In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- "Bread and Roses"-Class Struggle in Lawrence, Circa 1912

Click on the headline to link to the "Bread And Roses" Centennial Website- A Brief History Of The Great Lawrence (Ma) Textile Strike Of 1912

BOOK REVIEW

Bread and Roses: Mills, Migrants and the Struggle for the American Dream, Bruce Watson, Penguin Books, New York, 2005

Every leftist political movement has its ‘high holy days’ of remembrance, or it should. The international labor movement has May Day and in the America labor movement today, Labor Day. There are, however, other days worthy of celebration by militants here in America (and internationally) like the anniversaries of Sacco and Vanzetti, the great general strikes of 1934 in Toledo, Minneapolis and San Francisco and the subject of this review the great ‘Bread and Roses’ strike in the textile mills of Lawrence, Massachusetts in 1912. That, until recently, this heroic (and victorious) strike was not remembered officially under any conditions by that very representative working class city and that its continues to remain shrouded in ignorance tells as much about contemporary American labor as any other indicator. That ignorance is something that Professor Bruce Watson has with this effort attempted to remedy. As an important work of labor history Watson has done more than a commendable job. Moreover, because he has done such a scholarly, well-written and easily readable work today’s militants can draw many lessons from that seemingly long ago labor struggle.

On completion of this book I was struck by the parallels between the conditions that fostered that 1912 strike, the social composition of that work force and the attitudes of those bosses and today’s ‘globalized’ capitalist working conditions. The ethnic and racial groupings today that make up the core of the American working class, for example, are somewhat different from those that fought the 1912 where South and East Europeans predominated. However, the much overused sociological term ‘melting pot’ still applies to the extend that the working class is not heterogeneous in its racial and ethnic makeup, a factor that not only aids the breakdown of class unity but is, a more or less, conscious stratagem of the bosses to divide the working class at the base. Moreover, although we are not talking about fighting for nickel and dime raises like those asked for then today the wage system has created a wider gap between rich and poor that would not be unfamiliar to those strikers long ago. And certainly the bosses have not changed, although they are certainly slicker than in those days of William Woods and the other textile magnates. And they put their money where their mouths are, spending over a billion dollars a years to defeat unionization drives and strike action.

One question, on which there is no comparison, or none worthy of mention, is the difference in labor leadership as the 1912 strike evolved and today’s labor leadership. This refers not only to the differences in political perspective of the Bill Haywood and Joseph Ettor-led Industrial Workers of the World (IWW) and today’s Democratic Party-embedded labor leadership which are striking enough but about the nature of society and politics. Fundamentally the old preamble to the IWW constitution drawn up in 1905 is correct in its assertion that there are two distinct and different class interests in the world and at the end of the day they are irreconcilble. Today’s labor leadership acts as if there wasn’t a capitalist that it did not like. An interesting sidelight to the IWW-led 1912 struggle was the attempt by the conservative traditional craft unions associated with the AFof L during the strike to break away from the bulk of the unskilled laborers who formed the core of the textile industry. That has happened in later struggles as well.

One thing that was clear then and has been muddied by today’s labor bureaucracy (with no little help from social democratic and other leftists) is the role of the state. If any mass struggle in the last one hundred years points out the capitalist class nature of the American state it is Lawrence. At every critical point from the first day of the strike and from the lowest level of government the police and military power of the state was used against the working class and in defense of the interests of the capitalist class. This is the class struggle in the raw, up close and personal, that usually only gets exposed in pre-revolutionary or revolutionary situations.

If nothing else, whatever Professor Watson’s personal political sympathies may be, he has performed a great service by placing the Lawrence strike in the context of the development of American capitalism, especially in its post-robber baron period; the development of the multi-ethnic working class; the role of the development of light industry and the Merrimack Valley in the development of American capitalism; the creation and furtherance of a radical response to the primitive capitalist production conditions; and, the role of the state in capitalist society. One may fault Professor Watson with a bit of a ‘kitchen sink’ approach to this work when he brings in every possible event and personality that can reasonably or logically be connected with the Lawrence strike in any way. Even Marxists recognize limits to the interrelatedness of events in any particular situation. However, that is a small price to pay for this important addition to labor history. Kudos.

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- The Struggle For The Labor Party In The United States- The Socialist Party Of America - A Primer

Click on the headline to link to a Wikipedia entry for the Socialist Party Of America

Markin comment on this series:

Obviously, for a Marxist, the question of working class political power is central to the possibilities for the main thrust of his or her politics- the quest for that socialist revolution that initiates the socialist reconstruction of society. But working class politics, no less than any other kinds of political expressions has to take an organization form, a disciplined organizational form in the end, but organization nevertheless. In that sense every Marxist worth his or her salt, from individual labor militants to leagues, tendencies, and whatever other formations are out there these days on the left, struggles to built a revolutionary labor party, a Bolshevik-style party.

Glaringly, in the United States there is no such party, nor even a politically independent reformist labor party, as exists in Great Britain. And no, the Democratic Party, imperialist commander-in-chief Obama's Democratic Party is not a labor party. Although plenty of people believe it is an adequate substitute, including some avowed socialists. But they are just flat-out wrong. This series is thus predicated on providing information about, analysis of, and acting as a spur to a close look at the history of the labor party question in America by those who have actually attempted to create one, or at to propagandize for one.

As usual, I will start this series with the work of the International Communist League/Spartacist League/U.S. as I have been mining their archival materials of late. I am most familiar with the history of their work on this question, although on this question the Socialist Workers Party's efforts run a close second, especially in their revolutionary period. Lastly, and most importantly, I am comfortable starting with the ICL/SL efforts on the labor party question since after having reviewed in this space in previous series their G.I. work and youth work (Campus Spartacist and the Revolutionary Marxist Caucus Newsletter inside SDS) I noted that throughout their history they have consistently called for the creation of such a party in the various social arenas in which they have worked. Other organizational and independent efforts, most notably by the Socialist Workers Party and the American Communist Party will follow.
*********
Markin comment:

This entry is an overview of the Socialist Party of America and should be taken as just that. It was never a labor party in the true Marxist sense and certainly not a Bolshevik organization. Yet it important to draw some lessons from its work since today many labor militants and organizations work from this non-revolutionary perspective. More on its work to follow.

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- *From The Archives- Rosalie Sorrels Passes At 83-A Rosalie Sorrels Potpourri-Idaho, Cafe Lena, Childhood Dreams and Such

From The Archives- Rosalie Sorrels Passes At 83 (2017)-A Rosalie Sorrels Potpourri-Idaho, Cafe Lena, Childhood Dreams and Such

If I Could Be The Rain I Would Be Rosalie Sorrels-The Legendary Folksinger-Songwriter Has Her Last Go Round At 83

By Music Critic  Bart Webber

Back the day, back in the emerging folk minute of the 1960s that guys like Sam Lowell, Si Lannon, the late Peter Paul Markin and others were deeply immersed in (and the former two never got over since they will still tell a tale or two about the times if you go anywhere within ten miles of the subject-I will take my chances here because this notice is important) all roads seemed to lead to Harvard Square, the Village down in NYC, North Beach out in San Francisco, and maybe Old Town in Chicago. That is where names like Baez, Dylan, Paxton, Ochs, and a whole crew of younger folksingers who sat at the feet of guys like Woody Guthrie and Pete Seeger.  

But there was another important strand that hovered around Saratoga Springs in upstate New York, up around Skidmore and some other colleges. That was Caffe Lena’s where some of those names played but also where some upstarts from the West got a chance to play the small crowds who gathered at that famed (and still existing) coffeehouse. Upstarts like Bruce “Utah” Phillips (although he could call several places home Utah was key to what he would sing about). And out of Idaho one Rosalie Sorrels who just joined her long-time friend Utah in that last go-round at the age of 83.

The last time I saw Rosalie perform in person was back in 2002 when she performed at what was billed as her last go-round, her hanging up her shoes from the dusty travel road. She was on fire that night except the then recent death of another folk legend, Dave Von Ronk, who was supposed to be on the bill (and who was replaced by David Bromberg who did a great job) cast a pall over the proceedings. I will always remember her cover of Old Devil Time that night -yeah, give me one more chance, one more breathe. But I will always think of If I Could Be The Rain whenever I hear her name. RIP Rosalie Sorrels 

A Folk Holiday Tradition

An Imaginary Christmas In Idaho, Rosalie Sorrels & Friends, Limberlost Books&Records, 1999

The first paragraph here has been used in reviewing other Rosalie Sorrels CDs in this space.

“My first association of the name Rosalie Sorrels with folk music came, many years ago now, from hearing the recently departed folk singer/storyteller/ songwriter and unrepentant Wobblie (IWW) Utah Phillips mention his long time friendship with her going back before he became known as a folksinger. I also recall that combination of Sorrels and Phillips as he performed his classic “Starlight On The Rails” and Rosalie his also classic “If I Could Be The Rain” on a PBS documentary honoring the Café Lena in Saratoga, New York, a place that I am also very familiar with for many personal and musical reasons. Of note here: it should be remembered that Rosalie saved, literally, many of the compositions that Utah left helter-skelter around the country in his “bumming” days.”

I do not usually do Christmas holiday-oriented CD reviews but I am on something of a Rosalie Sorrels streak after getting, as a Christmas gift, a copy of her “Strangers In Another Country”, her heart-felt tribute to her recently deceased long time friend Utah Phillips. Thus, in the interest of completeness I will make some a couple of comments. I will skip the obvious Christmas-oriented material here, although the spirit of anti-Christmas at least as the CD unfold is ‘in the air’ on this CD, including a little send-up of the old yuletide season by the above-mentioned Brother Phillips (“Jingle Bells’- Phillips style). The core of this presentation is the alternative take on the various traditions of Christmas out in Idaho (“The Fruitcake” and “Christmas Eve” , out in Minnesota (“Just A Little Lefse”)and among those who live a little closer to the edge of society (“Winter Song” and Grandma”), like Rosalie and her friends.

I need not mention Rosalie’s singing and storytelling abilities. Those are, as always, a given. I have noted elsewhere that Rosalie and the old curmudgeon Phillips did more than their fate share of work in order to keep these traditions alive. Old Utah handled the more overtly political phase and Rosalie, for lack of a better expression, the political side as it intersected the personal phase. That is evident here, especially in her recitation of a note and poem written by a Native American woman in response to the lingering death of her grandmother. Powerful stuff, at Christmas or anytime, and a rather nice way to come to terms with the tragedy of death that we all sooner or later face. Listen to this fine piece.

A special note to kind of bring us full circle. My first review of Rosalie’s and Utah’s combined works together mentioned a spark of renewed recognition kindled by long ago PBS documentary about the famous folk coffee house “The Café Lena” in Saratoga Springs, New York whose owner, Lena Spenser, sheltered them at various times from life’s storms. Lena, from all reports, was something of a 'fairy godmother' to many later famous folk singers and artists when they were either down on there luck or just starting out (or both). I have my own strong ties to Saratoga, its environs and Café Lena but Rosalie’s tribute to her late friend here, “Bufana and Lena”, about the Italian version of the Santa Claus myth can stand as the signpost for what this CD has attempted to do, and what that long ago folk revival that Lena represented was trying to do as well.

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- Happy Birthday Woody Guthire The Father We Never Knew- An Unrepentant Wobblie At Work- The Music Of Utah Phillips

An Unrepentant Wobblie At Work- The Music Of Utah Phillips

If I Could Be The Rain I Would Be Rosalie Sorrels-The Legendary Folksinger-Songwriter Has Her Last Go-Round At 83

By Music Critic Bart Webber

Back the day, back in the emerging folk minute of the 1960s that guys like Sam Lowell, Si Lannon, Josh Breslin, the late Peter Paul Markin and others were deeply immersed in all roads seemed to lead to Harvard Square with the big names, some small too which one time I made the subject of a series, or rather two series entitled respectively Not Bob Dylan and Not Joan Baez about those who for whatever reason did not make the show over the long haul, passing through the Club 47 Mecca and later the Café Nana and Club Blue, the Village down in NYC, North Beach out in San Francisco, and maybe Old Town in Chicago. Those are the places where names like Baez, Dylan, Paxton, Ochs, Collins and a whole crew of younger folksingers, some who made it like Tom Rush and Joni Mitchell and others like Eric Saint Jean and Minnie Murphy who didn’t, like  who all sat at the feet of guys like Woody Guthrie and Pete Seeger got their first taste of the fresh breeze of the folk minute, that expression courtesy of the late Markin, who was among the first around to sample the breeze.

(I should tell you here in parentheses so you will keep it to yourselves that the former three mentioned above never got over that folk minute since they will still tell a tale or two about the times, about how Dave Van Ronk came in all drunk one night at the Café Nana and still blew everybody away, about catching Paxton changing out of his Army uniform when he was stationed down at Fort Dix  right before a performance at the Gaslight, about walking down the street Cambridge with Tom Rush just after he put out No Regrets/Rockport Sunday, and about affairs with certain up and coming female folkies like the previously mentioned Minnie Murphy at the Club Nana when that was the spot of spots. Strictly aficionado stuff if you dare go anywhere within ten miles of the subject with any of them -I will take my chances here because this notice, this passing of legendary Rosalie Sorrels a decade after her dear friend Utah Phillips is important.)

Those urban locales were certainly the high white note spots but there was another important strand that hovered around Saratoga Springs in upstate New York, up around Skidmore and some of the other upstate colleges. That was Caffe Lena’s, run by the late Lena Spenser, a true folk legend and a folkie character in her own right, where some of those names played previously mentioned but also where some upstarts from the West got a chance to play the small crowds who gathered at that famed (and still existing) coffeehouse. Upstarts like the late Bruce “Utah” Phillips (although he could call several places home Utah was key to what he would sing about and rounded out his personality). And out of Idaho one Rosalie Sorrels who just joined her long-time friend Utah in that last go-round at the age of 83.

Yeah, came barreling like seven demons out there in the West, not the West Coast west that is a different proposition. The West I am talking about is where what the novelist Thomas Wolfe called the place where the states were square and you had better be as well if you didn’t want to starve or be found in some empty arroyo un-mourned and unloved. A tough life when the original pioneers drifted westward from Eastern nowhere looking for that pot of gold or at least some fresh air and a new start away from crowded cities and sweet breathe vices. A tough life worthy of song and homage. Tough going too for guys like Joe Hill who tried to organize the working people against the sweated robber barons of his day (they are still with us as we are all now very painfully and maybe more vicious than their in your face forbear). Struggles, fierce down at the bone struggles also worthy of song and homage. Tough too when your people landed in rugged beautiful two-hearted river Idaho, tried to make a go of it in Boise, maybe stopped short in Helena but you get the drift. A different place and a different type of subject matter for your themes than lost loves and longings.  

Rosalie Sorrels could write those songs as well, as well as anybody but she was as interested in the social struggles of her time (one of the links that united her with Utah) and gave no quarter when she turned the screw on a lyric. The last time I saw Rosalie perform in person was back in 2002 when she performed at the majestic Saunders Theater at Harvard University out in Cambridge America at what was billed as her last go-round, her hanging up her shoes from the dusty travel road. (That theater complex contained within the Memorial Hall dedicated to the memory of the gallants from the college who laid down their heads in that great civil war that sundered the country. The Harvards did themselves proud at collectively laying down their heads at seemingly every key battle that I am aware of when I look up at the names and places. A deep pride runs through me at those moments)

Rosalie Sorrels as one would expect on such an occasion was on fire that night except the then recent death of another folk legend, Dave Von Ronk, who was supposed to be on the bill (and who was replaced by David Bromberg who did a great job banging out the blues unto the heavens) cast a pall over the proceedings. I will always remember the crystal clarity and irony of her cover of her classic Old Devil Time that night -yeah, give me one more chance, one more breathe. But I will always think of If I Could Be The Rain and thoughts of washing herself down to the sea whenever I hear her name. RIP Rosalie Sorrels 

CD REVIEW

STARLIGHT ON THE RAILS- UTAH PHILLIPS, 2005

Although this space is mainly dedicated to reviewing political books and commenting on past and current political issues as a way to orient today’s alienated radical youth on the lessons of the past literary output is hardly the only form of political creation. Occasionally in the history of the American and international left musicians, artists and playwrights have given voice or provided visual reminders to the face of political struggle. With that thought in mind, every once in a while I will use this space to review those kinds of political expression.

My musical tastes were formed, as were many of those of the generation of 1968, by ‘Rock and Roll’ music exemplified by the Rolling Stones and Beatles and by the blues revival, both Delta and Chicago style. However, those forms as much as they gave pleasure were only marginally political at best. In short, these were entertainers performing material that spoke to us. In the most general sense that is all one should expect of a performer. Thus, for the most part that music need not be reviewed here. Those who thought that a new musical sensibility laid the foundations for a cultural or political revolution have long ago been proven wrong.

That said, in the early 1960’s there nevertheless was another form of musical sensibility that was directly tied to radical political expression- the folk revival. This entailed a search for roots and relevancy in musical expression. While not all forms of folk music lent themselves to radical politics it is hard to see the 1960’s cultural rebellion without giving a nod to such figures as Dave Van Ronk, the early Bob Dylan, Utah Phillips, Joan Baez, Pete Seeger, Woody Guthrie and others. Whatever entertainment value these performers provided they also spoke to and prodded our political development. They did have a message and an agenda and we responded as such. That these musicians’ respective agendas proved inadequate and/or short-lived does not negate their affect on the times.

My leftist political consciousness, painfully fought for in my youth coincided with an expansion of my musical tastes under the influence of the great blues and folk revivals of the 1960’s. Unfortunately my exposure to the blues greats was mainly on records as many of them had been forgotten, retired or were dead. Not so with the folk revival which was created mainly by those who were close contemporaries. Alas, they too are now mainly forgotten, retired or dead. It therefore is with special pleasure that I review Utah Phillips Songbook while he is very much alive.

Many of the folksingers of the 1960’s attempted to use their music to become troubadours for social change. The most famous example, the early Bob Dylan, can be fairly described as the voice of his generation at that time. However, he fairly quickly moved on to other concepts of himself and his music. Bob Dylan’s work became more informed by the influences of Rimbaud and Verlaine and the French Symbolists of the late 1800’s and thus moved away to a more urban, sophisticated vision. From the start and consistently throughout his long career Utah has acted as a medium giving voice to the troubles of ordinary people and the simpler ethos of a more rural, Western-oriented gone by day in the American experience. He evokes in song the spirit of the people Walt Whitman paid homage to in poetic form and John Dos Passos and John Steinbeck gave in prose. He sits comfortably in very fast company. Therefore, Utah Phillips can justly claim the title of a people’s troubadour.

A word about politics. Generally, one rates music without reference to politics. However, Utah has introduced the political element by the way he structured the Songbook. Each song is introduced by him as to its significance heavily weighted to his political experiences, observations and vision. Thus, political comment is fairly in play here. Utah is a long time anarchist and unrepentant supporter of the Wobblies (Industrial Workers of the World, hereafter IWW). Every militant cherishes the memory of the class battles led by the IWW like the famous Lawrence strike of 1912 and honors the heroes of those battles like Big Bill Haywood and Vincent St. John and the militants they recruited to the cause of the working class in the first part of the 20th century. They paved the way for the later successful organization drives of the 1930’s.

Nevertheless, while Utah and I would both most definitely agree that some old-fashioned class struggle by working people in today’s one-sided class war would be a very good thing we as definitely differ on the way to insure a permanent victory for working people in order to create a decent society. In short, Utah’s prescriptions of good moral character, increased self-knowledge and the creation of small intentional communities are not enough. Under modern conditions it is necessary to take and safeguard political power against those who would quite consciously deny that victory. History has been cruel in some of the bitter lessons working people have had to endure for not dealing with the question of taking state power to protect their interests. But, enough said. I am more than willing to forgive the old curmudgeon his anarchist sins if he’ll sing ‘I Remember Loving You’ the next time he tours the Boston area.

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- The Struggle For The Labor Party In The United States- American Socialist Workers Party Leader (And Old Wobblie) James P.Cannon-The I.W.W. ( Industrial Workers Of The World-Wobblies)(1955)

Click on the headline to link to a James P. Cannon Internet Archives online copy of The I.W.W. ( Industrial Workers Of The World-Wobblies)(1955)

Markin comment on this series:

Obviously, for a Marxist, the question of working class political power is central to the possibilities for the main thrust of his or her politics- the quest for that socialist revolution that initiates the socialist reconstruction of society. But working class politics, no less than any other kinds of political expressions has to take an organization form, a disciplined organizational form in the end, but organization nevertheless. In that sense every Marxist worth his or her salt, from individual labor militants to leagues, tendencies, and whatever other formations are out there these days on the left, struggles to built a revolutionary labor party, a Bolshevik-style party.

Glaringly, in the United States there is no such party, nor even a politically independent reformist labor party, as exists in Great Britain. And no, the Democratic Party, imperialist commander-in-chief Obama's Democratic Party is not a labor party. Although plenty of people believe it is an adequate substitute, including some avowed socialists. But they are just flat-out wrong. This series is thus predicated on providing information about, analysis of, and acting as a spur to a close look at the history of the labor party question in America by those who have actually attempted to create one, or at to propagandize for one.

As usual, I will start this series with the work of the International Communist League/Spartacist League/U.S. as I have been mining their archival materials of late. I am most familiar with the history of their work on this question, although on this question the Socialist Workers Party's efforts run a close second, especially in their revolutionary period. Lastly, and most importantly, I am comfortable starting with the ICL/SL efforts on the labor party question since after having reviewed in this space in previous series their G.I. work and youth work (Campus Spartacist and the Revolutionary Marxist Caucus Newsletter inside SDS) I noted that throughout their history they have consistently called for the creation of such a party in the various social arenas in which they have worked. Other organizational and independent efforts, most notably by the Socialist Workers Party and the American Communist Party will follow.

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- * The Wobblies Still Going Along - The Newspaper "Industrial Worker"

Click on title to link to current issue of "Industrial Worker" the newspaper of the Industrial Workers OF The World (IWW, Wobblies). I am about a million miles away from this organization politically but every knowledgeable labor militant has to pay homage to their revolutionary past and the labor militants who passed through their gates. James P. Cannon, Vincent St. John, Big Bill Haywood, Frank Little, Ralph Chaplin and many more. Those are real heroes of the American and international labor movement. On the modern scene I would say , in passing, the name of the late folk singer/storyteller and performer Utah Phillips. Adieu old militants, rest easy the struggle is still being continued.

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- *Songs To While Away The Class Struggle By- Phil Och's "Joe Hill"

In this series, presented under the headline “Songs To While Away The Class Struggle By”, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here. Markin.

***********

Markin comment:

This is a continuation of entries for folksinger/songwriter Phil Och's who back in the early 1960s stood right up there with Bob Dylan in the protest songwriting category. The entries on this date testify to that. However, early on I sensed something special about Dylan and never really warmed up to Ochs. His singing style did not "move" me and that counted for a lot in those days. The rest just turned on preference.

********

Joe Hill Lyrics

F Fsus F C (open D string/then back on 2nd fret)
Joe Hill come over from Sweden shores
F Fsus F C
Looking for some work to do
F C Am
And the Statue of Liberty waved him by
C (Open D string/place finger on G st. 2nd fret/return)
As Joe come a sailing through, Joe Hill
C G7 C
As Joe come a sailing through.

Oh his clothes were coarse and his hopes were high
As he headed for the promised land
And it took a few weeks on the out-of-work streets
Before he began to understand
Before he began to understand

And Joe got hired by a bowery bar
sweeping up the saloon
As his rag would sail over the baroom rail
Sounded like he whistled on a tune
You could almost hear him whistling on a tune

And Joe rolled on from job to job
From the docks to the railroad line
And no matter how hungry the hand that wrote
In his letters he was always doing fine
In his letters he was always doing fine

Oh, the years went by like the sun goin' down
slowly turn the page
And when Joe looked back at the sweat upon his tracks
He had nothing to show but his age
He had nothing to show but his age

So he headed out for the California shore
There things were just as bad
So he joined the industrial workers of the world
'Cause, The union was the only friend he had
'Cause, The union was the only friend he had

Now the strikes were bloody and the strikes were black
as hard as they were long
In the dark of night Joe would stay awake and write
In the morning he would raise them with a song
In the morning he would raise them with a song

And he wrote his words to the tunes of the day
To be passed along the union vine
And the strikes were led and the songs were spread
And Joe Hill was always on the line
Yes Joe Hill was always on the line

Now in Salt Lake City a murder was made
There was hardly a clue to find
Oh, the proof was poor, but the sheriff was sure
Joe was the killer of the crime
That Joe was the killer of the crime

Joe raised his hands but they shot him down
he had nothing but guilt to give
It's a doctor I need and they left him to bleed
He made it 'cause he had the will to live
Yes, He made it 'cause he had the will to live

Then the trial was held in a building of wood
And there the killer would be named
And the days weighed more than the cold copper ore
Cause he feared that he was being framed
Cause he found out that he was being framed

Oh, strange are the ways of western law
Strange are the ways of fate
For the government crawled to the mine owner's call
That the judge was appointed by the state
Yes, The judge was appointed by the state

Oh, Utah justice can be had
But not for a union man
And Joe was warned by summer early morn
That there'd be one less singer in the land
There'd be one less singer in the land

Now William Spry was Governor Spry
And a life was his to hold
On the last appeal, fell a governor's tear
May the lord have mercy on your soul
May the lord have mercy on your soul

Even President Wilson held up the day
But even he would fail
For nobody heard the soul searching words
Of the soul in the Salt Lake City jail
Of the soul in the Salt Lake City jail

For 36 years he lived out his days
And he more than played his part
For his songs that he made, he was carefully paid
With a rifle bullet buried in his heart
With a rifle bullet buried in his heart

Yes, they lined Joe Hill up against the wall
Blindfold over his eyes
It's the life of a rebel that he chose to live
It's the death of a rebel that he died
It's the death of a rebel that he died

Now some say Joe was guilty as charged
And some say he wasn't even there
And I guess nobody will ever know
'Cause the court records all disappeared
'Cause the court records all disappeared

Say wherever you go in this fair land
In every union hall
In the dusty dark these words are marked
In between all the cracks upon the wall
In between all the cracks upon the wall

It's the very last line that Joe Will wrote
When he knew that his days were through
"Boys, this is my last and final will
Good luck to all of you
Good luck to all of you"

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- *From The Wilds Of Cyberspace-The Latest From The Wobblies- The "IWW (Industrial Workers Of The World)" Website

Click on the title to link to the website mentioned in the headline for the latest news and opinion from that site.


IWW Statement in Support of NGWF Campaigns to Increase the Minimum Wage and End Garment Factory Fires
Submitted by jon.christiansen on Fri, 07/23/2010 - 7:37am.
Dear brothers and sisters,

This letter is to declare the strong support of the Industrial Workers of the World (IWW) and the Pittsburgh Anti Sweatshop Community Alliance (PASCA)for the National Garment Worker Federation's (NGWF) campaign to increase the minimum wage from 1,162 Tk. to 5,000 Tk. per month. We are also declaring our support of the campaign: "No More Fires - No More Gate Lock - No More Garment Worker Deaths.”

These campaigns are sorely needed in the garment industry in Bangladesh. In February of 2010, 21 workers died as a result of fire at a garment factory in Bangladesh. Many of these deaths were a direct result of the front gates of the factory being locked, trapping workers on the premises as the fire raged. Sadly this is not an isolated incident. Since 1990 more than 400 garment workers have been killed as a result of factory fires. These deaths could have been prevented if there were adequate fire and safety measures in every garment factory. Therefore we support the NGWF campaign to bring attention to these preventable deaths. In addition to raising awareness the NGWF is also advocating that new safety laws and regulations be put in to place across the country. If laws such as these are implemented we believe many lives will be saved.

Similarly, we strongly support our brothers and sisters in the NGWF as they demand that the minimum wage be increased from 1,162 Tk. (about 24 US dollars) to 5,000 Tk. (about 71 US dollars) by 27 July 2010. The current minimum wage is grossly inadequate for any person to survive in Bangladesh, especially in and around the capital city of Dhaka. Survival on these paltry wages has been particularly difficult as the price of food and essentials has rapidly increased over the last several years. As was pointed out by Brother Amirul Hoque Amin, Bangladesh’s garment workers are the lowest paid of the major garment producing nations.

The IWW also supports actions taken by, and on behalf of, the workers to meet these goals. We also share the belief that if wages are not increased and workers are not protected from early death because of fires and other industrial accidents, it is the government and the companies that share the blame for any unrest that may occur. Increasing wages to a livable level and protecting workers from fires is not too much to ask, but we believe it is too much to ask that workers keep working under these conditions. We hope that the government of Bangladesh and the garment producing companies will do the right and just thing and implement the NGWF demands.

You can help take action by signing the National Labor Committee petition asking Wal-Mart to support the wage increase for Bangladeshi Garment workers. http://salsa.democracyinaction.org/o/677/p/dia/action/public/?action_KEY=4035

In solidarity,

Industrial Workers of the World (IWW), International Solidarity Commission;

Pittsburgh Anti Sweatshop Community Alliance (PASCA)

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- George Mann - Songs of the IWW and Utah Phillips - May 15 In Boston-Tell Me Utah Phillips- Have You Seen Starlight On The Rails?

If I Could Be The Rain I Would Be Rosalie Sorrels-The Legendary Folksinger-Songwriter Has Her Last Go-Round At 83

By Music Critic Bart Webber

Back the day, back in the emerging folk minute of the 1960s that guys like Sam Lowell, Si Lannon, Josh Breslin, the late Peter Paul Markin and others were deeply immersed in all roads seemed to lead to Harvard Square with the big names, some small too which one time I made the subject of a series, or rather two series entitled respectively Not Bob Dylan and Not Joan Baez about those who for whatever reason did not make the show over the long haul, passing through the Club 47 Mecca and later the Café Nana and Club Blue, the Village down in NYC, North Beach out in San Francisco, and maybe Old Town in Chicago. Those are the places where names like Baez, Dylan, Paxton, Ochs, Collins and a whole crew of younger folksingers, some who made it like Tom Rush and Joni Mitchell and others like Eric Saint Jean and Minnie Murphy who didn’t, like  who all sat at the feet of guys like Woody Guthrie and Pete Seeger got their first taste of the fresh breeze of the folk minute, that expression courtesy of the late Markin, who was among the first around to sample the breeze.

(I should tell you here in parentheses so you will keep it to yourselves that the former three mentioned above never got over that folk minute since they will still tell a tale or two about the times, about how Dave Van Ronk came in all drunk one night at the Café Nana and still blew everybody away, about catching Paxton changing out of his Army uniform when he was stationed down at Fort Dix  right before a performance at the Gaslight, about walking down the street Cambridge with Tom Rush just after he put out No Regrets/Rockport Sunday, and about affairs with certain up and coming female folkies like the previously mentioned Minnie Murphy at the Club Nana when that was the spot of spots. Strictly aficionado stuff if you dare go anywhere within ten miles of the subject with any of them -I will take my chances here because this notice, this passing of legendary Rosalie Sorrels a decade after her dear friend Utah Phillips is important.)

Those urban locales were certainly the high white note spots but there was another important strand that hovered around Saratoga Springs in upstate New York, up around Skidmore and some of the other upstate colleges. That was Caffe Lena’s, run by the late Lena Spenser, a true folk legend and a folkie character in her own right, where some of those names played previously mentioned but also where some upstarts from the West got a chance to play the small crowds who gathered at that famed (and still existing) coffeehouse. Upstarts like the late Bruce “Utah” Phillips (although he could call several places home Utah was key to what he would sing about and rounded out his personality). And out of Idaho one Rosalie Sorrels who just joined her long-time friend Utah in that last go-round at the age of 83.

Yeah, came barreling like seven demons out there in the West, not the West Coast west that is a different proposition. The West I am talking about is where what the novelist Thomas Wolfe called the place where the states were square and you had better be as well if you didn’t want to starve or be found in some empty arroyo un-mourned and unloved. A tough life when the original pioneers drifted westward from Eastern nowhere looking for that pot of gold or at least some fresh air and a new start away from crowded cities and sweet breathe vices. A tough life worthy of song and homage. Tough going too for guys like Joe Hill who tried to organize the working people against the sweated robber barons of his day (they are still with us as we are all now very painfully and maybe more vicious than their in your face forbear). Struggles, fierce down at the bone struggles also worthy of song and homage. Tough too when your people landed in rugged beautiful two-hearted river Idaho, tried to make a go of it in Boise, maybe stopped short in Helena but you get the drift. A different place and a different type of subject matter for your themes than lost loves and longings.  

Rosalie Sorrels could write those songs as well, as well as anybody but she was as interested in the social struggles of her time (one of the links that united her with Utah) and gave no quarter when she turned the screw on a lyric. The last time I saw Rosalie perform in person was back in 2002 when she performed at the majestic Saunders Theater at Harvard University out in Cambridge America at what was billed as her last go-round, her hanging up her shoes from the dusty travel road. (That theater complex contained within the Memorial Hall dedicated to the memory of the gallants from the college who laid down their heads in that great civil war that sundered the country. The Harvards did themselves proud at collectively laying down their heads at seemingly every key battle that I am aware of when I look up at the names and places. A deep pride runs through me at those moments)

Rosalie Sorrels as one would expect on such an occasion was on fire that night except the then recent death of another folk legend, Dave Von Ronk, who was supposed to be on the bill (and who was replaced by David Bromberg who did a great job banging out the blues unto the heavens) cast a pall over the proceedings. I will always remember the crystal clarity and irony of her cover of her classic Old Devil Time that night -yeah, give me one more chance, one more breathe. But I will always think of If I Could Be The Rain and thoughts of washing herself down to the sea whenever I hear her name. RIP Rosalie Sorrels 

George Mann - Songs of the IWW and Utah Phillips - May 15
by Boston IWW

Email: wbumpus62 (nospam) comcast.net (verified) 02 May 2011
A fundraiser for encuentro 5 sponsored by the Industrial Workers of the World

Sunday, May 15 @ 2:00 PM (Utah Phillip's birthday)
encuentro 5
33 Harrison Avenue, 5th floor in Chinatown

Suggested Admission $5-$12, no one turned away for lack of funds!
A fundraiser for encuentro 5 sponsored by the Industrial Workers of the World

Sunday, May 15 @ 2:00 PM (Utah Phillip's birthday)
encuentro 5
33 Harrison Avenue, 5th floor in Chinatown

Suggested Admission $5-$12, no one turned away for lack of funds!

George Mann is a New York-based folksinger who sings songs from the last century of labor and social activism, and his own songs are powerful and funny takes on the state of the nation. He also writes songs of hope, healing, struggle and triumph, and for years he recorded and performed with Julius Margolin, who was 93 when he died in August 2009.

His latest CD is "Songs for Jules and Bruce," with songs dedicated to and inspired by both Julius Margolin and Bruce "Utah" Phillips. He also produced the "Until You Come Home" CD, which features such folk legends as Tom Paxton, Utah Phillips, Holly Near, Magpie, John Gorka and more singing about the experiences of war and of returning home. Inspired by the book "Voices of Vets," George created this CD to help welcome home our returning service members and recognize the sacrifices they and their families have made for our country.

also appearing: special guest performer Sergio Reyes of the Boston May Day Committee

Phone: (617) 469-5162 for more info
*******

From the American Left History blog:

Wednesday, May 20, 2009
*Tell Me Utah Phillips- Have You Seen Starlight On The Rails?

Click On Title To Link To Utah Phillips Webpage.

Commentary

I have been on a something of a Utah Phillips/Rosalie Sorrels musical tear lately but I want to pay separate attention to one song, Phillips’ “Starlight On The Rails", that hits home on some many levels- the memories of bumming around the country in my youth, riding and living free (or trying to), my on and off love affair with trains as a mode of transportation, and, of course the political struggle to fix what ails this country. And as Utah acknowledges below in introducing the song (from the Utah Phillips Songbook version) we get a little Thomas Wolfe as a literary bonus. Utah and I, in the end, had very different appreciations of what it takes to do this political fixin' mentioned above but we can agree on the sentiments expressed in his commentary and song.

Utah, aside from his love of trains as a form of personal transportation when he was “on the bum”, also was a vocal advocate for their use as mass transportation. He originally argued this proposition at a time when the railroads were losing passengers in droves to the great automobile explosion. Utah wrote a song for one of his sons “Daddy, What’s A Train?” on the demise of this more people-friendly form of getting around. Since then there has been, due to the mercurial economics of oil and some conscious social and environmental policy planning, something of a resurgence of the train as a means of transportation.

Nevertheless the saga of the train in this writer’s imagination remains more of a boyhood memory than an actuality today. I can still see those historic old names: Union Pacific, Southern Pacific, B&O, and Boston & Maine. I can still hear the whistle blow as the train comes into the station. The conductor’s yell of “All, aboard” or the station’s name. Those rattling sounds of wheels hitting the metal of the rails. But, mainly, I think of the slower times, the time to look at the scenery as the train ambles along and to understand the how, if not the why, of the contours of the way America sprouted up as it out moved in all directions from its Eastern shores.

I noted in a review of a PBS American Experience documentary, “Riding The Rails” (see archives, “Starlight On The Rails, Indeed”, November 4, 2008) growing up in the 1950’s I had a somewhat tenuous connection with trains. My grandparents lived close to a commuter rail that before my teenage years went out of service, due to the decline of ridership as the goal of two (or three) car garages gripped the American imagination in an age when gas was cheap and plentiful. In my teens though, many a time I walked those then abandoned tracks to take the short route to the center of town. I can still picture that scene now trying to hit my stride on each tie. As an adult I have frequently ridden the rails, including a cross-country trip that actually converted me to the virtues of air travel on longer trips.

Of course, my ‘adventures’ riding the rails is quite different than that the one looked at in the American Experience documentary about a very, very common way for the youth of America to travel in the Depression-ridden 1930’s, the youth of my parents’ generation. My own experiences were usually merely as a paying passenger, although when down on my luck I rolled onto a couple of moving trains. An experience not for the faint-hearted, for sure. But this was mainly slumming. Their experiences were anything but. The only common thread between them and me was the desire expressed by many interviewees to not be HERE but to be THERE. I spent a whole youth running to THERE. But enough of this- let Utah tell his story about the realities, not the romance of the rails.

Guest Commentary

Starlight On The Rails- Utah Phillips

This comes from reading Thomas Wolfe. He had a very deep understanding of the music in language. Every now and then he wrote something that stuck in my ear and would practically demand to be made into a song.

I think that if you talk to railroad bums, or any kind of bum, you'll see that what affects them the most is homelessness, not necessarily rootlessness. Traveling is all right if you have a place to go from and a place to go to. It's when you don't have any place that it becomes more difficult. There's nothing you can count on in the world, except yourself. And if you're an old blown bum, you can't even do that very well. I guess this is a home song as much as anything else.

We walked along a road in Cumberland and stooped, because the sky hung down so low; and when we ran away from London, we went by little rivers in a land just big enough. And nowhere that we went was far: the earth and the sky were close and near. And the old hunger returned - the terrible and obscure hunger that haunts and hurts Americans, and makes us exiles at home and strangers wherever we go.

Oh, I will go up and down the country and back and forth across the country. I will go out West where the states are square. I will go to Boise and Helena, Albuquerque and the two Dakotas and all the unknown places. Say brother, have you heard the roar of the fast express? Have you seen starlight on the rails?

STARLIGHT ON THE RAILS
(Bruce Phillips)

I can hear the whistle blowing
High and lonesome as can be
Outside the rain is softly falling
Tonight its falling just for me

Looking back along the road I've traveled
The miles can tell a million tales
Each year is like some rolling freight train
And cold as starlight on the rails

I think about a wife and family
My home and all the things it means
The black smoke trailing out behind me
Is like a string of broken dreams

A man who lives out on the highway
Is like a clock that can't tell time
A man who spends his life just rambling
Is like a song without a rhyme


Daddy What's A Train

Most everybody who knows me knows that I'm a train nut. In Dayton, Ohio, when I was 12 years old during the Second World War, there was a railroad that went close by Greenmont Village. A bunch of the kids and I built a fort out of old railroad ties, half dug in the ground and half above the ground. We let a bum sleep in there one night - I think he was the first railroad bum I remember meeting - came back the next day and it had been burned down. He'd evidently set it on fire or started it accidentally.

Playing around in that fort we'd see the big steam engines run by. The engineers would wave, and the parlor shack back in the crummy - that's the brakeman who stays in the caboose - would wave, too. Put your ear down on the rail and you could hear the trains coming. We'd play games on the ties and swing ourselves on the rails. Also we'd pick up a lot of coal to take home. I understand that during the Depression a lot of families kept their homes warm by going out along the right of way and picking up coal that had fallen out of the coal tenders.
This song is written for my little boy Duncan. His grandfather, Raymond P. Jensen, was a railroad man for over 40 years on the Union Pacific, working as an inspector. There's a lot of railroading in Duncan's family, but he hasn't ridden trains very much.



(sung to chorus tune)
When I was just a boy living by the track
Us kids'd gather up the coal in a great big gunny sack,
And then we'd hear the warning sound as the train pulled into view
And the engineer would smile and wave as she went rolling through;

(spoken)
She blew so loud and clear
That we covered up our ears
And counted cars as high as we could go.
I can almost hear the steam
And the big old drivers scream
With a sound my little boy will never know.

I guess the times have changed and kids are different now;
Some don't even seem to know that milk comes from a cow.
My little boy can tell the names of all the baseball stars
And I remember how we memorized the names on railroad cars -


The Wabash and TP
Lackawanna and IC
Nickel Plate and the good old Santa Fe;
Names out of the past
And I know they're fading fast
Every time I hear my little boy say.

Well, we climbed into the car and drove down into town
Right up to the depot house but no one was around.
We searched the yard together for something I could show
But I knew there hadn't been a train for a dozen years or so.

All the things I did
When I was just a kid-
How far away the memories appear,
And it's plain enough to see
They mean a lot to me
'Cause my ambition was to be an engineer.

Copyright ©1973, 2000 Bruce Phillips
Labels: ANARCHISM, communism, folk and politics, folk historian, folk revival, IWW, leon trotsky, Rosalie Sorrels, UTAH PHILLIPS


posted by Markin at 6:04 AM

3 Comments:
Jud said...
I miss Utah. I had the chance to meet him once when I was in college and he was doing a tour of the Deep South. In an ironic twist of fate, I had 'discovered' him only a few weeks prior in a cassette of his songs my dad had sent me. I went to his show and was captivated, bought a couple of IWW songbooks and had him sign one for my dad. Thanks for the memory and for helping keep the dreams alive.

8:26 PM


Skip Luke said...
I'm sure I saw him one time .... working as a telegraph operator at Tolono, Ill. on the Illinois Central where we crossed the old Wabash RR. (yes, that Tolono.) Guy with a beard, cowboy hat, and guitar gets off the Wabash passenger train and asks about a bus to Champaign. This was in the early 60's, IIRC. I didn't know anything about him at that time, but later when I became a fan and saw his picture, I am sure that it was him.

10:27 PM


Uncle Fred Wilson said...
Utah Phillips didn't write Starlight on the Rails, although he loved the song. It was written by Louise Scruggs for her husband Earl and Lester Flatt. Don't know where she got that kind of insight. Maybe through personal acquaintances. Uncle Fred Wilson

8:19 PM

From The "American Left History" Archives- "Bread and Roses"-Class Struggle in Lawrence, Circa 1912

Click on the headline to link to the "Bread And Roses" Centennial Website- A Brief History Of The Great Lawrence (Ma) Textile Strike Of 1912

BOOK REVIEW

Bread and Roses: Mills, Migrants and the Struggle for the American Dream, Bruce Watson, Penguin Books, New York, 2005

Every leftist political movement has its ‘high holy days’ of remembrance, or it should. The international labor movement has May Day and in the America labor movement today, Labor Day. There are, however, other days worthy of celebration by militants here in America (and internationally) like the anniversaries of Sacco and Vanzetti, the great general strikes of 1934 in Toledo, Minneapolis and San Francisco and the subject of this review the great ‘Bread and Roses’ strike in the textile mills of Lawrence, Massachusetts in 1912. That, until recently, this heroic (and victorious) strike was not remembered officially under any conditions by that very representative working class city and that its continues to remain shrouded in ignorance tells as much about contemporary American labor as any other indicator. That ignorance is something that Professor Bruce Watson has with this effort attempted to remedy. As an important work of labor history Watson has done more than a commendable job. Moreover, because he has done such a scholarly, well-written and easily readable work today’s militants can draw many lessons from that seemingly long ago labor struggle.

On completion of this book I was struck by the parallels between the conditions that fostered that 1912 strike, the social composition of that work force and the attitudes of those bosses and today’s ‘globalized’ capitalist working conditions. The ethnic and racial groupings today that make up the core of the American working class, for example, are somewhat different from those that fought the 1912 where South and East Europeans predominated. However, the much overused sociological term ‘melting pot’ still applies to the extend that the working class is not heterogeneous in its racial and ethnic makeup, a factor that not only aids the breakdown of class unity but is, a more or less, conscious stratagem of the bosses to divide the working class at the base. Moreover, although we are not talking about fighting for nickel and dime raises like those asked for then today the wage system has created a wider gap between rich and poor that would not be unfamiliar to those strikers long ago. And certainly the bosses have not changed, although they are certainly slicker than in those days of William Woods and the other textile magnates. And they put their money where their mouths are, spending over a billion dollars a years to defeat unionization drives and strike action.

One question, on which there is no comparison, or none worthy of mention, is the difference in labor leadership as the 1912 strike evolved and today’s labor leadership. This refers not only to the differences in political perspective of the Bill Haywood and Joseph Ettor-led Industrial Workers of the World (IWW) and today’s Democratic Party-embedded labor leadership which are striking enough but about the nature of society and politics. Fundamentally the old preamble to the IWW constitution drawn up in 1905 is correct in its assertion that there are two distinct and different class interests in the world and at the end of the day they are irreconcilble. Today’s labor leadership acts as if there wasn’t a capitalist that it did not like. An interesting sidelight to the IWW-led 1912 struggle was the attempt by the conservative traditional craft unions associated with the AFof L during the strike to break away from the bulk of the unskilled laborers who formed the core of the textile industry. That has happened in later struggles as well.

One thing that was clear then and has been muddied by today’s labor bureaucracy (with no little help from social democratic and other leftists) is the role of the state. If any mass struggle in the last one hundred years points out the capitalist class nature of the American state it is Lawrence. At every critical point from the first day of the strike and from the lowest level of government the police and military power of the state was used against the working class and in defense of the interests of the capitalist class. This is the class struggle in the raw, up close and personal, that usually only gets exposed in pre-revolutionary or revolutionary situations.

If nothing else, whatever Professor Watson’s personal political sympathies may be, he has performed a great service by placing the Lawrence strike in the context of the development of American capitalism, especially in its post-robber baron period; the development of the multi-ethnic working class; the role of the development of light industry and the Merrimack Valley in the development of American capitalism; the creation and furtherance of a radical response to the primitive capitalist production conditions; and, the role of the state in capitalist society. One may fault Professor Watson with a bit of a ‘kitchen sink’ approach to this work when he brings in every possible event and personality that can reasonably or logically be connected with the Lawrence strike in any way. Even Marxists recognize limits to the interrelatedness of events in any particular situation. However, that is a small price to pay for this important addition to labor history. Kudos.

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- For The Late Rosalie Sorrels-An Old Wobblie Goes Home- Farewell Working Class Warrior Utah Phillips

Click On Title To Link To Utah Phillips Web page.

If I Could Be The Rain I Would Be Rosalie Sorrels-The Legendary Folksinger-Songwriter Has Her Last Go-Round At 83

By Music Critic Bart Webber

Back the day, back in the emerging folk minute of the 1960s that guys like Sam Lowell, Si Lannon, Josh Breslin, the late Peter Paul Markin and others were deeply immersed in all roads seemed to lead to Harvard Square with the big names, some small too which one time I made the subject of a series, or rather two series entitled respectively Not Bob Dylan and Not Joan Baez about those who for whatever reason did not make the show over the long haul, passing through the Club 47 Mecca and later the Café Nana and Club Blue, the Village down in NYC, North Beach out in San Francisco, and maybe Old Town in Chicago. Those are the places where names like Baez, Dylan, Paxton, Ochs, Collins and a whole crew of younger folksingers, some who made it like Tom Rush and Joni Mitchell and others like Eric Saint Jean and Minnie Murphy who didn’t, like  who all sat at the feet of guys like Woody Guthrie and Pete Seeger got their first taste of the fresh breeze of the folk minute, that expression courtesy of the late Markin, who was among the first around to sample the breeze.

(I should tell you here in parentheses so you will keep it to yourselves that the former three mentioned above never got over that folk minute since they will still tell a tale or two about the times, about how Dave Van Ronk came in all drunk one night at the Café Nana and still blew everybody away, about catching Paxton changing out of his Army uniform when he was stationed down at Fort Dix  right before a performance at the Gaslight, about walking down the street Cambridge with Tom Rush just after he put out No Regrets/Rockport Sunday, and about affairs with certain up and coming female folkies like the previously mentioned Minnie Murphy at the Club Nana when that was the spot of spots. Strictly aficionado stuff if you dare go anywhere within ten miles of the subject with any of them -I will take my chances here because this notice, this passing of legendary Rosalie Sorrels a decade after her dear friend Utah Phillips is important.)

Those urban locales were certainly the high white note spots but there was another important strand that hovered around Saratoga Springs in upstate New York, up around Skidmore and some of the other upstate colleges. That was Caffe Lena’s, run by the late Lena Spenser, a true folk legend and a folkie character in her own right, where some of those names played previously mentioned but also where some upstarts from the West got a chance to play the small crowds who gathered at that famed (and still existing) coffeehouse. Upstarts like the late Bruce “Utah” Phillips (although he could call several places home Utah was key to what he would sing about and rounded out his personality). And out of Idaho one Rosalie Sorrels who just joined her long-time friend Utah in that last go-round at the age of 83.

Yeah, came barreling like seven demons out there in the West, not the West Coast west that is a different proposition. The West I am talking about is where what the novelist Thomas Wolfe called the place where the states were square and you had better be as well if you didn’t want to starve or be found in some empty arroyo un-mourned and unloved. A tough life when the original pioneers drifted westward from Eastern nowhere looking for that pot of gold or at least some fresh air and a new start away from crowded cities and sweet breathe vices. A tough life worthy of song and homage. Tough going too for guys like Joe Hill who tried to organize the working people against the sweated robber barons of his day (they are still with us as we are all now very painfully and maybe more vicious than their in your face forbear). Struggles, fierce down at the bone struggles also worthy of song and homage. Tough too when your people landed in rugged beautiful two-hearted river Idaho, tried to make a go of it in Boise, maybe stopped short in Helena but you get the drift. A different place and a different type of subject matter for your themes than lost loves and longings.  

Rosalie Sorrels could write those songs as well, as well as anybody but she was as interested in the social struggles of her time (one of the links that united her with Utah) and gave no quarter when she turned the screw on a lyric. The last time I saw Rosalie perform in person was back in 2002 when she performed at the majestic Saunders Theater at Harvard University out in Cambridge America at what was billed as her last go-round, her hanging up her shoes from the dusty travel road. (That theater complex contained within the Memorial Hall dedicated to the memory of the gallants from the college who laid down their heads in that great civil war that sundered the country. The Harvards did themselves proud at collectively laying down their heads at seemingly every key battle that I am aware of when I look up at the names and places. A deep pride runs through me at those moments)

Rosalie Sorrels as one would expect on such an occasion was on fire that night except the then recent death of another folk legend, Dave Von Ronk, who was supposed to be on the bill (and who was replaced by David Bromberg who did a great job banging out the blues unto the heavens) cast a pall over the proceedings. I will always remember the crystal clarity and irony of her cover of her classic Old Devil Time that night -yeah, give me one more chance, one more breathe. But I will always think of If I Could Be The Rain and thoughts of washing herself down to the sea whenever I hear her name. RIP Rosalie Sorrels 

Tribune Commentary

I have just received word that the legendary folksinger/ union organizer and old-fashioned Wobblie Utah Phillips has died out in California. Apparently he died on Saturday May 24th. Ironically, given some of my comments below regarding a review of his last CD, Starlight on the Rails, that date is also Bob Dylan's birthday. I have reposted commentaries that I have done over the last couple of years on Utah. Adieu, old class warrior


Commentary

I have just received this communication about Utah Phillips from a local folksong society newsletter. I would add that I saw Utah playing at a club in Cambridge last spring (2007) and he looked a little off then. I have reposted below a CD Review of his anthology Starlight On The Trail from 2006 for those unfamiliar with his music and his politics. We differ on the politics but please help this old class warrior. I have added a link to his website here.

I have also added a link to the Industrial Workers of the World (IWW, Wobblies) website.

Utah Phillips needs help

Unions Passing Resolutions to Honor, Assist Folksinger/Storyteller Bruce "Utah" Phillips

The great folksinger and storyteller Utah Phillips has had to retire from performing due to chronic and serious heart problems that have plagued him for years. In recognition of his great love for and work on behalf of the union movement and working people of the United States, several union locals have passed resolutions honoring Phillips and attaching donations for his "retirement fund." Unable to travel or stand the rigors of performing a two-hour concert, Phillips has seen his main source of income vanish just when his medical problems are demanding more money for treatment and medications.

In response, Local 1180 of the Communications Workers of America (NYC), and both the Detroit and the James Connolly (Upstate New York) Branches of the Industrial Workers of the World (IWW) have recently passed the following resolution:

Bruce "Utah" Phillips is a truly unique American treasure. Not just a great folksong writer and interpreter, not just a great storyteller, Utah has preserved and presented the history of our nation's working people and union movement for audiences throughout the world. His recorded work keeps these songs and stories alive. He has spoken up against the injustices of boss-dominated capitalism and worked for peace and justice for more than 40 years.

Now Utah finds himself unable to continue performing due to severe heart problems. We wish to honor and recognize his great talent, spirit and love for the working people and the union movement of the United States. Therefore, we move to pass this resolution in gratitude for all he has done and will continue to do in his
work and life. We also wish to contribute to Utah Phillips in appreciation and in solidarity as he and his wife, Joanna Robinson, deal with his health and the loss of his ability to work.

This news is being released with the hope that other unions, anti-war and labor-affiliated organizations will respond in kind by passing this or similar resolutions in appreciation for all Utah Phillips has done for the cause of unions and peace.

Another way that organizations and individuals can help is by purchasing some or all of Utah's vast catalog of songs and stories. All of his CDs and more information are available at his website, www.utahphillips.org, and Utah has begun posting pod casts up there that you can download and listen to! You can also order his CDs online (credit card sales) through www.cdbaby.com but be advised that prices are cheaper and more of that money will go into Utah's hands if you order directly from him. More info on his website.

Here's the address for CD orders and to send a donation: U. Utah Phillips, No Guff Records, P.O. Box 1235, Nevada City, CA 95959, (530) 265-2476

Utah has given so much of himself to the labor and peace movements. It is great news that some unions and many have chosen to give something back to him, to allow him and his wife, Joanna Robinson, to rest easy, work on his long-term health, and not have to worry about where money will come for the medicine and bills he has to pay.

In Solidarity, George Mann


AN UNREPENTANT WOBBLIE AT WORK

CD REVIEW

STARLIGHT ON THE RAILS- UTAH PHILLIPS, 2005

Although this space is mainly dedicated to reviewing political books and commenting on past and current political issues as a way to orient today’s alienated radical youth on the lessons of the past literary output is hardly the only form of political creation. Occasionally in the history of the American and international left musicians, artists and playwrights have given voice or provided visual reminders to the face of political struggle. With that thought in mind, every once in a while I will use this space to review those kinds of political expression.

My musical tastes were formed, as were many of those of the generation of 1968, by ‘Rock and Roll’ music exemplified by the Rolling Stones and Beatles and by the blues revival, both Delta and Chicago style. However, those forms as much as they gave pleasure were only marginally political at best. In short, these were entertainers performing material that spoke to us. In the most general sense that is all one should expect of a performer. Thus, for the most part that music need not be reviewed here. Those who thought that a new musical sensibility laid the foundations for a cultural or political revolution have long ago been proven wrong.

That said, in the early 1960’s there nevertheless was another form of musical sensibility that was directly tied to radical political expression- the folk revival. This entailed a search for roots and relevancy in musical expression. While not all forms of folk music lent themselves to radical politics it is hard to see the 1960’s cultural rebellion without giving a nod to such figures as Dave Van Ronk, the early Bob Dylan, Utah Phillips, Joan Baez, Pete Seeger, Woody Guthrie and others. Whatever entertainment value these performers provided they also spoke to and prodded our political development. They did have a message and an agenda and we responded as such. That these musicians’ respective agendas proved inadequate and/or short-lived does not negate their affect on the times.

My leftist political consciousness, painfully fought for in my youth coincided with an expansion of my musical tastes under the influence of the great blues and folk revivals of the 1960’s. Unfortunately my exposure to the blues greats was mainly on records as many of them had been forgotten, retired or were dead. Not so with the folk revival which was created mainly by those who were close contemporaries. Alas, they too are now mainly forgotten, retired or dead. It therefore is with special pleasure that I review Utah Phillips Songbook while he is very much alive.

Many of the folksingers of the 1960’s attempted to use their music to become troubadours for social change. The most famous example, the early Bob Dylan, can be fairly described as the voice of his generation at that time. However, he fairly quickly moved on to other concepts of himself and his music. Bob Dylan’s work became more informed by the influences of Rimbaud and Verlaine and the French Symbolists of the late 1800’s and thus moved away to a more urban, sophisticated vision. From the start and consistently throughout his long career Utah has acted as a medium giving voice to the troubles of ordinary people and the simpler ethos of a more rural, Western-oriented gone by day in the American experience. He evokes in song the spirit of the people Walt Whitman paid homage to in poetic form and John Dos Passos and John Steinbeck gave in prose. He sits comfortably in very fast company. Therefore, Utah Phillips can justly claim the title of a people’s troubadour.

A word about politics. Generally, one rates music without reference to politics. However, Utah has introduced the political element by the way he structured the Songbook. Each song is introduced by him as to its significance heavily weighted to his political experiences, observations and vision. Thus, political comment is fairly in play here. Utah is a long time anarchist and unrepentant supporter of the Wobblies (Industrial Workers of the World, hereafter IWW). Every militant cherishes the memory of the class battles led by the IWW like the famous Lawrence strike of 1912 and honors the heroes of those battles like Big Bill Haywood and Vincent St. John and the militants they recruited to the cause of the working class in the first part of the 20th century. They paved the way for the later successful organization drives of the 1930’s.

Nevertheless, while Utah and I would both most definitely agree that some old-fashioned class struggle by working people in today’s one-sided class war would be a very good thing we as definitely differ on the way to insure a permanent victory for working people in order to create a decent society. In short, Utah’s prescriptions of good moral character, increased self-knowledge and the creation of small intentional communities are not enough. Under modern conditions it is necessary to take and safeguard political power against those who would quite consciously deny that victory. History has been cruel in some of the bitter lessons working people have had to endure for not dealing with the question of taking state power to protect their interests. But, enough said. I am more than willing to forgive the old curmudgeon his anarchist sins if he’ll sing ‘I Remember Loving You’ the next time he tours the Boston area.

In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- From "Boston IndyMedia"-The Man Who Never Died: The Life, Times, and Legacy of Joe Hill

The Man Who Never Died: The Life, Times, and Legacy of Joe Hill
by anonymous
(No verified email address) 05 Jul 2011

July 5, 2011

Review, The Man Who Never Died: The Life, Times, and Legacy of Joe Hill, American Labor Icon, by William M. Adler

Review by Richard Myers

Big Bill Haywood used to call revolutionary industrial unionism, the organizing philosophy of the Industrial Workers of the World, “socialism with its working clothes on.” Writing for the International Socialist Review from his prison cell, Joe Hill offered an example of such hands-on belief. Hill had recently arrived in Utah from the docks of California where many of the jobs were temporary. Therefore it was “to the interest of the workers ‘to make the job last’ as long as possible,” Hill wrote in his article, “How to Make Work for the Unemployed.”

Joe continued,

"The writer and three others got orders to load up five box cars with shingles. When we commenced the work we found, to our surprise, that every shingle bundle had been cut open. That is, the little strip of sheet iron that holds the shingles tightly together in a bundle, had been cut with a knife or a pair of shears, on every bundle in the pile—about three thousand bundles in all.

"When the boss came around we notified him about the accident and, after exhausting his supply of profanity, he ordered us to get the shingle press and re-bundle the whole batch. It took the four of us ten whole days to put that shingle pile into shape again. And our wages for that time, at the rate of 32c per hour, amounted to $134.00. By adding the loss on account of delay in shipment, the “holding money” for the five box cars, etc., we found that the company’s profit for that day had been reduced about $300.

"So there you are. In less than half an hour time somebody had created ten days’ work for four men who would have been otherwise unemployed, and at the same time cut a big chunk off the boss’s profit. No lives were lost, no property was destroyed, there were no law suits, nothing that would drain the resources of the organized workers. But there WERE results. That’s all."

Joe Hill didn’t mention how the “accident” occurred, nor who the “somebody” was that created all of this extra work. He simply observed that it was a practical means of redistributing capitalist profit among workers, and thereby recommended such circumstances to others. It is little wonder that capitalist interests in Utah saw merit in executing Hill when they had the opportunity.

Joe Hill was a writer, a musician, a song writer, and a cartoonist. His wit was sharp, his intelligence keen, and his working class life, if typical of his time, was also exemplary. Yet in some circles, Joe Hill’s legacy has been shadowed by some level of doubt. The popular union activist – arguably the best known union icon of all time – was, after all, convicted of murder, and was subsequently executed by the state of Utah in 1915.

Biographers researching Joe Hill list numerous ways in which his trial was flawed: the judge short-circuited the jury selection process, assigning hand-picked jurors to the case in spite of defense objections. Jury instructions delivered by the judge mis-characterized Utah’s laws of evidence. Any attempt to introduce evidence that might have exonerated Joe Hill was routinely ruled out of order. Evidence that didn’t fit the facts was made to fit by prosecution attorneys given leeway to lead witnesses.

Angered that his trial had become a farce, Hill fired his first set of attorneys. The judge essentially countermanded Hill’s decision, ordering those same attorneys to remain on the case. The inability to manage his own defense caused Joe Hill a considerable amount of consternation throughout the trial, which ultimately resulted in a guilty verdict.

Hill likewise faced a stacked deck on appeal. The appeals court judges made up the pardons board as well, in essence reviewing their own decisions. Irritated by widespread criticism of the trial (including two inquiries from the president of the United States), the pardons board itself became a source of “malicious and deceitful” falsehoods about the condemned prisoner.

William M. Adler’s excellent new book, The Man Who Never Died, recounts considerable new information about the life and legacy of Joe Hill. Adler spent five years walking the ground, poking into dark places, discovering long-hidden truths. He traveled to Sweden to meet Joe’s family and research his childhood. Adler then followed Joe to America, to California and Canada, through his brief role in the Mexican Revolution, and subsequently, to the bitter end in Utah.

Like much of North America at the time, Utah was experiencing labor discontent. The Industrial Workers of the World had won a strike by railroad construction workers in the summer of 1913, and business leaders vowed that it wouldn’t happen again. Joe Hill arrived a short time later, and within a year, the popular Wobbly troubadour would be condemned to death.

Joe Hill was convicted largely on the basis of a gunshot wound he sustained the same night that a Salt Lake City grocer and his son were murdered in their store. Joe’s off-the-record explanation attributed the gunshot to a dispute over a woman.

In the aftermath of the two murders, Utah authorities arrested a hard-bitten criminal, a consummate con artist and thug known to have been engaged in a notorious and violent crime wave throughout the region. Magnus Olson did time in Folsom State Prison in California, the Nevada State Penitentiary, and at least seven other lockups during his fifty year crime spree. While the Salt Lake City police took Olson into custody on suspicion related to the grocery store shootings, they were thrown off by his artful lying and his routine use of pseudonyms. In spite of some incriminating evidence, they failed to identify Olson as the notorious wanted criminal, and they let him go.

Ironically, when they arrested Joe Hill (who resembled Olson) for the crime, Utah authorities suspected that Olson (under a different name) was the murderer. For a time they even believed Hill and Olson to be the same man. Having failed to sort out the real identities of their detainees, Utah authorities eventually settled on the union agitator as their trophy prisoner. After all, Hill’s gunshot wound seemed persuasive enough for a conviction, and they tailored their case to that one, unalterable fact.

Was the real Olson a more likely perpetrator of the grocery store murders than Joe Hill? Adler notes that during a career of some five decades, Olson “burglarized homes, retail stores, and boxcars; he blew safes, robbed banks, stole cars, committed assault and arson, and in all likelihood, had committed murder.” Adler’s painstaking research places Olson in the Salt Lake City area at the time of the murders, and most probably, in the very neighborhood where the murders occurred. The murdered grocer – a former police officer – had been attacked before, and believed that he was being targeted. Olson had a reputation for violent revenge against his adversaries, a probable motive which nicely dovetailed with the crime for which Joe Hill would die. Joe Hill was newly arrived in Utah, and no motive was established for Hill as perpetrator. In spite of uncertainty whether either of two assailants at the grocery store had been fired upon, let alone wounded, Hill’s gunshot injury was all the evidence necessary to convict him, in the view of prosecutors.

But what of Joe Hill’s alibi that he’d been shot over a woman, a person whose identity was never officially revealed to the court? Adler identifies Hilda Erickson, of Hill’s host family in Utah, as his secret love interest. Joe’s unofficial – yet far from unnoticed – sweetheart, Hilda must have been much on the minds of onlookers throughout Joe Hill’s trial. She visited Joe through the prison bars every Sunday, yet at Joe’s direction, they were careful to prevent anyone from overhearing their conversations. When Hill, facing death, was allowed a private meeting with associates, Hilda was among the few people he saw. Hilda later stood vigil at the prison when Joe was executed, and she was one of the pall bearers at his funeral.

Moving Joe Hill’s secret romantic saga from conjecture to historical record, Adler’s book includes a sensational discovery, a letter penned by Hilda Erickson describing what had happened many years before, and her account confirms Joe Hill’s ostensible alibi. She had been the sweetheart of Joe’s friend and fellow Swedish immigrant, Otto Appelquist (who had arrived in Utah before Joe). Hilda broke off that engagement after Joe arrived, leaving Otto and Joe to become rivals for her attention. One day Erickson returned to her family’s home (where the two men were boarding) to discover that Joe had a bullet wound, while Otto was making excuses for leaving – for good, as it turned out. Otto Appelquist had shot Joe in a fit of jealousy, then regretted the deed, immediately carrying Joe to a doctor. Perhaps fearful of arrest for the shooting and uncertain whether Joe would survive, Otto left at two in the morning (to find work, he had declared), and never returned. The doctor would later turn Joe in after hearing of the grocery store murders – and a sizeable reward.

Why didn’t Hilda voluntarily step forward when her testimony might have saved Joe Hill? She was just twenty years old, and there is some indication that Joe Hill advised her not to. He probably sought to shield her from publicity – an instinctive reaction for the Swede with roots in his family’s experiences in their homeland. Ever the idealist, Joe Hill may also have sought to avoid testimony that might endanger his friend, countryman, and fellow worker, Otto.

At first, Joe was convinced that Utah couldn’t convict him because he was innocent. Utah society had sought to throw off its reputation for frontier justice, and it was almost possible to believe that the rule of law meant something. Somewhat surprisingly, Joe Hill accepted implicitly the legal principle that a defendant would not be considered guilty for not testifying, and he overvalued the judicial aphorism of innocent until proven guilty.

Utah courts routinely disregarded both of these principles in the Joe Hill case. Throughout the trial it became increasingly apparent that the Utah system of justice concerned itself more with expunging a perceived evil than with justice. A prominent union man had been accused of a heinous crime, and evidence to the contrary simply wasn’t to be considered. Joe Hill realized too late the danger he was in.

The circumstances of Joe Hill’s trial in Utah – a union man accused of murder, and fighting for his life – may be put into perspective by briefly examining another murder which occurred during, and as a direct result of the trial. Inveighing against injustice, twenty-five year old Ray Horton – president of Salt Lake City’s IWW branch – publicly cursed the imperative that causes some men to wear a badge. For his vocal audacity, Horton was abruptly shot by an onlooker, and then received two more bullets in the back as he staggered away. The killer, a retired lawman, was initially jailed for first degree murder, but was held for only one day. Upon his release, the killer was hailed as a hero at the Salt Lake City Elks Club, with a luncheon in his honor. Newspapers editorialized that this cold blooded murder was justified because Horton – a union man exercising free speech – was asking for it.

That a union man in Utah may be killed with impunity for his attitude seemed to likewise play a role in Hill’s pardons board hearing. One cannot say that Joe Hill had no chance whatsoever to save his own life. His pride and his contempt for a flawed process played a significant role in his fate. As implacable as Utah justice seemed for a union man, one has the sense from the recorded pardons board discussion that even at that late date, Joe Hill might have derailed his imminent execution if he threw himself upon the mercy of the court, explaining at long last how he had been wounded by a gunshot. The board dangled a pardon or a commutation before him, but Hill insisted that wasn’t good enough, calling such a possibility “humiliating.” In response to entreaties to testify, Hill promised the pardons board that he would offer them the full story, if he was granted a new trial. The pardons board declared it had no authority to order a new trial. Having embraced the slogan “New Trial or Bust” before his many supporters, Hill told the pardons board, “If I can’t have a new trial, I don’t want anything.”

Equally stubborn in its own way, the pardons board determined that Hill would either “eat crow” (as Hill described it) in the manner that they demanded – tell all with contrition before the pardons board, with no guarantees that it would make any difference – or die.

Adler explains why Joe Hill may have seen martyrdom as a noble and worthwhile cause. Joe Hill was too idealistic, too stubborn, too proud to give them the satisfaction of breaking him. Joe Hill told the pardons board, “Gentlemen, the cause I stand for, that of a fair and honest trial, is worth more than human life – much more than mine.” In his estimation they hadn’t proved him guilty; why should he be required to prove himself innocent?

The Joe Hill that shines through this work is idealistic, unselfish, proud, impulsive, principled, protective, stubborn, and at times, a little naïve in the face of implacable authority. That the governments and courts of Salt Lake City and the state of Utah should prove themselves as intransigent and unprincipled as the captains of industry about whom he’d so often sloganeered, may have caught Joe by surprise. Having discovered the truth of the matter, he dedicated his very being to the principle that justice must prevail, that sacrifice for such a cause was a worthwhile endeavor. In spite of incarceration and a capital sentence, Joe Hill managed to the very end to exercise some measure of control over his own life. And, to the extent he was able, over his death.

Adler’s prose is first rate, his analysis of history impeccable. He draws conclusions where appropriate, and presents an honest account, yet allows the reader to put together the final pieces of the puzzle.

At the end, do we know for certain who committed the grocery store murders? No. But we have a narrative which clearly demonstrates: Joe Hill never fit the profile of a cold blooded killer, while another man detained momentarily for the same crime did fit such a profile, in spades. The other man was released to continue his life of crime. Olsen later became a henchman of the notorious Al Capone in Chicago, while Joe Hill, the union man who left a rich legacy in song and wrote articles for socialist publications, was sent to his death. Hill’s funeral in that same city, attended by some thirty thousand, would help to launch the legend that is Joe Hill.

As Joe told his supporters at the last, they weren’t to mourn in his name. They were to organize.

William Adler photo by Randy Nelson

William M. Adler has written for many national and regional magazines, including Esquire, Rolling Stone, Mother Jones, and the Texas Observer. In addition to The Man Who Never Died, he has authored two other books of narrative nonfiction: Land of Opportunity (Atlantic Monthly Press, 1995), an intimate look at the rise and fall of a crack cocaine empire, and Mollie’s Job (Scribner, 2000), which follows the flight of a single factory job from the U.S. to Mexico over the course of fifty years. His work explores the intersection of individual lives and the larger forces of their times, and it describes the gap between American ideals and American realities. Adler lives with his wife and son in Denver, Colorado.

The book The Man Who Never Died by William M. Adler will be available August 30, 2011, for $30. For tour dates, music samples, and a photo gallery, please see http://themanwhoneverdied.com .

Richard Myers is a writer, author, and union activist in Denver, Colorado.

This work is in the public domain