
The Germans now too
Have God on their side.

I've learned to hate Russians
All through my whole life
If another war comes
It's them we must fight
To hate them and fear them
To run and to hide
And accept it all bravely
With God on my side.

But now we got weapons
Of the chemical dust
If fire them we're forced to
Then fire them we must
One push of the button
And a shot the world wide
And you never ask questions
When God's on your side.

In a many dark hour
I've been thinkin' about this
That Jesus Christ
Was betrayed by a kiss
But I can't think for you
You'll have to decide
Whether Judas Iscariot
Had God on his side.

So now as I'm leavin'
I'm weary as Hell
The confusion I'm feelin'
Ain't no tongue can tell
The words fill my head
And fall to the floor
If God's on our side
He'll stop the next war.

11:32 AM
markin said...
Guest Commentary

I have mentioned in my review of Martin Scorsese's "No Direction Home; The Legacy Of Bob Dylan" (see archives) that Dylan's protest/social commentary lyrics dovetailed with my, and others of my generation's, struggle to make sense of world at war (cold or otherwise)and filled with injustices and constricting values. Here are the lyrics of three songs-"Blowin' In The Wind", "The Times They Are A-Changin'" and "Like A Rolling Stone" that can serve as examples of why we responded to his messages the way we did. Kudos Bob.


The Times They Are A-Changin'

Come gather 'round people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You'll be drenched to the bone.
If your time to you
Is worth savin'
Then you better start swimmin'
Or you'll sink like a stone
For the times they are a-changin'.

Come writers and critics
Who prophesize with your pen
And keep your eyes wide
The chance won't come again
And don't speak too soon
For the wheel's still in spin
And there's no tellin' who
That it's namin'.
For the loser now
Will be later to win
For the times they are a-changin'.

Come senators, congressmen
Please heed the call
Don't stand in the doorway
Don't block up the hall
For he that gets hurt
Will be he who has stalled
There's a battle outside
And it is ragin'.
It'll soon shake your windows
And rattle your walls
For the times they are a-changin'.

Come mothers and fathers
Throughout the land
And don't criticize
What you can't understand
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin'.
Please get out of the new one
If you can't lend your hand
For the times they are a-changin'.

The line it is drawn
The curse it is cast
The slow one now
Will later be fast
As the present now
Will later be past
The order is
Rapidly fadin'.
And the first one now
Will later be last
For the times they are a-changin'.

Copyright ©1963; renewed 1991 Special Rider Music

Blowin' In The Wind

How many roads must a man walk down
Before you call him a man?
Yes, 'n' how many seas must a white dove sail
Before she sleeps in the sand?
Yes, 'n' how many times must the cannon balls fly
Before they're forever banned?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.

How many years can a mountain exist
Before it's washed to the sea?
Yes, 'n' how many years can some people exist
Before they're allowed to be free?
Yes, 'n' how many times can a man turn his head,
Pretending he just doesn't see?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.

How many times must a man look up
Before he can see the sky?
Yes, 'n' how many ears must one man have
Before he can hear people cry?
Yes, 'n' how many deaths will it take till he knows
That too many people have died?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind.

Copyright ©1962; renewed 1990 Special Rider Music


Like A Rolling Stone

Once upon a time you dressed so fine
You threw the bums a dime in your prime, didn't you?
People'd call, say, "Beware doll, you're bound to fall"
You thought they were all kiddin' you
You used to laugh about
Everybody that was hangin' out
Now you don't talk so loud
Now you don't seem so proud
About having to be scrounging for your next meal.

How does it feel
How does it feel
To be without a home
Like a complete unknown
Like a rolling stone?

You've gone to the finest school all right, Miss Lonely
But you know you only used to get juiced in it
And nobody has ever taught you how to live on the street
And now you find out you're gonna have to get used to it
You said you'd never compromise
With the mystery tramp, but now you realize
He's not selling any alibis
As you stare into the vacuum of his eyes
And ask him do you want to make a deal?

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

You never turned around to see the frowns on the jugglers and the clowns
When they all come down and did tricks for you
You never understood that it ain't no good
You shouldn't let other people get your kicks for you
You used to ride on the chrome horse with your diplomat
Who carried on his shoulder a Siamese cat
Ain't it hard when you discover that
He really wasn't where it's at
After he took from you everything he could steal.

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

Princess on the steeple and all the pretty people
They're drinkin', thinkin' that they got it made
Exchanging all kinds of precious gifts and things
But you'd better lift your diamond ring, you'd better pawn it babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him now, he calls you, you can't refuse
When you got nothing, you got nothing to lose
You're invisible now, you got no secrets to conceal.

How does it feel
How does it feel
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?

Copyright ©1965; renewed 1993 Special Rider Music

From The Pen Of Joshua Lawrence Breslin- Kenneth Edward Jackson’s “Masters Of War”

v

Click on the headline to link to a YouTube film clip of Pearl Jam performing Bob Dylan's classic anti-war song, Masters of War.

Masters Of War-Bob Dylan

Come you masters of war
You that build all the guns
You that build the death planes
You that build the big bombs
You that hide behind walls
You that hide behind desks
I just want you to know
I can see through your masks

You that never done nothin’
But build to destroy
You play with my world
Like it’s your little toy
You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly

Like Judas of old
You lie and deceive
A world war can be won
You want me to believe
But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain

You fasten the triggers
For the others to fire
Then you set back and watch
When the death count gets higher
You hide in your mansion
As young people’s blood
Flows out of their bodies
And is buried in the mud

You’ve thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world
For threatening my baby
Unborn and unnamed
You ain’t worth the blood
That runs in your veins

How much do I know
To talk out of turn
You might say that I’m young
You might say I’m unlearned
But there’s one thing I know
Though I’m younger than you
Even Jesus would never
Forgive what you do

Let me ask you one question
Is your money that good
Will it buy you forgiveness
Do you think that it could
I think you will find
When your death takes its toll
All the money you made
Will never buy back your soul

And I hope that you die
And your death’ll come soon
I will follow your casket
In the pale afternoon
And I’ll watch while you’re lowered
Down to your deathbed
And I’ll stand o’er your grave
’Til I’m sure that you’re dead

Copyright © 1963 by Warner Bros. Inc.; renewed 1991 by Special Rider Music

Joshua Lawrence Breslin comment:

As I mentioned in an earlier entry in this space, courtesy of my old yellow brick road magical mystery tour merry prankster fellow traveler, Peter Paul Markin, who seems to think I still have a few things to say about this wicked old world, recently, in grabbing an old Bruce Springsteen CD compilation from 1998 to download into my iPod I came across a song that stopped me in my tracks, Brothers Under The Bridge. I had not listened to or thought about that song for a long time but it brought back many memories from the late 1970s when I did a series of articles for the now defunct East Bay Eye (California, naturally) on the fate of some troubled Vietnam veterans who, for one reason or another, could not come to grips with “going back to the real world” and took, like those a great depression generation or two before them, to the “jungle”-the hobo, bum, tramps camps located along the abandoned railroad sidings, the ravines and crevices, and under the bridges of California, mainly down in Los Angeles, and created their own “society.”

Not every guy I interviewed, came across, swapped lies with, or just snatched some midnight phrase out of the air from was from hunger, most were, yes, in one way or another but some, and the one I am recalling in this sketch had a nuanced story that brought him down to the ravines. The story that accompanies the song to this little piece, Bob Dylan’s Masters of War, is written under that same sign as the earlier pieces.

I should note again since these sketches are done on an ad hoc basis, that the genesis of this story follows that of the “Brothers Under The Bridge” previously posted (and now is developing into a series).The editor of the East Bay Eye, Owen Anderson, gave me that long ago assignment after I had done a smaller series for the paper on the treatment, the poor treatment, of Vietnam veterans by the Veterans Administration in San Francisco and in the course of that series had found out about this band of brothers roaming the countryside trying to do the best they could, but mainly trying to keep themselves in one piece. My qualifications for the assignment other than empathy, since I had not been in the military during the Vietnam War period, were based simply on the fact that back East I had been involved, along with several other radicals, in running an anti-war GI coffeehouse near Fort Devens in Massachusetts and down near Fort Dix in New Jersey. During that period I had run into many soldiers of my 1960s generation who had clued me on the psychic cost of the war so I had a running start.

After making connections with some Vietnam Veterans Against The War (VVAW) guys down in L.A. who knew where to point me I was on my way. I gathered many stories, published some of them in the Eye, and put the rest in my helter-skelter files. A couple of weeks ago, after having no success in retrieving the old Eye archives, I went up into my attic and rummaged through what was left of those early files. I could find no newsprint articles that I had written but I did find a batch of notes, specifically notes from stories that I didn’t file because the Eye went under before I could round them into shape.

The format of those long ago stories was that I would basically let the guy I was talking to give his spiel, spill what he wanted the world to heard, and I would write it up without too much editing (mainly for foul language). I have reconstructed this story here as best I can although at this far remove it is hard to get the feel of the voice and how things were said. This is Kenneth Edward Jackson’s short, poignant, and hell for once, half-hopeful story, a soldier born under the thumb of the masters of war:


Hell, you know I didn’t have to go to Vietnam, no way. Ya, my parents, when I got drafted, put some pressure on me to “do my duty” like a lot of the neighborhood guys in my half-Irish, half- French- Canadian up the old New Hampshire mill town of Nashua. Maybe, you’ve heard of that town since you said you were from up there in Olde Saco, Maine. Hell, they were the same kind of towns. Graduate from high school, go to work in the mills if they were still open, go in the service if you liked, or got drafted, come home, get married, have kids and let the I Ching cycle run its course over and over again. You laughed so you know what I mean. Ya, that kind of town, and tight so if you went off the rails, well it might not be in the Nashua Telegraph but it sure as hell got on the Emma Jackson grapevine fast enough, except if it was about her three boys. Then the “shames” silence of the grave. Nothing, not a peep, no dirty linen aired in public.

See though I was a little different. I went to college at the University Of New Hampshire over in Durham, studied political science, and figured to become either a lawyer or teacher, maybe both if things worked out. So Emma and Hank (my father) were proud as peacocks when I graduated from there in 1967 and then announced I was going to Boston University to pick up a Master’s degree in Education and be on my way. That’s where I met Bettina, my ex-wife, who was studying for her Master’s in Government at the time but was mainly holding up a big share of the left-wing anti-war universe that was brewing at that time, especially as all hell broke loose in Vietnam when in early 1968 the North Vietnamese and their southern supporters ran rampaging through the south. That’s around the time that LBJ (Lyndon Baines Johnson, President of the United States at the time) got cold feet and decided to call it quits and retire to some podunk Texas place.

Bettina, a girl from New York City, and not just New York City but Manhattan and who went to Hunter College High School there before embarking on her radical career , first at the University of Wisconsin and then at B.U. was the one who got me “hip,” or maybe better “half-hip” to the murderous American foreign policy in Vietnam. Remind me to tell you how we met and stuff like that sometime but for now let’s just say she was so smart, so different, did I tell you she was Jewish, so full of life and dreams, big dreams about a better world that I went head over heels for her and her dreams carried me (and us) along for a while. [Brother Jackson did tell me later the funny details of their relationship but, as I always used to say closing many of my columns, that is a story for another day-JLB.]

Bettina was strictly SDS, big-time SDS (Students for a Democratic Society, 1960s version. Look it up on Wikipedia for more background-JLB), and not just some pacifist objector to the war, she really thought she was helping to build “the second front” in aid of the Vietnamese here in America, or as it was put at the time Amerikkka, and I went along with her, or half-way along really in her various actions, marches, and rallies. Later, 1969 later when SDS blew up into three separate and warring factions she went with the Revolutionary Youth Movement (RYM) the group most committed to that idea of the second front. But that is all inside stuff and not really what was important in 1968. The summer of 1968 when I got, via my parents, notice that my friends and neighbors at the Nashua Draft Board had called my name. And me with no excuses, no draft excuses, none.

So that is when things got dicey, my parents pulling me to do my family, my Nashua, my New Hampshire, my United States, hell, my mother pulled out even my Catholic duty (my father, a deeply patriotic man, in the good sense, and a proud Marine who saw plenty of action in the Pacific in World War II, but kept quiet about it, just rolled his eyes on that one). Bettina, and her friends, and really, some of them my friends too, were pulling me to run away to Canada (she would follow), refuse to be inducted (and thus subject to arrest and jail time), or head underground (obviously here with connections that may have rivaled, may have I say, my mother’s neighborhood grapevine). In the end though I let myself be drafted and was inducted in the fall of 1968.

Bettina was mad, mad as hell, but not as much for the political embarrassment as you would think, but because she, well, as she put it, the first time she said it “had grown very fond of me,” and more than that she had her own self-worth needs, so we were secretly married (actually not so much secretly as privately, very privately, her parents, proudly Jewish and heavily committed Zionists and my parents, rosary-heavy Catholics who were a little slow, Vatican Council II slow, on the news that Jews were not Christ-killers and the like would not have approved ) just before I was inducted.

I will spare the Vietnam details, except to say I did my thirteen month tour (including a month for R&R, rest and recreation) from early 1969 to early 1970, a period when the talk of draw-down of the American troop commitment was beginning to echo through the camps and bases in Vietnam and guys were starting to take no chances, no overt chances of getting KIA (killed in action) or anything like that. I, actually saw very little fighting since as a college grad, and lucky, and they needed someone, I was a company clerk and stayed mainly at the base camp. But every night I fired many rounds any time I heard a twig break on guard duty or in perimeter defense. And more than a few times we had bullets and other ammo flying into our position. So no I was no hero, didn’t want to be, I just wanted to get back home to Bettina in one piece. And I did.

But something snapped in Vietnam, sometime in having had to confront my own demons, my own deep-seeded fears and coming out not too badly, and to confront through my own sights the way my government was savagely conducting itself in Vietnam (and later in other parts of the world) that made me snap when I came back to the “real world.” I had only a few months left and so I was assigned to a holding company down at Fort Dix in New Jersey. And all I had to do was stay quiet, do some light silly busy work paper work duty b.s., have a few beers at the PX and watch a few movies. Nada.

I guess Bettina really did win out in the end, the stuff she said about war, about American imperialism being some two-headed vulture, about class struggle and guys like me being cannon fodder was kind of abstract when she said it at some meeting at B.U., or shouted herself silly a t some rally on Boston Common or got herself arrested a few times at draft boards (ironic, huh).But after ‘Nam I knew she was on to something. Better, I was on to something. So, without telling Bettina, my parents, or anybody, the day I was to report to that holding company at Fort Dix I did. But at that morning formation, I can still see the tears rolling down my face, I reported in civilian clothes with a big peace button on my shirts and yelling for all to hear-“Bring The Troops Home.” I was tackled by a couple of soldiers, lifer-sergeants I found out later, handcuffed and brought to the Fort Dix stockade.

A couple of days later my name was called to go the visitors’ room and there to my surprise were my parents, my mother crying, my father stoic as usual but not mad, and Bettina. The Army had contacted my parents after my arrest to inform them of my situation. And Bettina, in that strange underground grapevine magic that always amazed me, found out in that way, had called them in Nashua to say who she was (no, not about us being married, just friends, they never did know). They had offered to bring her down to Fort Dix and they had come down together. What a day though. My parents, for one of very few times that I can remember said, while they didn’t agree with me fully, that they were proud and Nashua be damned. They were raising money on their home to get me the best civilian lawyer they could. And they did.

Of course for Bettina a soldier- resister case was just the kind of activity that was gaining currency in the anti-war movement in 1969 and 1970 and she was crazy to raise heaven and hell for my defense(including money, and money from her parents too although they also did not know we were married, and maybe they still don’t). She moved to hard town Trenton not too far from Fort Dix to be closer to the action as my court-martial was set. She put together several vigils, marches, rallies and fundraisers (including one where my father, a father defending his own, spoke and made the crowd weep in his halting New England stoic way).

The court-martial, a general court martial so I faced some serious time, was held in early 1970. As any court proceedings will do, military or civilian, they ran their typical course, which I don’t want to go into except to say that I was convicted of the several charges brought against me (basically, as I told the guys at VVAW later, for being ugly in the military without a uniform-while on duty) , sentenced to a year of hard labor at Fort Leavenworth out in Kansas, reduced in rank to private ( I was a specialist, E-4), forfeited most of my pay, and was to be given an undesirable discharge (not dishonorable).

I guess I do want to say one last thing about the trial thought. As any defendant has the right to do at trial, he or she can speak in their own defense. I did so. What I did, turning my back to the court-martial judges and facing the audience, including that day my parents and Bettina was recite from memory Bob Dylan’s Masters of War. I did so in my best stoic (thanks, dad) Nashua, New Hampshire voice. The crowd either heckled me or cheered (before being ordered to keep quiet) but I had my say. So when you write this story put that part in. Okay? [See lyrics above-JLB]

So how come I am down here in some Los Angeles hobo jungle just waiting around to be waiting around. Well I did my time, all of it except good time, and went back home, first to Nashua but I couldn’t really stay there ( a constant “sore” in the community and worry to my parents) and then to Boston where I fit in better. Bettina? Well, my last letter from her in Leavenworth was that she was getting ready to go underground, things with her group (a group later associated with the Weather Underground) had gotten into some stuff a little dicey and she would not be able to communicate for a while. That was the last I heard from her; it has been a few years now.

I understand, and I feel happy for her. We were fond of each other but I was thinking in the stockade that a “war marriage” was not made to last, not between us anyway. Then after a few months in Boston, doing a little or this and a little of that, I drifted out here were things might pop up a little (it’s tough even with millions of people hating the war, hating it until it finally got over a couple of years ago to have an undesirable discharge hanging around your neck. I’m not sorry though, no way, and if I do get blue sometime I just recite that Masters Of War thing and I get all welled up inside).

I hear the new president, Jimmy Carter, is talking about amnesty for Vietnam guys with bad discharges and maybe I will check into it if it happens. Then maybe I will go to law school and pick up my life up again. Until then though I feel like I have got to stick with my “band of brothers” who got broken up, broken up bad by that damn war. Hey, sometimes they ask me to recite that Masters Of War thing over some night fire.

[The last connection I had with Kenneth Edward Jackson was in late 1979 when he sent a short note to me saying he had gotten his discharge upgraded, was getting ready to start law school and that he was publicly getting re-married to some non-political gal from upstate New York . Still no word from Bettina though.-JLB]

From The Pen Of Joshua Lawrence Breslin- Kenneth Edward Jackson’s “Masters Of War”

From The Pen Of Joshua Lawrence Breslin- Kenneth Edward Jackson’s “Masters Of War”

Click on the headline to link to a YouTube film clip of Bob Dylan performing his classic anti-war song, Masters of War.

Masters Of War-Bob Dylan

Come you masters of war
You that build all the guns
You that build the death planes
You that build the big bombs
You that hide behind walls
You that hide behind desks
I just want you to know
I can see through your masks

You that never done nothin’
But build to destroy
You play with my world
Like it’s your little toy
You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly

Like Judas of old
You lie and deceive
A world war can be won
You want me to believe
But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain

You fasten the triggers
For the others to fire
Then you set back and watch
When the death count gets higher
You hide in your mansion
As young people’s blood
Flows out of their bodies
And is buried in the mud

You’ve thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world
For threatening my baby
Unborn and unnamed
You ain’t worth the blood
That runs in your veins

How much do I know
To talk out of turn
You might say that I’m young
You might say I’m unlearned
But there’s one thing I know
Though I’m younger than you
Even Jesus would never
Forgive what you do

Let me ask you one question
Is your money that good
Will it buy you forgiveness
Do you think that it could
I think you will find
When your death takes its toll
All the money you made
Will never buy back your soul

And I hope that you die
And your death’ll come soon
I will follow your casket
In the pale afternoon
And I’ll watch while you’re lowered
Down to your deathbed
And I’ll stand o’er your grave
’Til I’m sure that you’re dead

Copyright © 1963 by Warner Bros. Inc.; renewed 1991 by Special Rider Music

Joshua Lawrence Breslin comment:

As I mentioned in an earlier entry in this space, courtesy of my old yellow brick road magical mystery tour merry prankster fellow traveler, Peter Paul Markin, who seems to think I still have a few things to say about this wicked old world, recently, in grabbing an old Bruce Springsteen CD compilation from 1998 to download into my iPod I came across a song that stopped me in my tracks, Brothers Under The Bridge. I had not listened to or thought about that song for a long time but it brought back many memories from the late 1970s when I did a series of articles for the now defunct East Bay Eye (California, naturally) on the fate of some troubled Vietnam veterans who, for one reason or another, could not come to grips with “going back to the real world” and took, like those a great depression generation or two before them, to the “jungle”-the hobo, bum, tramps camps located along the abandoned railroad sidings, the ravines and crevices, and under the bridges of California, mainly down in Los Angeles, and created their own “society.”

Not every guy I interviewed, came across, swapped lies with, or just snatched some midnight phrase out of the air from was from hunger, most were, yes, in one way or another but some, and the one I am recalling in this sketch had a nuanced story that brought him down to the ravines. The story that accompanies the song to this little piece, Bob Dylan’s Masters of War, is written under that same sign as the earlier pieces.

I should note again since these sketches are done on an ad hoc basis, that the genesis of this story follows that of the “Brothers Under The Bridge” story previously posted (and now is developing into a series).The editor of the East Bay Eye, Owen Anderson, gave me that long ago assignment after I had done a smaller series for the paper on the treatment, the poor treatment, of Vietnam veterans by the Veterans Administration in San Francisco and in the course of that series had found out about this band of brothers roaming the countryside trying to do the best they could, but mainly trying to keep themselves in one piece. My qualifications for the assignment other than empathy, since I had not been in the military during the Vietnam War period, were based simply on the fact that back East I had been involved, along with several other radicals, in running an anti-war GI coffeehouse near Fort Devens in Massachusetts and down near Fort Dix in New Jersey. During that period I had run into many soldiers of my 1960s generation who had clued me on the psychic cost of the war so I had a running start.

After making connections with some Vietnam Veterans Against The War (VVAW) guys down in L.A. who knew where to point me I was on my way. I gathered many stories, published some of them in the Eye, and put the rest in my helter-skelter files. A couple of weeks ago, after having no success in retrieving the old Eye archives, I went up into my attic and rummaged through what was left of those early files. I could find no newsprint articles that I had written but I did find a batch of notes, specifically notes from stories that I didn’t file because the Eye went under before I could round them into shape.

The format of those long ago stories was that I would basically let the guy I was talking to give his spiel, spill what he wanted the world to heard, and I would write it up without too much editing (mainly for foul language). I have reconstructed this story here as best I can although at this far remove it is hard to get the feel of the voice and how things were said. This is Kenneth Edward Jackson’s short, poignant, and hell for once, half-hopeful story, a soldier born under the thumb of the masters of war:

********
Hell, you know I didn’t have to go to Vietnam, no way. Yah, my parents, when I got drafted, put some pressure on me to “do my duty” like a lot of the neighborhood guys in my half-Irish, half- French- Canadian up the old New Hampshire mill town of Nashua. Maybe, you’ve heard of that town since you said you were from up there in Olde Saco, Maine. Hell, they were the same kind of towns. Graduate from high school, go to work in the mills if they were still open, go into the service if you liked, or got drafted, come home, get married, have kids and let the I Ching cycle run its course over and over again. You laughed so you know what I mean. Yah, that kind of town, and tight so if you went off the rails, well it might not be in the Nashua Telegraph but it sure as hell got on the Emma Jackson grapevine fast enough, except if it was about her three boys. Then the “shames” silence of the grave. Nothing, not a peep, no dirty linen aired in public.

See though I was a little different. I went to college at the University of New Hampshire over in Durham, studied political science, and figured to become either a lawyer or teacher, maybe both if things worked out. So Emma and Hank (my father) were proud as peacocks when I graduated from there in 1967 and then announced I was going to Boston University to pick up a Master’s degree in Education and be on my way. That’s where I met Bettina, my ex-wife, who was studying for her Master’s in Government at the time but was mainly holding up a big share of the left-wing anti-war universe that was brewing at that time, especially as all hell broke loose in Vietnam when in early 1968 the North Vietnamese and their southern supporters ran rampaging through the south. That’s around the time that LBJ (Lyndon Baines Johnson, President of the United States at the time) got cold feet and decided to call it quits and retire to some podunk Texas place.

Bettina, a girl from New York City, and not just New York City but Manhattan and who went to Hunter College High School there before embarking on her radical career , first at the University of Wisconsin and then at B.U. was the one who got me “hip,” or maybe better “half-hip” to the murderous American foreign policy in Vietnam. Remind me to tell you how we met and stuff like that sometime but for now let’s just say she was so smart, so different, did I tell you she was Jewish, so full of life and dreams, big dreams about a better world that I went head over heels for her and her dreams carried me (and us) along for a while. [Brother Jackson did tell me later the funny details of their relationship but, as I always used to say closing many of my columns, that is a story for another day-JLB.]

Bettina was strictly SDS, big-time SDS (Students for a Democratic Society, 1960s version. Look it up on Wikipedia for more background-JLB), and not just some pacifist objector to the war, she really thought she was helping to build “the second front” in aid of the Vietnamese here in America, or as it was put at the time Amerikkka, and I went along with her, or half-way along really in her various actions, marches, and rallies. Later, 1969 later when SDS blew up into three separate and warring factions she went with the Revolutionary Youth Movement (RYM) the group most committed to that idea of the second front. But that is all inside stuff and not really what was important in 1968. The summer of 1968 when I got, via my parents, notice that my friends and neighbors at the Nashua Draft Board had called my name. And me with no excuses, no draft excuses, none.

So that is when things got dicey, my parents pulling me to do my family, my Nashua, my New Hampshire, my United States, hell, my mother pulled out even my Catholic duty (my father, a deeply patriotic man, in the good sense, and a proud Marine who saw plenty of action in the Pacific in World War II, but kept quiet about it, just rolled his eyes on that one). Bettina, and her friends, and really, some of them my friends too, were pulling me to run away to Canada (she would follow), refuse to be inducted (and thus subject to arrest and jail time), or head underground (obviously here with connections that may have rivaled, may have I say, my mother’s neighborhood grapevine). In the end though I let myself be drafted and was inducted in the fall of 1968.

Bettina was mad, mad as hell, but not as much for the political embarrassment as you would think, but because she, well, as she put it, the first time she said it “had grown very fond of me,” and more than that she had her own self-worth needs, so we were secretly married (actually not so much secretly as privately, very privately, her parents, proudly Jewish and heavily committed Zionists and my parents, rosary-heavy Catholics who were a little slow, Vatican Council II slow, on the news that Jews were not Christ-killers and the like would not have approved ) just before I was inducted.

I will spare the Vietnam details, except to say I did my thirteen month tour (including a month for R&R, rest and recreation) from early 1969 to early 1970, a period when the talk of draw-down of the American troop commitment was beginning to echo through the camps and bases in Vietnam and guys were starting to take no chances, no overt chances of getting KIA (killed in action) or anything like that. I, actually saw very little fighting since as a college grad, and lucky, and they needed someone, I was a company clerk and stayed mainly at the base camp. But every night I fired many rounds any time I heard a twig break on guard duty or in perimeter defense. And more than a few times we had bullets and other ammo flying into our position. So no I was no hero, didn’t want to be, I just wanted to get back home to Bettina in one piece. And I did.

But something snapped in Vietnam, sometime in having had to confront my own demons, my own deep-seeded fears and coming out not too badly, and to confront through my own sights the way my government was savagely conducting itself in Vietnam (and later in other parts of the world) that made me snap when I came back to the “real world.” I had only a few months left and so I was assigned to a holding company down at Fort Dix in New Jersey. And all I had to do was stay quiet, do some light silly busy work paper work duty b.s., have a few beers at the PX and watch a few movies. Nada.

I guess Bettina really did win out in the end, the stuff she said about war, about American imperialism being some two-headed vulture, about class struggle and guys like me being cannon fodder was kind of abstract when she said it at some meeting at B.U., or shouted herself silly a t some rally on Boston Common or got herself arrested a few times at draft boards (ironic, huh).But after ‘Nam I knew she was on to something. Better, I was on to something. So, without telling Bettina, my parents, or anybody, the day I was to report to that holding company at Fort Dix I did. But at that morning formation, I can still see the tears rolling down my face, I reported in civilian clothes with a big peace button on my shirt and yelling for all to hear-“Bring The Troops Home.” I was tackled by a couple of soldiers, lifer-sergeants I found out later, handcuffed and brought to the Fort Dix stockade.

A couple of days later my name was called to go the visitors’ room and there to my surprise were my parents, my mother crying, my father stoic as usual but not mad, and Bettina. The Army had contacted my parents after my arrest to inform them of my situation. And Bettina, in that strange underground grapevine magic that always amazed me, found out in that way, had called them in Nashua to say who she was (no, not about us being married, just friends, they never did know). They had offered to bring her down to Fort Dix and they had come down together. What a day though. My parents, for one of very few times that I can remember said, while they didn’t agree with me fully, that they were proud and Nashua be damned. They were raising money on their home to get me the best civilian lawyer they could. And they did.

Of course for Bettina a soldier- resister case was just the kind of activity that was gaining currency in the anti-war movement in 1969 and 1970 and she was crazy to raise heaven and hell for my defense(including money, and money from her parents too although they also did not know we were married, and maybe they still don’t). She moved to hard town Trenton not too far from Fort Dix to be closer to the action as my court-martial was set. She put together several vigils, marches, rallies and fundraisers (including one where my father, a father defending his own, spoke and made the crowd weep in his halting New England stoic way).

The court-martial, a general court martial so I faced some serious time, was held in early 1970. As any court proceedings will do, military or civilian, they ran their typical course, which I don’t want to go into except to say that I was convicted of the several charges brought against me (basically, as I told the guys at VVAW later, for being ugly in the military without a uniform-while on duty) , sentenced to a year of hard labor at Fort Leavenworth out in Kansas, reduced in rank to private ( I was a specialist, E-4), forfeited most of my pay, and was to be given an undesirable discharge (not dishonorable).

I guess I do want to say one last thing about the trial thought. As any defendant has the right to do at trial, he or she can speak in their own defense. I did so. What I did, turning my back to the court-martial judges and facing the audience, including that day my parents and Bettina was to recite from memory Bob Dylan’s Masters of War. I did so in my best stoic (thanks, dad) Nashua, New Hampshire voice. The crowd either heckled me or cheered (before being ordered to keep quiet) but I had my say. So when you write this story put that part in. Okay? [See lyrics above-JLB]

So how come I am down here in some Los Angeles hobo jungle just waiting around to be waiting around. Well I did my time, all of it except good time, and went back home, first to Nashua but I couldn’t really stay there ( a constant “sore” in the community and worry to my parents) and then to Boston where I fit in better. Bettina? Well, my last letter from her in Leavenworth was that she was getting ready to go underground, things with her group (a group later associated with the Weather Underground) had gotten into some stuff a little dicey and she would not be able to communicate for a while. That was the last I heard from her; it has been a few years now.

I understand, and I feel happy for her. We were fond of each other but I was thinking in the stockade that a “war marriage” was not made to last, not between us anyway. Then after a few months in Boston, doing a little or this and a little of that, I drifted out here where things might pop up a little (it’s tough even with millions of people hating the war, hating it until it finally got over a couple of years ago to have an undesirable discharge hanging around your neck. I’m not sorry though, no way, and if I do get blue sometime I just recite that Masters Of War thing and I get all welled up inside).

I hear the new president, Jimmy Carter, is talking about amnesty for Vietnam guys with bad discharges and maybe I will check into it if it happens. Then maybe I will go to law school and pick up my life up again. Until then though I feel like I have got to stick with my “band of brothers” who got broken up, broken up bad by that damn war. Hey, sometimes they ask me to recite that Masters Of War thing over some night fire.

[The last connection I had with Kenneth Edward Jackson was in late 1979 when he sent a short note to me saying he had gotten his discharge upgraded, was getting ready to start law school and that he was publicly getting re-married to some non-political gal from upstate New York . Still no word from Bettina though.-JLB]

When The Kennedy-Johnson-Nixon Governments Wasted A Whole Generation of Precious Youth In The Folly Of The Vietnam War Which Caused Every Young Man So Serious Reflection-An Encore-Frank Jackman’s Fate-With Bob Dylan’s Masters of War In Mind

When The Kennedy-Johnson-Nixon Governments Wasted A Whole Generation of Precious Youth In The Folly Of The Vietnam War Which Caused Every Young Man So Serious Reflection-An Encore-Frank Jackman’s Fate-With Bob Dylan’s Masters of War In Mind

Introduction by Greg Green

Life is full of surprises as everybody over the age of about three knows firsthand even if that hard fact does not stand out and light a fire under you at every possible moment. Take my own situation. A couple of years ago I was working hard at the American Film Gazette managing the overall film review schedule and trying to outdo the legendary publisher Larry Lorton from Film Daily in the number of films we did reviews on. Then Pete Markin (aka Allan Jackson who used that moniker in honor of a fallen hometown friend who taught him and a few of the other writers here a thing or two about the profession although he eventually fell on his own sword which is a story many had detailed here over time and I need not go into) brought me over here to run the day to day operations while he readied himself for retirement or some other project. Jesus, then the Summer of Love, 1967, or rather the 50^th anniversary commemoration of the event hit this place like a whirling dervish. I was too young to know much about that time but had heard some pretty raw and scary stuff about from writers here who had been there under Markin’s guidance, the real Markin not Allan. In any case Allan went crazy to make sure the damn event got almost as much coverage after 50 years as when the thing actually got off the ground and created what he and the others hatched up as a re-work on the Generation of ’68.

All well and good. Well not all well and good since the younger writer could in the words of Alden Riley one of the leaders of the Young Turks give a fuck about the fucking Summer of Love, 1967 or any other year in that decade. That led to a show-down and the demise of Allan Jackson, a founding member, and my elevation to site manager and the overall poohbah of this operation. According to what I hear around the water cooler things are calmer now that not everybody has to spent 24/7/365 neck-deep in the 1960s like that was the golden age, like that was the Garden as Lance Lawrence mockingly called it.

All this to say that some of the stuff from the 1960s, and the recently concluded The Roots is the Toots rock and roll series is one example that I was more than happy to give an encore presentation (admittedly after a little nudge froof Eden m Sam Lowell and others), is worth another inspection. That brings us to the real-life story below about what happened to Frank Jackman when he was of draft age in the age when that meant something and meant some tough decisions for a whole generation of young men who didn’t know what the hell to do when their number got called. Yeah, maybe this tale is not the sexiest one on the block, on the lowdown of the 1960s when youth nation went overboard with sex, drugs and rock and roll but fifty years or so later it still reads like a good story that people should know about-and shout from the rooftops about as we enter another year of endless war in the endless wars of our times.

From The Pen Of Sam Lowell

Jack Callahan’s old friend from Sloan High School in Carver down in Southeastern Massachusetts Zack James (Zack short for Zachary not as is the fashion today to just name a baby Zack and be done with it) is an amateur writer and has been at it since he got out of high school. Found out that maybe by osmosis, something like that, the stuff Miss Enos taught him junior and senior years about literature and her favorite writers Hemingway, Edith Wharton and Dorothy Parker to name a few, that she would entice the English class stuck with him with through college where although he majored in Political Science he was in thrall to the English literature courses that he snuck into to his schedule. Snuck in although Zack knew practically speaking he had a snowball’s chance in hell, an expression he had learned from Hemingway he thought,  of making a career out of the literary life, would more likely wind driving a cab through dangerous midnight sections of town  occasionally getting mugged for his night’s work. That Political Science major winding up producing about the same practical results as the literary life though. Those literary designs stuck with him, savior stuck with him, through his tour of duty during the Vietnam War, and savior stayed with him through those tough years when he couldn’t quite get himself back to the “real” world after ‘Nam and let drugs and alcohol rule his life so that he wound up for some time as a “brother under the bridge” as Bruce Springsteen later put the situation in a song that he played continuously at times after he first heard it “Saigon, long gone…."  Stuck with him after he recovered and started building up his sports supplies business, stuck with him through three happy/sad/savage/acrimonious “no go” marriages and a parcel of kids and child support.  And was still sticking with him now that he had time to stretch out and write longer pieces, and beat away on the word processor a few million words on this and that.  

Amateur writer meaning nothing more than that he liked to write and that writing was not his profession, that he did not depend on the pen for his livelihood(or rather more correctly these days not the pen but the word processor). That livelihood business was taken up running a small sports apparel store in a mall not far from Lexington (the Lexington of American revolutionary battles to give the correct town and state) where he now lived. Although he was not a professional writer his interest was such that he liked these days with Jimmy Shore, the famous ex-runner running the day to day operations of the store, to perform some of his written work in public at various “open mic” writing (and poetry) jams that have sprouted up in his area.

This “open mic” business Zack had embarked on s was a familiar concept to Jack from the days back in the 1960s when he would go to such events in the coffeehouses around Harvard Square and Beacon Hill to hear amateur folk-singers perfect their acts and try to be recognized as the new voice of their generation, or something like that. For “no singing voice, no musical ear” Jack those were basically cheap date nights if the girl he was with was into folk music. The way most of the "open mics" worked, although they probably called them talent searches then, was each performer would sign up to do one, two, maybe three songs depending on how long the list of those wishing to perform happened to be (the places where each performer kicked in a couple of bucks in order to play usually had shorter lists). These singers usually performed in the period in front of the night’s feature who very well might have been somebody who a few weeks before had been noticed by the owner during a previous "open mic" and asked to do a set of six to sixteen songs depending on the night and the length of the list of players in front of him or her. The featured performer played, unlike the "open mic" people, for the “basket” (maybe a hat) passed around the crowd in the audience and that was the night’s “pay.” A tough racket for those starting out like all such endeavors. The attrition rate was pretty high after the folk minute died down with arrival of other genre like folk rock, heavy rock, and acid rock although you still see a few old folkies around the Square or playing the separate “open mic” folk circuit that also run through church coffeehouses just like these writing jams.

Jack was not surprised then when Zack told him he would like him to come to hear him perform one of his works at the monthly third Thursday “open mic” at the Congregational Church in Arlington the next town over from Lexington. Zack told Jack that that night he was going to perform something he had written and thought on about Frank Jackman, about what had happened to Frank when he was in the Army during Vietnam War times.

Jack knew almost automatically what Zack was going to do, he would somehow use Bob Dylan’s Masters of War lyrics as part of his presentation. Jack and Zack ( a Vietnam veteran who got “religion” on the anti-war issue while he in the Army and became a fervent anti-war guy after that experience despite his personal problems) had met Frank in 1971 when they were doing some anti-war work among the soldiers at Fort Devens out in Ayer about forty miles west of Boston. Frank had gotten out of the Army several months before and since he was from Nashua in the southern part of New Hampshire not far from Devens and had heard about the G.I. coffeehouse, The Morning Report, where Jack and Zack were working as volunteers he had decided to volunteer to help out as well.

Now Frank was a quiet guy, quieter than Jack and Zack anyway, but one night he had told his Army story to a small group of volunteers gathered in the main room of the coffeehouse as they were planning to distribute Daniel Ellsberg’s sensational whistle-blower expose The Pentagon Papers to soldiers at various spots around the base (including as it turned out inside the fort itself with one copy landing on the commanding general’s desk for good measure). He wanted to tell this story since he wanted to explain why he would not be able to go with them if they went inside the gates at Fort Devens.

Jack knew Zack was going to tell Frank’s story so he told Frank he would be there since he had not heard the song or Frank’s story in a long while and had forgotten parts of it. Moreover Zack wanted Jack there for moral support since this night other than the recitation of the lyrics he was going to speak off the cuff rather than his usual reading from some prepared paper.  

That night Zack was already in the hall talking to the organizer, Eli Walsh, you may have heard of him since he has written some searing poems about his time in three tours Iraq. Jack felt right at home in this basement section of the church and he probably could have walked around blind-folded since the writing jams were on almost exactly the same model as the old folkie “open mics.” A table as you entered to pay your admission this night three dollars (although the tradition is that no one is turned away for lack of funds) with a kindly woman asking if you intended to perform and direct you to the sign-up sheet if so. Another smaller table with various cookies, snacks, soda, water and glasses for those who wished to have such goodies, and who were asked to leave a donation in the jar on that table if possible. The set-up in the hall this night included a small stage where the performers would present their material slightly above the audience. On the stage a lectern for those who wished to use that for physical support or to read their work from and the ubiquitous simple battery-powered sound system complete with microphone. For the audience a bevy of chairs, mostly mismatched, mostly having seen plenty of use, and mostly uncomfortable. After paying his admission fee he went over to Zack to let him know he was in the audience. Zack told him he was number seven on the list so not to wander too far once the session had begun.

This is the way Zack told the story and why Jack knew there would be some reference to Bob Dylan’s Masters of War that night:

Hi everybody my name is Zack James and I am glad that you all came out this cold night to hear Preston Borden present his moving war poetry and the rest of us to reflect on the main subject of this month’s writing jam-the endless wars that the American government under whatever regime of late has dragged us into, us kicking and screaming to little avail.  I want to thank Eli as always for setting this event up every month and for his own thoughtful war poetry. [Some polite applause.] But enough for thanks and all that because tonight I want to recite a poem, well, not really a poem, but lyrics to a song, to a Bob Dylan song, Masters of War, so it might very well be considered a poem in some sense.   

You know sometimes, a lot of times, a song, lyrics, a poem for that matter bring back certain associations. You know some song you heard on the radio when you went on your first date, your first dance, your first kiss, stuff like that which is forever etched in your memory and evokes that moment every time you hear it thereafter. Now how this Dylan song came back to me recently is a story in itself.

You remember Eli back in October when we went up to Maine to help the Maine Veterans for Peace on their yearly peace walk that I ran into Susan Rich, the Quaker gal we met up in Freeport who walked with us that day to Portland. [Eli shouted out “yes.”] I had not seen Susan in about forty years before that day, hadn’t seen her since the times we had worked together building up support for anti-war G.I.s out at the Morning Report coffeehouse in Ayer outside Fort Devens up on Route 2 about thirty miles from here. That’s when we met Frank Jackman who is the real subject of my presentation tonight since he is the one who I think about when I think about that song, think about his story and how that song relates to it.   

Funny as many Dylan songs as I knew Masters of War, written by Dylan in 1963 I had never heard until 1971. Never heard the lyrics until I met Frank out at Fort Devens where after I was discharged from the Army that year I went to do some volunteer anti-war G.I. work at the coffeehouse outside the base in Army town Ayer. Frank too was a volunteer, had heard about the place somehow I forget how, who had grown up in Nashua up in southern New Hampshire and after he was discharged from the Army down at Fort Dix in New Jersey came to volunteer just like me and my old friend Jack Callahan who is sitting in the audience tonight. Now Frank was a quiet guy didn’t talk much about his military service but he made the anti-war soldiers who hung out there at night and on weekends feel at ease. One night thought he felt some urge to tell his story, tell why he thought it was unwise for him to participate in an anti-war action we were planning around the base. We were going to pass out copies of Daniel Ellsberg’s explosive whistle-blower expose The Pentagon Papers to soldiers at various location around the fort and as it turned out on the base. The reason that Frank had balked at the prospect of going into the fort was that as part of his discharge paperwork was attached a statement that he was never to go on a military installation again. We all were startled by that remark, right Jack? [Jack nods agreement.]

And that night the heroic, our kind of heroic, Frank Jackman told us about the hows and whys of his Army experience. Frank had been drafted like a ton of guys back then, like me, and had allowed himself to be drafted in 1968 at the age of nineteen not being vociferously anti-war and not being aware then of the option of not taking the subsequent induction. After about three week down at Fort Dix, the main basic training facility for trainees coming from the Northeast then, he knew two things-he had made a serious mistake by allowing himself to be drafted and come hell or high water he was not going to fight against people he had no quarrel with in Vietnam. Of course the rigors of basic training and being away from home, away from anybody who could help him do he knew not what then kept him quiet and just waiting. Once basic was over and he got his Advanced Infantry Training assignment also at Fort Dix which was to be an infantryman at a time when old Uncle Sam only wanted infantrymen in the rice paddles and jungles of Vietnam things came to a head.

After a few weeks in AIT he got a three day weekend pass which allowed him to go legally off the base and he used that time to come up to Boston, or really Cambridge because what he was looking for was help to file an conscientious objector application and he knew the Quakers were historically the ones who would know about going about that process. That is ironically where Susan Rich comes in again, although indirectly this time, since Frank went to the Meeting House on Brattle Street where they were doing draft and G.I. resistance counseling and Susan was a member of that Meeting although she had never met him at that time. He was advised by one of the Quaker counselors that he could submit a C.O. application in the military, which he had previously not been sure was possible since nobody told anybody anything about that in the military, when he got back to Fort Dix but just then, although they were better later, the odds were stacked against him since he had already accepted induction. So he went back, put in his application, took a lot of crap from the lifers and officers in his company after that and little support, mainly indifference, from his fellow trainees. He still had to go through the training, the infantry training though and although he had taken M-16 rifle training in basic he almost balked at continuing to fire weapons especially when it came to machine guns. He didn’t balk but in the end that was not a big deal since fairly shortly after that his C.O. application was rejected although almost all those who interviewed him in the process though he was “sincere” in his beliefs. That point becomes important later.

Frank, although he knew his chances of being discharged as a C.O. were slim since he had based his application on his Catholic upbringing and more general moral and ethical grounds. The Catholic Church which unlike Quakers and Mennonites and the like who were absolutely against war held to a just war theory, Vietnam being mainly a just war in the Catholic hierarchy’s opinion. But Frank was sincere, more importantly, he was determined to not got to war despite his hawkish family and his hometown friends,’ some who had already served, served in Vietnam too, scorn and lack of support. So he went back up to Cambridge on another three day pass to get some advice, which he actually didn’t take in the end or rather only partially took up  which had been to get a lawyer they would recommend and fight the C.O. denial in Federal court even though that was also still a long shot then.  

Frank checked with the lawyer alright, Steve Brady, who had been radicalized by the war and was offering his services on a sliding scale basis to G.I.s since he also had the added virtue of having been in the JAG in the military and so knew some of the ropes of the military legal system, and legal action was taken but Frank was one of those old time avenging Jehovah types like John Brown or one of those guys and despite being a Catholic rather than a high holy Protestant which is the usual denomination for avenging angels decided to actively resist the military. And did it in fairly simple way when you think about it. One Monday morning when the whole of AIT was on the parade field for their weekly morning report ceremony Frank came out of his barracks with his civilian clothes on and carrying a handmade sign which read “Bring the Troops Home Now!”

That sign was simply but his life got a lot more complicated after that. In the immediate sense that meant he was pulled down on the ground by two lifer sergeants and brought to the Provost Marshal’s office since they were not sure that some dippy-hippie from near-by New York City might be pulling a stunt. When they found out that he was a soldier they threw him into solitary in the stockade.

For his offenses Frank was given a special court-martial which meant he faced six month maximum sentence which a panel of officers at his court-martial ultimately sentenced him to after a seven day trial which Steve Brady did his best to try to make into an anti-war platform but given the limitation of courts for such actions was only partially successful. After that six months was up minus some good time Frank was assigned to a special dead-beat unit waiting further action either by the military or in the federal district court in New Jersey. Still in high Jehovah form the next Monday morning after he was released he went out to that same parade field in civilian clothes carrying another homemade sign “Bring The Troops Home Now!” and he was again manhandled by another pair of lifer sergeants and this time thrown directly into solitary in the stockade since they knew who they were dealing with by then. And again he was given a special court-martial and duly sentenced by another panel of military officers to the six months maximum.

Frank admitted at that point he was in a little despair at the notion that he might have to keep doing the same action over and over again for eternity. Well he wound up serving almost all of that second six month sentence but then he got a break. That is where listening to the Quakers a little to get legal advice did help. See what Steve Brady, like I said an ex-World War II Army JAG officer turned anti-war activist lawyer, did was take the rejection of his C.O. application to Federal District Court in New Jersey on a writ of habeas corpus arguing that since all Army interviewers agreed Frank was “sincere” that it had been arbitrary and capricious of the Army to turn down his application. And given that the United States Supreme Court and some lower court decisions had by then expanded who could be considered a C.O. beyond the historically recognized groupings and creeds the cranky judge in the lower court case agreed and granted that writ of habeas corpus. Frank was let out with an honorable discharge, ironically therefore entitled to all veterans’ benefits but with the stipulation that he never go onto a military base again under penalty of arrest and trial. Whether that could be enforced as a matter of course he said he did not want to test since he was hardily sick of military bases in any case.                                       

So where does Bob Dylan’s Masters of War come into the picture. Well as you know, or should know every prisoner, every convicted prisoner, has the right to make a statement in his or her defense during the trial or at the sentencing phase. Frank at both his court-martials rose up and recited Bob Dylan’s Masters of War for the record. So for all eternity, or a while anyway, in some secret recess of the Army archives (and of the federal courts too) there is that defiant statement of a real hero of the Vietnam War. Nice right?      

Here is what had those bloated military officers on Frank’s court-martial board seeing red and ready to swing him from the highest gallows, yeah, swing him high.

Masters Of War-Bob Dylan 

Come you masters of war
You that build all the guns
You that build the death planes
You that build the big bombs
You that hide behind walls
You that hide behind desks
I just want you to know
I can see through your masks

You that never done nothin’
But build to destroy
You play with my world
Like it’s your little toy
You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly

Like Judas of old
You lie and deceive
A world war can be won
You want me to believe
But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain

You fasten the triggers
For the others to fire
Then you set back and watch
When the death count gets higher
You hide in your mansion
As young people’s blood
Flows out of their bodies
And is buried in the mud

You’ve thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world
For threatening my baby
Unborn and unnamed
You ain’t worth the blood
That runs in your veins

How much do I know
To talk out of turn
You might say that I’m young
You might say I’m unlearned
But there’s one thing I know
Though I’m younger than you
Even Jesus would never
Forgive what you do

Let me ask you one question
Is your money that good
Will it buy you forgiveness
Do you think that it could
I think you will find
When your death takes its toll
All the money you made
Will never buy back your soul

And I hope that you die
And your death’ll come soon
I will follow your casket
In the pale afternoon
And I’ll watch while you’re lowered
Down to your deathbed
And I’ll stand o’er your grave
’Til I’m sure that you’re dead

Copyright © 1963 by Warner Bros. Inc.; renewed 1991 by Special Rider Music