Friday, September 06, 2013

Boosting the minimum wage: A long, uphill fight

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Published: Friday, 6 Sep 2013 | 12:52 PM ET

By: | CNBC.com Economics Reporter
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Protesters at a Walmart store Sept. 5, 2013, in Miami Gardens, Fla.
In the ongoing war to boost the federal minimum wage, the skirmishes have been getting larger and louder, yet success seems as far away as ever.
The latest round of protests Thursday targeted Wal-Mart, with organizers turning out crowds of varying sizes in 15 cities across the country demanding the world's largest retailer pay all employees at least $25,000 a year and stop what they claim is retaliation against strikers.
Two former Wal-Mart workers and one current employee were arrested in New York outside the Manhattan office of investment banker Christopher Williams, a member of the Wal-Mart board of directors.
Labor experts say that proponents of an increase in the $7.25 an hour federal minimum wage, which buys less in real terms today than in a half century, face a set of powerful economic winds that have been blowing for decades: the weakening of unions, the flattening of wages versus productivity, sluggish economic growth and tepid support from politicians.
Thursday's protests followed similar demonstrations last week when thousands of workers at fast-food restaurants in dozens of U.S. cities walked off the job demanding higher wages. Organizers called that effort one of the largest strikes ever against the nation's fast-food companies.
The debate over minimum wage has taken on new energy as the average worker's wage remains stalled in an economy still trying to shake off the lingering damage of the Great Recession. But the lowest paid of American workers have been steadily losing ground to a variety of economic and political forces since the 1970s.
The Fair Labor Standards Act of 1938 established the hourly minimum wage rate at 25 cents for covered workers. Since then, it has been raised 22 times, in part to keep up with rising prices. The latest boost, in July 2009, brought it to $7.25 an hour, or about $15,000 a year for a worker putting in 40 hours a week.
Opponents of a higher minimum wage, supported by a number of economic studies, contend that it would eliminate the very entry-level jobs that low-skilled workers need the most.

Wal-Mart officials say the recent protests don't reflect the views of all of its workers, and that its low-wage jobs offer entry-level employment for low-skilled workers who can earn more as they develop skills and take on more responsibility.
More than 99 percent of Wal-Mart employees make more than minimum wage, and some three-quarters of the company's U.S. managers began with the company as hourly workers, Wal-Mart CEO Michael Duke told CNBC.
"Whatever we do, we sure don't want to take away from the opportunity to get started and the opportunity to grow and be a part of personal growth as well as the growth of our business and the growth of America," he said.
Wal-Mart has also responded forcefully to the periodic protests by unions and other labor groups calling for the company to boost pay and benefits.
In June the company filed a lawsuit in Fort Worth, Texas, against the United Food and Commercial Workers International Union for what it claimed were "confrontational and abusive" demonstrations at stores around the country over the past year.
"They have screamed through bullhorns, paraded around with banners and signs on sticks, conducted in-store 'flash mobs,' and diverted management and local police from their normal job functions," the lawsuit said, according to NBCDFW.com.
The company has filed similar legal actions against local groups in Florida and California.
Despite political support for increasing the federal standard, only 20 states and a number of cities have passed laws requiring higher minimum wages. (San Francisco, at $10.55 an hour, is the highest.)
(Read more: Fast-food strike gets supersized over wages)
Wal-Mart protesters arrested
Protesters were arrested after an attempt to deliver a petition against Wal-Mart. The "Our Wal-Mart" group is protesting nationwide Thursday for higher wages. CNBC's Courtney Reagan reports.
The District of Columbia has become the latest battleground, where Mayor Vincent Gray could decide as early as this week whether to sign a minimum wage bill that would require big retailers, such as Wal-Mart, to pay 50 cents an hour more than the $8.25-an-hour local minimum wage.
If he signs the bill recently approved by the City Council, Wal-Mart could shelve plans to bring six stores—and 1,800 jobs—to the nation's capital, where unemployment, at 9 percent, remains higher than the national average of 7.3 percent.
Government wage mandates have taken on increasing importance following the decades-long decline of labor unions that negotiated pay and benefits. But the recent union-backed protests, which represent a shift away from more traditional efforts to recruit new members, company by company, have been much less successful.
"I think organized labor to some extent bears a significant responsibility for its own demise," said Julius Getman, a professor of employment law at the University of Texas. "Because they didn't put enough effort into organizing they were very much satisfied with the status quo for a long time."
But unions have also seen their power eroded by a lack of political support on Capitol Hill, most notably from the Democrats who have traditionally been organized labor's biggest backers, he said.
(Read more: Minimum wage hike: Just what the economy ordered)

"When President Obama talks about the need to strengthen the middle class, it's stunning to me the extent to which he does not mention unions," said Getman. "It does reflect a modern sense unfortunately that unions have become outdated, that unions no longer are relevant."
Popular support for higher wages has also been tempered by American consumers' appetite, and increasing reliance, on the ultralow prices offered by fast-food chains such as McDonald's and superstores like Wal-Mart.
"We all rather buy cheap at McDonald's," said Getman.
In one detailed study, MIT economist Jerry Hausman found that the arrival of superstores like Wal-Mart in a given area cut prices across a variety of products by an average of about 25 percent. While consumers across all income groups benefited from the drop in prices, low-income households benefited the most, the study found.
But stalled wage growth, especially for the lowest-income households, is beginning to hit discounters where it hurts the most: on the bottom line.
Flat wages, combined with higher payroll taxes, dampened consumer spending in the first half of the year, prompting Wal-Mart last month to warn investors to expect lower sales and profit results in the second half.
Depressed wages also cost taxpayers, according to an analysis earlier this year by the Democratic staff of the U.S. House Committee on Education and the Workforce. The report, which looked at the impact of Wal-Mart's operations in Wisconsin, found that the retailer had more workers enrolled in the state's public health-care programs than any other employer.
State and local public assistance such as earned-income tax credits, food stamps, Medicaid, housing assistance and other state programs for low-income households cost taxpayers as much as $5,800 per employee, according to the researchers. For a 300-worker store, the total tax burden came to as much as $1.7 million a year, the report said.
(Read more: Campaign seeks to push Seattle minimum wage to $15)

Instead of devoting taxes to helping low-income households, proponents of higher minimum wages contend the government should do more to see that the fruits of economic growth and higher productivity are more broadly distributed.
Before 1970, wages rose almost in lockstep with the rising productivity of the workforce. But for a variety of reason, wages flattened, except for a brief period in the 1990s, while productivity continued to advance.
"We made deliberate economic policies that led to a reversal of that broadly shared prosperity," said Heidi Shierholz, an economist at the left-leaning Economic Policy Institute.
"It wasn't like we had an equal society in the pre-1970s world, but the growth of the economy then was not captured only by a tiny sliver at the top. You had rising living standards at the bottom, middle and the top."
One of the most powerful policies is the Federal Reserve's balancing act between the "dual mandate" of maintaining low unemployment and low inflation. The two goals often conflict: economic growth creates jobs, but also sows the seeds of inflation.
Shierholz argues that the modern Fed has leaned too heavily against inflation, allowing unemployment to rise to levels that dampened wage growth.
"If your bosses know you have job opportunities, they have to pay you more to keep you," she said. "Low unemployment is good for wage growth; high unemployment is bad for wage growth."
—By CNBC's John W. Schoen. Follow him on Twitter
Doin' His Midnight Creep- The Howlin' Wolf Story


DVD Review

The Howlin’ Wolf Story, Howlin’ Wolf and various artists and commentators, Productions, 2004

I have reviewed several of Howlin’ Wolf’s CDs in this space previously and had expected that this documentary about the life, the times and the influence of this incredible blues performer would merely be an appetizer for further reviews of his music. Not so. This well-done, lovingly put together and extremely informative documentary is a worthy viewing for the novice and old Wolf aficionados like me. Thus, rather than placing this commentary as a tail to some other Wolf entry it is worthy of separate entry here.

In this presentation filled, as always in this kind of work, with the inevitable “talking heads” we go from Wolf‘s roots down in the Mississippi Delta, cotton country and nothing else, in the 1920’s and 1930’s through to the first stop up the Mississippi at Memphis on to the Mecca Chicago in the post- World War II period and finally to international renown in the blues revival started by the likes of The Rolling Stones and Eric Clapton the mid-1960s. In short we are treated to a view of the trajectory of Wolf’s life; unlike let us say Son House with whom Wolf worked with in the old days who stuck with the country roots, from country blues of the back road jukes to the electricity of the urban ghetto that made those old blues jump for, at first, migratory urban blacks and then young whites like this reviewer. Along the way many of the musicians that worked with Wolf like Hubert Sumerlin, a blues guitarist legend in his own right, and Sam Lay as well as Wolf’s daughters, the Chess Record producer Marshall Chess and others give some amusing stories and anecdotes on the life of the great bluesman. And seemingly as always when blues or rock and roll are mentioned little segments with the ubiquitous Sam Phillips of the well-known Sun Recording studio in Memphis.

I do not generally comment on (or for that matter look at) the special features sections of DVD. Not doing so here would be a mistake. There is some nice home movie footage, some interesting Wolf stories by his companions and rivals, a nice segment on the rivalry between Wolf and Muddy Waters to be “King of The Chicago Blues” and a recording of a radio broadcast of Wolf doing "Little Red Rooster". Damn, I flipped out the first time I heard that song when it was covered by The Rolling Stones in the early 1960’s. I also flipped out when I first heard a Wolf recording of it. I don’t know what I would have done had I heard it on my radio then. Probably started hitchhiking for Chicago.

All of this information is nice but I am sure the reader is just as interested to know about the music. Oh yes there is some great footage of classic Wolf efforts. Of course for this reviewer number one is always Wolf’s "Little Red Rooster". Christ, he is practically eating the harmonica by the end of the song. "Lovin’ Spoonful", "Moaning at Midnight" and a host of other songs get their usual professional Wolf treatment. That is a point to be underscored, he was a professional in his approach to the music, its presentation and the way that he could influence a genre that he practically build (along with his competitor Muddy Waters) from scratch. If you need an hour of the Wolf doin’ his Midnight Creep then you really have to see this documentary. Kudos to the filmmakers on this one.
***Out In The 1960s Be-Bop Night- Wait Until Dark- A Film Review


DVD Review

Wait Until Dark, starring Audrey Hepburn, Efram Zimbalist, Junior, Alan Arkin, Warner Brothers, 1967


If anybody touches a hair on the head of Audrey Hepburn they have to answer to me. Okay? Except in this little psychological thriller of a film, Wait Until Dark, from the late 1960s Ms. Hepburn seems to be doing just fine, just fine in her newly sightless world and therefore I will only need to provide back-up. And I am ready, more than ready, to provide such service if that main villain here, played by Alan Arkin, comes anyway near the neighborhood again. He may not be pure evil in the Faustian literary sense but on the streets of New York (or name the city) he is as close as one needs to get. And live.

Needless to say given the times, then or now, criminals, especially low-life master criminals like Arkin looking to move up the drug cartel food chain are a blight on society. And a terror to those without sight who stand in the way of, in the case, a drug-filled doll from foreign parts unknown brought in by a “mule” who decided to turn pro and run her own operation who passes off her ill-gotten bounty to Hepburn’s unsuspecting husband (played by Zimbalist) when the heat is on (and Arkin is hip to her plans). But here is where the dramatic tension comes in. The life and death duel between Arkin (and his confederates) balanced against the blind Ms. Hepburn’s fear-driven efforts to foil the bad guys which is a great sign for our side. But it still goes. Keep your mitts off Ms. H. Get it.
From The Marxist Archives -In Honor Of The 75th Anniversary Of The Founding Of The Leon Trotsky-Led Fourth International


Workers Vanguard No. 942
11 September 2009

TROTSKY

LENIN

Slavery and the Origin of the Race Ideology

(Quote of the Week)



Veteran American Trotskyist Richard Fraser developed the materialist approach to the black question in the 1950s in a series of articles and lectures for internal discussion in the then-revolutionary Socialist Workers Party. The ideology of race is a socially derived category used to justify the system of black chattel slavery in the American South, and black oppression continued as a bedrock of American capitalism even after the Civil War smashed the slavocracy. Fraser advanced the program of revolutionary integrationism: a proletarian-centered struggle against every manifestation of racial oppression based on the understanding that the complete integration and equality of black people can be realized only in an egalitarian socialist society. This means not liberal nostrums of reform, but proletarian socialist revolution to overthrow the capitalist system and eliminate the basis of racial and class oppression. The excerpts below are from an unpublished manuscript in the collection of the Prometheus Research Library that Fraser was working on at the time of his death in 1988.

Race is a social relationship between people recognizably different in skin color. Recognizability is a necessary element of the relation, but the social aspects of prejudice, exploitation and segregation are the things race is really about. Race has no legitimacy as a biological division of mankind.

Race relations today are a residue of relations between white masters and black slaves. The fact that slaves were black and masters were white was an accident of history. Light skinned Europeans enslaved dark skinned Africans. Europeans had learned about gunpowder from the Chinese and had guns. The Africans didn’t. Skin color was a fact of life that differed between these people. That difference had an ancient and interesting origin, but did not have anything to do with the ability of Europeans to enslave Africans....

The basic change in race ideology that took place at the end of the eighteenth century was to transform the slave who was socially inferior by virtue of enslavement, and was incidentally black, into a person who was inferior because he was black and hence only fitted for slavery….

Why, after three hundred years of slavery did a race theory finally appear? Several things came together. The French Revolution did not just declare that people had personal rights by nature, but that reason ought to hold sway over blind faith. The Age of Reason had been born, and a scientific, and secular, rationale was needed to justify the enslavement of people.

Furthermore, opposition to slavery was beginning to occur. Slave revolts began to give slave masters cause for concern, not to speak of the nascent abolitionist movement. The hypocrisy of the U.S. Constitution which was based on the ideal of human liberty, but recognized the legitimacy of slavery, could be counteracted by the contention that slaves were not quite human, but some sort of inferior race. This was the social basis for the appearance of race ideology as a scientific discipline.

—Richard Fraser, The Struggle Against Slavery in the United States

*************

 
From The American Left History Archives-First Mass Occupy General Assembly held at UMass Boston-A Report From The "Occupy Boston" Website

An Occupy Boston entry for the First Mass Occupy General Assembly held at UMass Boston.
February 20th, 2012 · Matthew J Shochat · EventsOne comment

The crowd inside the Ballroom /Photo by Matthew J Shochat

On February 18, 2012, at 1pm, several Occupy members from Boston, UMass Boston, Quincy, Jamaica Plain, Newton, Salem, Somerville, Cape Cod, Brookline, and many more attended the first ever Mass Occupy General Assembly, which was held at the Ballroom on the 3rd floor inside the Campus Center. Members of Veterans For Peace, Mass Alliance, Move To Amend, and two Independent candidates running for office, who are Peter White for US Congress, and Bill Cimbrelo for US Senate, were also in attendance.

The Lucy Parsons Center, a radical bookstore which was founded in 1969 in a small one-room basement shop in Central Square, and recently have relocated to Jamaica Plain in November 2011, was also at hand for any of the guests to take a look.

The first part of the assembly was introductions by all those in attendance. After this, the assembly spent 45 minutes on report backs and discussing ideas regarding the MBTA fare hikes, such as its affects on Walpole, the elderly, and the disabled. Announcements were also made for upcoming MBTA events.


The Lucy Parsons Center /Photo by Matthew J Shochat

Immediately after, the assembly took a 15 minute break, before reconvening to discuss other campaigns, including Citizens United, Creative Actions, flyers, and SOPA/PIPA for another 45 minutes. The next item on the agenda was to break up into groups on particular actions, such as May Day, Citizens United, and MBTA for about 20 minutes, where the assembly then had to relocate to the Occupy UMass Boston site downstairs. By 5:15pm, most of the crowd had disbanded.

The next Mass Occupy General Assembly will take place on Saturday, March 24th. More information is to be announced.

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*"This Ain't Rock and Rock"- The Blues Of Mississippi Fred McDowell-With Maria Mudaur In Mind


In Honor Of The 50th Anniversary Of The Formation Of The Jim Kweskin Jug Band, A Band That Maria Was A Central Part Of Back In The Day, Celebrated At Club Passim (Club 47 back then), Cambridge On August 29 & 30 2013


CD REVIEW

Here is a another of an old time blues artists. Mississippi Fred, as indicated in the headline, that did not perform rock 'n' roll. Okay?

The Best Of Mississippi Fred McDowell, Fred McDowell, Arhoolie records, 2002


Over the past year I have been doing a review of all the major country blues artists that I can get material on. High on that list would be the performer on this CD, the legendary Mississippi Fred McDowell. Before discussing this CD, however, let me put this blues man in context. I first heard Brother McDowell and his magnificent slide guitar riffs as a backup to some of “Big Mama” Thornton’s early blues numbers like "Little School Girl" and "The Red Rooster". I have note elsewhere that McDowell performed a very important service to the continuation of the country blues tradition when he provided mentorship to the great modern folk/country/blues singer songwriter Bonnie Raitt.

Ms. Raitt has profusely acknowledges his influence and just a peep her own work betrays that influence. Furthermore there is another place where McDowell demonstrated his vast influence. That is on The Rolling Stones. Their main blues influence might have been another Delta product, Muddy Waters, but The Stones did a cover of McDowell’s "You Got To Move" (and gave him the royalties for his cancer treatment) on their Stick Fingers album that has withstood the test of time. All these anecdotes are presented for one purpose- to show, if anyone needed showing that McDowell rightly takes his place with the likes of Bukka White, Skip James, Son House and Mississippi John Hurt as the legends of country blues.

For those not in the know theme of the country blues is about rural life, about picking cotton in the Delta (or hard scrabble farming elsewhere) and, most importantly, about those Saturday night bouts with booze, women and worked up passions that could go any which way, including jail. McDowell follows that tradition although on a number of cuts here, those accompanied by his wife’s singing along, he will also pay homage to the deeply religious roots of black existence at the turn of the 20th century South. The most famous exemplars of that tradition are of course Blind Willie Johnson and the Reverend Gary Davis but other, including McDowell have taken a turn at that end of the blues spectrum in order to sanctify “the devil’s music”. Needless to say you must listen to "You Got To Move", "61 Highway" and "Kokomo Blues" here.
A “Blues Mama” For Our Times Encore- The Blues Of Maria Muldaur

In Honor Of The 50th Anniversary Of The Formation Of The Jim Kweskin Jug Band, A Band That Maria Was A Central Part Of Back In The Day, Celebrated At Club Passim (Club 47 back then), Cambridge On August 29 & 30 2013


CD Review

Sweet Lovin’ Ol’ Soul, Maria Muldaur, Stony Plain Records, 2005


I have often noted that when white women cover blues songs done by the old classic black singers like Memphis Minnie, Bessie Smith, Big Mama Thornton and the like some undefined ingredient is missing. Call it "soul" or the "miseries" or whatever you like but somehow the depths of a song are generally not reached. Not so here, as Maria Muldaur presents the second of an anticipated three albums covering some great classics of old time barrel house blues. (The first album was "Richland Woman's Blues", taking the title from a song by Mississippi John Hurt so you know Maria is reaching for the blues roots, no question).

Bessie Smith's "Empty Bed Blues" sticks out as do her duos with the legendary Taj Mahal. Blind Willie Johnson’s classic religiously-tinged “Take A Stand” and Bessie Smith's (with Clara Smith) “I’m Going Back” get their proper workout. The big highlight though (and a very necessary “re-discovery”) is the tribute to Memphis Minnie, “She Put Me Outdoors”. And a very necessary “discovery” of the very hard times, hard hustle and hard knocks of the female blues singer, “Tricks Ain’t Walkin”. More needs to be said on that question. As Maria points out in her liner notes some of these songs here are ones that she wanted to do earlier in her career but was either talked out or could not do justice to then. But now Maria knows she has paid her dues, I know she has paid her dues, and you will too. Listen.

Blues Lyrics - Mississippi John Hurt
Richland's Woman Blues
All rights to lyrics included on these pages belong to the artists and authors of the works.
All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research.


Gimme red lipstick and a bright purple rouge
A shingle bob haircut
and a shot of good boo'

Hurry down, sweet daddy, come blowin' your horn
If you come too late, sweet mama will be gone
Come along young man, everything settin' right
My husbands goin' away till next Saturday night

Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Now, I'm raring to go, got red shoes on my feet
My mind is sittin' right for a Tin Lizzie
seat

Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
The red rooster said, "Cockle-doodle-do-do"
The Richard's' woman said, "Any dude will do"

Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
With rosy red garters, pink hose on my feet
Turkey red bloomer, with a rumble seat

Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Every Sunday mornin', church people watch me go
My wings sprouted out, and the preacher told me so

Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Dress skirt cut high, then they cut low
Don't think I'm a sport, keep on watchin' me go

Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
*Once Again A “Blues Mama” For Our Times- The Blues Of Maria Muldaur

In Honor Of The 50th Anniversary Of The Formation Of The Jim Kweskin Jug Band, A Band That Maria Was A Central Part Of Back In The Day, Celebrated At Club Passim (Club 47 back then), Cambridge On August 29 & 30 2013



CD Review

Richland Woman, Maria Muldaur, Stony Plain Records, 2001

This review was originally posted as a review for Maria Muldaur’s “Sweet Lovin' Ol’ Soul”. The main points made there apply here as well.


I have often noted that when white women cover blues songs done by the old classic black singers like Memphis Minnie, Bessie Smith, Big Mama Thornton and the like some undefined ingredient is missing. Call it "soul" or the "miseries" or whatever you like but somehow the depths of a song are generally not reached. Not so here, as Maria Muldaur presents the second of an anticipated three albums covering some great classics of old time barrel house blues. (The first album was "Richland Woman's Blues", taking the title from a song by Mississippi John Hurt so you know Maria is reaching for the blues roots, no question).

Bessie Smith's "Put It Right Here" sticks out here. Blind Willie Johnson’s classic religiously-tinged “Soul Of A Man” and Mississippi Fred McDowell’s "I’ve Got To Move” get their proper workout. The big highlight though (and a very necessary “re-discovery”) is the tribute to Memphis Minnie, “In My Girlish Days” (I wish Maria would cover “Bumble Bee”. Whoa). As Maria points out in her liner notes (to “Sweet Lovin’ Ol’ Soul”) some of these songs here are ones that she wanted to do earlier in her career but was either talked out or could not do justice to then. But now Maria knows she has paid her dues, I know she has paid her dues, and you will too. Listen.

"IN MY GIRLISH DAYS"

Late hours at night, trying to play my hand
Through my window, out stepped a man
I didn't know no better
Oh boys
In my girlish days

My mama cried, papa did, too
Oh, daughter, look what a shame on you
I didn't know no better
Oh boys
In my girlish days

I flagged a train, didn't have a dime
Trying to run away from that home of mine
I didn't know no better
Oh boys
In my girlish days

I hit the highway, caught me a truck
Nineteen and seventeen, when the winter was tough
I didn't know no better
Oh boys
In my girlish days

(spoken: Lord, play it for me now)

All of my playmates is not surprised,
I had to travel 'fore I got wise
I found out better
And I still got my girlish ways
A “Blues Mama” For Our Times- The Blues Of Maria Muldaur



CD Review

Naughty Bawdy &Blue, Maria Muldaur, Stony Plain Records, 2007

This CD review was originally posted in 2007 elsewhere hence the now dated reference to ex-president Clinton…


If you ever wondered who, if anyone, was going to carry on the tradition of great female blues singers now that the likes of Bessie Smith, Mamie Smith, Sippy Wallace and Memphis Minnie have long been gone from the scene look no further. As I pointed out in a review of her last album, "Sweet Lovin' Ol' Soul",. Maria Muldaur has paid her dues and here she is doing it all over again. This is the third album in series that she started in 2002 to cover the old great blues singers. In the present album she covers the above-mentioned singers and others in a style in which they would surely recognize as their own. These are the classic female blues singers of the 1920's and 30's. Maria is in fast company but she does not miss a beat.

Pay particular attention to her rendition of Victoria Spivey's "Handy Man" (Spivey"s "TB Blues" is nicely done, as well). Check out what the divine Ms. Spivey had to say about Maria on the liner notes. And do check out the covers of Sippy Wallace songs, "Up Country Blues" and "Separation Blues". Damn if Maria does not sound like that unfortunately not well known singer (Maria also covered a Wallace classic "Don't Advertise Your Man" on her last album). Update: I just found out recently (2009) that Sippy Wallace appeared with the Jim Kweskin Jug Band (Maria's old group) in the 1960's. Now it all makes sense, right?

I would also add that I had the pleasure of hearing some of the cuts on this album live in concert by Maria in Cambridge (one of her old stomping grounds in her youthful days with the Kweskin Jug Band back in the sixties) and she can still belt them out. If there is any truth in the assumption that former President Clinton was our first `black' president no one can deny that Maria is our first `black' classic blues singer. And has the stage presence, to boot. The tradition lives. Listen on.


"Don’t Advertise Your Man"

This Tom-Swifter,
A blab-mouth sister,
Had herself a lovin' sheik!
She had a way of braggin'
Kept her tongue a-waggin',
With every woman she'd meet;
So her bosom friend
Vamped her lovin' man,
He quit her cold as ice;
Now she never had
So much to say,
But gives very woman this advice:

Open your eyes,
Woman, be wise!
And don't you advertise your man!
It's all right to have a little bird in a bush,
But it ain't like the one you've got in your hand.
Your head will hang low,
Your heart will ache,
Your threatenin' frog's
Gonna vamp and snake,
So take a tip,
Hold your lip,
And don't you advertise your man!

What a blunder
To blow like thunder,
When you love you love your daddy so!
You better keep him hidin',
Don't you be confidin'
To every woman you know!
If you do, you'll find,
Some gal will sure be tryin'
Her best to take him 'way from you!
So you'd better heed my good advice,
And do like a woman ought to do.

Don't be a nut,
Keep your mouth shut,
And don't you advertise your man!
It's all right to brag about your hat or your dress,
But don't go blowin' 'bout the man you love best!
Just rave about the things your man can do,
And some woman will sure take him away from you!
So take a tip,
Hold your lip,
And don't you advertise your man!
And don't you advertise your man!
*That Old Time Jug Band Music- The Work Of Geoff Muldaur-With Maria Muldaur In Mind

In Honor Of The 50th Anniversary Of The Formation Of The Jim Kweskin Jug Band, A Band That Maria Was A Central Part Of Back In The Day, Celebrated At Club Passim (Club 47 back then), Cambridge On August 29 & 30 2013




CD Review

Over the past year or so I have been asking a recurring question concerning the wherewithal of various male folk performers from the 1960’s who are still performing today in the “folk concert” world of small coffeehouses, Universalist-Unitarian church basements and the like. I have mentioned names like Jesse Winchester, Chris Smither and Tom Paxton, among others. I have not, previously mentioned the performer under review, Geoff Muldaur, who is probably best known for his work in the 1960’s, not as solo artist, but as part of the famous Jim Kweskin Jug Band and later the equally famous Paul Butterfield Blues Band. Thus, in a way, I had no reason to place him in the pantheon of the solo performers from that period. But things sure are different now.

The following is a review of Geoff Muldaur's "Password" CD, Hightone Records, 2000, by way of an introduction:

“Since my youth I have had an ear for roots music, whether I was conscious of that fact or not. The origin of that interest first centered on the blues, then early rock and roll and later, with the folk revival of the early 1960's, folk music. I have often wondered about the source of this interest. I am, and have always been a city boy, and an Eastern city boy at that. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. The subject of the following review is an example.

Geoff Muldaur took almost two decades off from the hurly-burly of traveling the old folk circuit. When I saw him at a coffeehouse upon his return to the scene I asked him what the folk revival of the 1960's was all about. He said it was about being able to play three chords to get the girls to hang around you. Fair enough. I KNOW I took my dates at the time to coffeehouses for somewhat the same reason. I guess it always comes down to that. Kudos to Freud.

Seriously though, Geoff Muldaur was and is about lots more than three chords. He has developed a style that reflects the maturation of his voice and of his interests. And beside that he has always, even in the crazy days of the 1960's, taken a serious attitude to the way that he interprets a song. And furthermore has a very deep knowledge of all sorts of music. Every time I think I know most of the artists in the blues genre he, at a concert, will throw out one more name that I have 'missed'. Example, "At The Christmas Ball" is an old Bessie Smith novelty tune. Geoff gives it his own twist. He likewise does that on "Drop Down Mama" the old Sleepy John Estes version of the tune (I think) and on fellow old time folkie Eric Von Schmidt's "Light Rain". Enough said. Listen.”

The above review was written sometime in 2006 several years after he had begun touring again and I had begun to attend his concerts again (Yes, in those small coffeehouses and church basements mentioned above). Recently I picked up at one of his concerts this following historically interesting CD, “Geoff Muldaur, Rare And Unissued-Collectors’ Items 1963-2008 (self-produced for a Japanese CD market of jug music aficionados)”. In this CD one gets all the sense of musical history, guitar virtuosity and wry humor that was mentioned in the above quoted review. There are many cuts from the Kweskin days like "Borneo" and Ukulele Lady", some later Butterfield work (especially a long cover of the blues classic “Boogie Chillin’”) and some dud stuff from the early 1980’s. A few others defy categorization like "Sweet Sue" and "Guabi Guabi". All in all well was worth the purchase.
*Keeping The Blues/Folk Lamp Burning- Les Sampou's "Sweet Perfume"-With Maria Muldaur In Mind

In Honor Of The 50th Anniversary Of The Formation Of The Jim Kweskin Jug Band, A Band That Maria Was A Central Part Of Back In The Day, Celebrated At Club Passim (Club 47 back then), Cambridge On August 29 & 30 2013


CD Review

Sweet Perfume, Rounder Records, 1993


The substance of this review was originally used in the review of Les Sampou's "Borrowed And Blue" album. I have revised that review and most of the points made apply to the other three CD's reviewed in this space as well.

The name Les Sampou most recently came up in this space, in passing, as part of a review of blues/folk stylist/ songwriter Rory Block's work. I made the point there that Rory (and Les, Bonnie Raitt, Maria Muldaur and precious few others) were performing a great service by keeping the female blue singer tradition alive (and, for that matter, male-witness the songs covered by all four). And along the way doing the same for the more amorphous contemporary folk tradition with their own fair share of masterful songwriting efforts. Since I placed Les Sampou in such august company it was, thus, only a matter of time before I got around to giving her a few kudos of her own. The following paragraph from the Rory Block review can serve here for Les as well:

"But more than that, thanks for this great album of country blues classics some famous, some a little obscure and known only to serious aficionados but all well worth placing in the album with the quirky little Rory Block treatment that makes many of the songs her own. Oh, did I also mention her virtuoso strong guitar playing. Well, that too. I have gone on and on elsewhere in this space about the old time women blues singers, mostly black, like Bessie Smith, Victoria Spivey and Ida Cox. I have also spilled some ink on more modern, mainly white, women blues singers like Bonnie Raitt, Maria Muldaur and a local talent here in Boston, Les Sampou, and their admirable (and necessary) efforts to carry on this proud tradition. Rory belongs right up there with these women."

As For "Sweet Perfume" here is the `skinny':

I will make the same point I made in reviewing the "Les Sampou" album because that same spirit pervades this effort. There are a lot of way to be "in" the contemporary folk scene. One way is to write some topical songs of love, longings for love, maybe, a little politics thrown in and maybe some snappy thing about the vacuity of modern life. Yes, that is the easy stuff and Les can, if the occasion calls for it, summon up some very powerful lyrics to make those points. Witness "Holy Land " and "String Of Pearls". But, something more is going on here. This is a woman who has been through the emotional wringer, and survived. Listen to "Chinatown" and "Sweet Perfume". You can't fake that stuff.
*Keeping The Blues/Folk Lamp Burning- The Music of Les Sampou-"Les Sampou"-With Maria Muldaur In Mind

In Honor Of The 50th Anniversary Of The Formation Of The Jim Kweskin Jug Band, A Band That Maria Was A Central Part Of Back In The Day, Celebrated At Club Passim (Club 47 back then), Cambridge On August 29 & 30 2013


CD Review

Les Sampou, Les Sampou, Rounder Records 1993


The substance of this review was originally used in the review of Les Sampou’s “Borrowed And Blue” album. I have revised that review and most of the points made apply to the other three CD’s reviewed in this space as well.

The name Les Sampou most recently came up in this space, in passing, as part of a review of blues/folk stylist/ songwriter Rory Block’s work. I made the point there that Rory (and Les, Bonnie Raitt, Maria Muldaur and precious few others) were performing a great service by keeping the female blue singer tradition alive (and, for that matter, male-witness the songs covered by all four). And along the way doing the same for the more amorphous contemporary folk tradition with their own fair share of masterful songwriting efforts. Since I placed Les Sampou in such august company it was, thus, only a matter of time before I got around to giving her a few kudos of her own. The following paragraph from the Rory Block review can serve here for Les as well:

“But more than that, thanks for this great album of country blues classics some famous, some a little obscure and known only to serious aficionados but all well worth placing in the album with the quirky little Rory Block treatment that makes many of the songs her own. Oh, did I also mention her virtuoso strong guitar playing. Well, that too. I have gone on and on elsewhere in this space about the old time women blues singers, mostly black, like Bessie Smith, Victoria Spivey and Ida Cox. I have also spilled some ink on more modern, mainly white, women blues singers like Bonnie Raitt, Maria Muldaur and a local talent here in Boston, Les Sampou, and their admirable (and necessary) efforts to carry on this proud tradition. Rory belongs right up there with these women.”

As For “Les Sampou” here is the ‘skinny’:

There are a lot of ways to be “in” the contemporary folk scene. One way is to write some topical songs of love, longings for love, maybe, a little politics thrown in and maybe some snappy thing about the vacuity of modern life. Yes, that is the easy stuff and Les can, if the occasion calls for it, summon up some very powerful lyrics to make those points. Witness “Broken Pieces” and the almost self-explanatory “Hanging By A Thread”. But, something more is going on here. This is a woman who has been through the emotional wringer, and survived. Listen to the heartrending “Happy Anniversary” and the slightly, just slightly, more hopeful “Same Fine Line”. You can’t fake that stuff.
*Keeping The Blues/Folk Lamp Burning- The Music of Les Sampou-"Borrowed And Blue"-With Maria Muduar In Mind


In Honor Of The 50th Anniversary Of The Formation Of The Jim Kweskin Jug Band, A Band That Maria Was A Central Part Of Back In The Day, Celebrated At Club Passim (Club 47 back then), Cambridge On August 29 & 30 2013


CD Review

Borrowed And Blue, Les Sampou, McNando Records, 2001

The substance of this review was originally used in the review of Les Sampou’s “Borrowed And Blue” album. I have revised that review and most of the points made apply to the other three CD’s reviewed in this space as well.


The name Les Sampou most recently came up in this space, in passing, as part of a review of blues/folk stylist/ songwriter Rory Block’s work. I made the point there that Rory (and Les, Bonnie Raitt, Maria Muldaur and precious few others) were performing a great service by keeping the female blue singer tradition alive (and, for that matter, male-witness the songs covered by all four). And along the way doing the same for the more amorphous contemporary folk tradition with their own fair share of masterful songwriting efforts. Since I placed Les Sampou in such august company it was, thus, only a matter of time before I got around to giving her a few kudos of her own. The following paragraph from the Rory Block review can serve here for Les as well:

“But more than that, thanks for this great album of country blues classics some famous, some a little obscure and known only to serious aficionados but all well worth placing in the album with the quirky little Rory Block treatment that makes many of the songs her own. Oh, did I also mention her virtuoso strong guitar playing. Well, that too. I have gone on and on elsewhere in this space about the old time women blues singers, mostly black, like Bessie Smith, Victoria Spivey and Ida Cox. I have also spilled some ink on more modern, mainly white, women blues singers like Bonnie Raitt, Maria Muldaur and a local talent here in Boston, Les Sampou, and their admirable (and necessary) efforts to carry on this proud tradition. Rory belongs right up there with these women.”

As For “Borrowed And Blue” here is the ‘skinny’:

Yes, indeed Les Sampou can take pride in this album. Mississippi Fred McDowell lives. Her incredibly strong slide guitar playing makes some of Les's old classics like “Chinatown” and “Sweet Perfume” just jump out of the album. She also does a nice job on Blind Willie McTell's “Statesboro Blues” and Mississippi John Hurt’s “Richland Women Blues”. I could go n but I hope you get the drift. Les can DO the blues. Just think of this. What if Les had had the opportunity, like Bonnie Raitt, to learn and travel with the old master McDowell? Wow. Definitely Les's best album. How about doing McDowell's classic “You've Got To Move” on the next album? (An album, by the way, that is supposed to come out in the Fall of 2009. Watch for it.)
Once More Into The Time Capsule, Part Three- The New York Folk Revival Scene in the Early 1960’s-Jim Kweskin&The Jug Band

In Honor Of The 50th Anniversary Of The Formation Of The Jim Kweskin Jug Band, A Band That Maria Was A Central Part Of Back In The Day, Celebrated At Club Passim (Club 47 back then), Cambridge On August 29 & 30 2013



CD Review

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001


Except for the reference to the origins of the talent brought to the city the same comments apply for this CD. Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:

Disc Three: Phil Ochs on “I Ain’t Marching Anymore”, Richard &Mimi Farina on “Pack Up Your Sorrows”, John Hammond on “Drop Down Mama”, Jim Kweskin & The Jug Band on “Rag Mama”, John Denver on “Bells Of Rhymney”, Gordon Lightfoot on "Early Morning Rain”, Eric Andersen on “Thirsty Boots”, Tim Hardin on “Reason To Believe”, Richie Havens on “Just Like A Woman”, Judy Collins on “Suzanne”, Tim Buckley on “Once I Was”, Tom Rush on “The Circle Game”, Taj Mahal on “Candy Man”, Loudon Wainwright III on “School Days”and Arlo Guthrie on “The Motorcycle Song”


Jim Kweskin & The Jug Band on “Rag Mama”. Jim Kweskin, Geoff Muldaur and Maria Muldaur, three of the leading lights of this seminal 1960s jug band are still, mainly separately, performing. I have spilled plenty of ink on their later works so I need not spend much time here on that. “Rag Mama” was their anthem (and displayed the full range of possibilities of jug music- who would have thought that a kid’s kazoo could make so much fun music, right?). A note: in the booklet there is a reference to a belief that if it had not been for the British invasion led by the Beatles taking all of the air out of the then popular music world that jug music was going to be the next big wave. Hey, I like jug music as well as the next guy or gal but I think somebody was smoking “something” on making that comment.


Rag Mama rag

I can't believe its true
Rag Mama rag
What did you do
I go on up to the railroad track
Let the 4:19 scratch my back
Sag Mama sag
What's come over you
Rag Mama rag
I'm pullin out your gag
Gonna turn you loose
Like an old caboose
Got a tail I need to drag

I ask about your turtle
And you ask about the weather
I can't jump the hurdle
And we can't get together
We could be relaxin'
In my sleepin' bag
But all you want to do for me Mama is
Rag Mama rag
There's no where to go
Rag mama rag
Come on resin up the bow

Rag Mama rag
Where do you run
Rag Mama rag
Bring your skinny little body back home
It's dog it dog
Cat eat mouse
You can rag Mama rag
All over my house

Hail stones beatin' on the roof
The bourbon is hundred proof
It's you and me and the telephone
Our destiny is quite well known
We don't need to sit and brag
All we gotta do is rag Mama rag Mama rag

Rag Mama rag
Where do you roam
Rag Mama rag
Bring your skinny little body back home
In The Beginning There Was……Jug- Songstress Maria Muldaur Goes Back Home

In Honor Of The 50th Anniversary Of The Formation Of The Jim Kweskin Jug Band, A Band That Maria Was A Central Part Of Back In The Day, Celebrated At Club Passim (Club 47 back then), Cambridge On August 29 & 30 2013



CD Review

Maria Muldaur And Her Garden Of Joy, Maria Muldaur and the Garden of Joy Jug Band, Stony Plain, 2009


The last time that I featured the femme fatale blues torch singer reincarnate Maria Muldaur (at least that is the way that she, successfully, projected herself in her recent blues revival projects) was in a review of her 2007 CD tribute to the great singers of the 1920s and 1930s, Bessie Smith, Memphis Minnie, Sippy Wallace and the like. I might add that I raved on and on about the value of her project, the worthiness of the singers honored and her own place in the blues pantheon. Of course, for those in the know about the roots of the folk revival of the 1960s at least, the name Maria Muldaur is forever associated with another closely-related branch of roots music-the jug band. Maria was the very fetching female vocalist for the old time revivalist Jim Kweskin Jug Band (and an earlier effort in her home town, New York City, by John Sebastian of The Lovin’ Spoonful fame, The Even Dozen Jug Band).

Well, hold the presses please, because the red hot blues mama has come back home in her latest project, the CD under review, “Maria Muldaur And Her Garden Of Joy”. And if Maria was kind of thrown in the background somewhat in those days by the strong presence of Jim Kweskin and that of her ex-husband Geoff Muldaur she is front and center on this effort. One of the virtues of jug music back in the day was that it was basically zany, funny, send-off kind of music and full of, usually, high-spirited if coded sexual innuendos. This, on occasion, was a welcome break from the heavy political message songs that were de rigueur or the traditional ballads filled with tales of thwarted love, duplicity and murder and mayhem. In this CD Maria brings back the energy and just plain wistfulness of that type of music. And she does it on her terms.

As fate would have it, or rather by a conscious act, I happened to see Maria and her very fine new jug band made up of younger, well, Jim Kweskin jug band-types (along with guest performer, now blues/ragtime guitar virtuoso John Sebastian) in Cambridge (one of her old stomping rounds and an important secondary center of the folk revival in the 1960s). And, like the last time I saw her a couple of years ago when she was that femme fatale blues singer, she did not disappoint. The woman carried the show with the energy of the old days (that you can get an idea of by going on "YouTube" in a click from 1966).

The line between jug music and flat out torch blues sometimes is not that wide and the switch over thus is not that dramatic. At least in Maria's hands. Witness her version of Mississippi John Hurt’s “Richland Woman” which she did jug-style at the concert (she did a more lowdown bluesy version on her “Richland Woman” album). The example on this album that comes to mind is the little known but, currently, very relevant 1929 song “Bank Failure Blues”. Also the classic jug tune “Garden Of Joy” and another one “Sweet Lovin’ Ol’ Soul” (also done blues-style on a previous album of the same name). This is good stuff but begs the question. Jim Kweskin is still performing. Geoff Muldaur is still performing. Geoff and Jim occasionally perform together. Wouldn’t it be a treat if...?

Blues Lyrics - Mississippi John Hurt Richland's Woman Blues

All rights to lyrics included on these pages belong to the artists and authors of the works. All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research. by Mississippi John Hurt recording of 19 from

Gimme red lipstick and a bright purple rouge
A shingle bob haircut and a shot of good boo'
Hurry down, sweet daddy, come blowin' your horn
If you come too late, sweet mama will be gone
Come along young man, everything settin' right
My husbands goin' away till next Saturday night
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
Now, I'm raring to go, got red shoes on my feet
My mind is sittin' right for a Tin Lizzie seat
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
The red rooster said, "Cockle-doodle-do-do"
The Richard's' woman said, "Any dude will do"
Hurry down, sweet daddy, come blowin' you horn
If you come too late, sweet mama will be gone
With rosy red garters, pink hose on my feet
Turkey red bloomer, with a rumble seat