Hands Off Iran!

Commentary

U.S. Out Of Iraq And Afghanistan Now! Hands Off Iran!

Correct me if I am wrong but I smell gunpowder in the air these days and it is not clear who is getting ready to ignite the fuse. No, I am not talking about any old wars in Iraq and Afghanistan. Hell, those efforts are old hat and, according to the putative Republican presidential candidate John McCain , at least in Iraq, will last about 100 years-so it is way too early to even worry about ending that little beauty. I assume by his lights we are to let our great- grandchildren end it. Moreover, President Bush is playing the eternal optimist on Iraq, a role that he has perfected to a tee in his disastrous presidency, by being authoritatively reported as saying that it would only take forty years to straighten out things there. His scenario would permit our grandchildren to conclude the war. Again, that is music for the future. Nothing to get nervous about now, right? What exercises me today though is that little recent buildup of talk pointing toward some off-the-wall adventure aimed at Iran either by American imperialism itself or, I believe, more probably by air strikes from the American surrogate in the area, Israel.

I have been harping on Iran, off and on, for a couple of years now ever since reading Seymour Hersh’s informative April 2006 article in the New Yorker (and later additions and updates to the core of that argument by Hersh and others). Nothing since that time has led me to believe that the White House, the American military or Israel has given up the dream of smashing Iran’s future capacities to develop nuclear weapons. Capacities, by the way, even some hostile conservative critics have recognized that Iran needs in order to defend itself in an increasingly hostile world, especially as it remains in the cross hairs of American imperialism.

Certainly it was not the little ‘diplomatic’ maneuver over the weekend of July 19th where a high ranking American diplomat actually sat in on the six nation talks, despite previous American disdain for such efforts, on the question of what the international response to Iran’s alleged nuclear buildup should be. And certainly it was not any rhetoric on the part of the cowboys who control the inner sanctum in Washington about trying to find non-lethal ways to curb Iran. The minute they start with that talk in Washington, hold onto your wallets- you are about to be fleeced.

The events of the past several weeks have brought my concerns into some focus. Israel’s air strikes against a target in Syria, the American drumbeat campaign to denigrate any finding that Iran is not within striking distance of being capable of making at least one nuclear bomb and, of course, the defiant, if comical, attempt of Iran to saber rattle with the testing of short-range missiles. Six months, for a Bush Administration that has nothing to lose, is a long time in politics, a long time to prepare and launch surgical attacks and a long time to create an American ‘public opinion’ committed to nipping Iran’s buildup in the bud. Every militant leftist in the world, while holding his or her nose at the political regime in Tehran, better prepare now to defend Iran’s right to have nuclear weapons in this crazy old world. That said, we better dust off those old posters- U.S. Hands Off Iran- And Keep Them Off!

Obama- One Step Forward, Three Steps Back

Commentary

Break With The Republicans, Democrats, Greens and Ralph Nader- Build A Workers Party!

I have purposefully attempted to stay on the sidelines, way on the sidelines, of this misbegotten 2008 presidential campaign season after I realized early this spring that it was just a more technologically sophisticated version of previous garden variety efforts, like the Gore 2000 and Dean 2004 campaigns. Apparently I am not alone in this as a recent poll, taken after the hoopla raised by the media and the hard-core partisans of the party nominating processes was over, indicated that the bulk of the electorate felt the same way, generally. Nevertheless I do have to break my relative silence here to make a small comment on the benighted Obama campaign and what it has turned into.

Having had no illusions that Obama and his Democratic Party have anything to offer in terms of positively addressing the pressing political, social and economic issues of the day I have had nothing to cry about (although I remain appreciative of the wind that Obama himself has generated among the young which can only help radicals in the end). However, Obama's dramatic post-Hillary headlong spin toward the ‘center’ of American politics, has apparently left others feeling betrayed. Given his vote on enhanced governmental wiretapping-eavesdropping, his votes for the war budgets funding the wars in Iraq and Afghanistan, his call for stepped-up troop deployment to Afghanistan, his new stance on the timing of ending tax cuts for the rich topped off by his ‘benign neglect’ of part of his core constituency, blacks, that has even Jesse Jackson, Senior up in arms there is little wonder that there is a feeling of ‘betrayal’ in left Demo-land.

However, there has been no betrayal by Obama or the Democratic Party. Despite the chagrin of the young, who can be forgiven a little naiveté, the Democratic Party and bourgeois politics are not about serious change but about winning electoral combinations. I was tipped off that some of the idealistic elements in the Obama campaign were in uproar over his wiretapping vote. I therefore went, based on that tip, to his social networking site to see for myself the gnashing of teeth. Damn, it is all there. The sense of betrayal, the desire to get the money contributed to the campaign back, the disgust with bourgeois political maneuvering. Be still my heart.

What I did not see was any sense (as yet) that it is necessary to break out of the capitalist-inspired politics of the day and fight for a workers party (or for that matter, even an ‘independent’ party a la Ralph Nader). Well, that is our job. Earlier this year I mentioned, when I was in the heat of my bourgeois political observation period, that the swirl that Obama was producing was similar (although, I think, maybe on an even greater scale) to the effect on the young that of John F. Kennedy's campaign had in my youth. I mentioned that the earlier Kennedy swirl itself was not decisive but that in response to the press of events started then it later created the youth/socialist movement of the 1960’s. I posed the question in that commentary, jokingly, After Obama-us. I now think our turn may come sooner than I expected.

*The Real Robert Kennedy- A Sober Liberal View From PBS's American Experience Series

Click on title to link to the Public Broadcasting System's "American Experience" episode on Robert Kennedy.

DVD REVIEW

Robert Kennedy, American Experience, PBS, 2004

It is somewhat ironic that at just the time that when presumptive Democratic presidential candidate Barack Obama, a recent addition to the Democratic Party pantheon of heroes and heir apparent to the Kennedy legacy, is claiming the nomination of the party that the 40th Anniversary of the assassination of Robert F. Kennedy during the presidential campaign of 1968 is being remembered in some quarters. That event holds much meaning in the political evolution of this writer. The Robert Kennedy campaign of 1968 was the last time that this writer had a serious desire to fight solely on the parliamentary road for progressive political change. So today he too has some remembrances, as well. This documentary from the Public Broadcasting System’s "American Experience" series only adds some visual flashes to those remembrances.

In a commentary in another space I have mentioned that through the tumultuous period leading to the early spring of 1968 that I had done some political somersaults as a result of Bobby Kennedy’s early refusal to take on a sitting president, Lyndon Johnson, for the Democratic nomination for the presidency. Moreover, I committed myself early (sometime in late 1967) to the reelection of Lyndon Johnson, as much as I hated his Vietnam War policy. Why? One Richard M. Nixon. I did not give Eugene McCarthy’s insurgent campaign even a sniff, although I agreed with his anti-war stance. Why? He could not beat one Richard M. Nixon. When Bobby Kennedy jumped in and Johnson announced that he was not going to run again and I was there the next day. I was a senior in college at the time but I believe I spent hundreds of hours that spring working the campaign either out of Boston, Washington, D.C. or elsewhere. Why? Well, you can guess the obvious by now. He COULD beat one Richard M. Nixon.

It was more than that though, and I will discuss that in the next paragraph. I took, as many did, Bobby's murder hard. It would be rather facile now to say that something of my youth, and that of others who I have talked to recently about this event, got left behind with his murder but there you have it. However, to show you the kind of political year that it was for me about a week after his death I was in the Hubert Humphrey campaign office in Boston. Why? You know why by now. And for those who don’t it had one name- Richard M. Nixon.

But let us get back to that other, more virtuous, political motive for supporting Bobby Kennedy. It was always, in those days, complicated coming from Massachusetts to separate out the whirlwind effect that the Kennedy family had on us, especially on ‘shanty’ Irish families. On the one hand we wished one of our own well, especially against the WASPs, on the other there was always that innate bitterness (jealousy, if you will) that it was not we who were the ones that were getting ahead. If there is any Irish in your family you know what I am talking about.

To be sure, as a fourteen year old I walked the neighborhood for John Kennedy in 1960 but as I have mentioned elsewhere that was a pro forma thing. Part of the ritual of entry into presidential politics. The Bobby thing was from the heart. Why? It is hard to explain but there was something about the deeply felt sense of Irish fatalism that he projected, especially after the death of his brother, that attracted me to him. But also the ruthless side where he was willing to cut Mayor Daly and every politician like him down or pat them on the back and more, if necessary, to get a little rough justice in the world. In those days I held those qualities, especially in tandem, in high esteem. Hell, I still do, if on a narrower basis.

Okay, that is enough for a trip down memory lane back to the old politically naïve days, or rather opportunistic days. Without detailing the events here the end of 1968 was also a watershed year for changing my belief that an individual candidate rather than ideas and political program were decisive for political organizing. That understanding, furthermore, changed my political appreciation for Bobby Kennedy (and the vices and virtues of the Democratic Party). That is the import of this well-produced (as always) portrayal of the short life and career of Robert Kennedy. If in 1968, with my 1968 political understandings, I stood shoulder to shoulder with Robert Kennedy my political evolution and his political past, as detailed here, have changed my perceptions dramatically.

This documentary highlights the close relationship between Robert and his older brother John starting with the Massachusetts United Senate campaign in 1952 (and that would continue in the 1960 campaign and during John Kennedy’s administration right up to the assassination). We are presented here, however, with the ‘bad’ Bobby who was more than willing to join Wisconsin Senator Joseph McCarthy’s “red scare” anti-communist campaign and the anti-labor McClellan Committee campaigns against Jimmy Hoffa in particular. There is no love lost between this writer and labor bureaucrats like Hoffa (or his son) but a bedrock position then and today is the need for labor to clean its own house. What purpose does government intervention into the labor movement do except to weaken it? Bobby was on the other side on this one, as well.

Under the John Kennedy Administration Robert, moreover, played a key role in putting a damper on the early civil rights movement in the South (as well as putting a 'tap' on Martin Luther King at the behest of one J. Edgar Hoover), the Bay of Pigs decision and aftermath , the Cuban Missile Crisis confrontation with the Soviet Union and the early escalation, under the rubric of counter-insurgency, in Vietnam. As readily observable, where I had previously downplayed my opposition to some of Bobby's positions I now put a minus next to them. That is politics.

Finally though, I will frankly admit a lingering ‘softness’ for Bobby. Why? The late political journalist Jack Newfield one of the inevitable 'talking heads' that people PBS productions, a biographer of Robert Kennedy I believe but in any case a close companion in the mid-1960’s and a prior resident of the Bedford-Stuveysant ghetto of New York City, made this comment about a Robert Kennedy response to his question during a tour of that area. Newfield asked Kennedy what he would have become if he had grown up in Bedford-Stuveysant. Bobby responded quickly- I would either be a juvenile delinquent or a revolutionary. I would like to think that he meant those alternatives seriously. Enough said.

*The Circle Game- The Songs of Tom Rush

Click on the headline to link to a YouTube film clip of Tom Rush performing Joni Mitchell's The Circle Game.

CD REVIEW

The Circle Game, Tom Rush, 1968

If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Tom Rush is one such singer/songwriter.

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Tom Rush as well. I do not know if Tom Rush, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting (and strong baritone) voice to fit the lyrics of love, hope, and longing that he was singing about at the time. This was period when he was covering other artists, particularly Joni Mitchell, so it is not clear to me that he had that same Dylan drive by then (1968).

As for the songs themselves I mentioned that he covered Joni Mitchell in this period. That is represented here by a very nice version of Urge For Going that captures the wintry imaginary that Joni was trying to evoke about things back in her Canadian home. And the timelessness of Circle Game, as the Generation of ’68 sees another generational cycle starting, is apparent now if it was not then. The Rockport Sunday (instrumental) combined with the sadly haunting No Regrets used to get much play by this writer after some ‘relationship’ problems didn’t get thrashed out satisfactorily in the old days. This is classic Tom Rush. Get It.


Joni Mitchell Circle Game Lyrics

Yesterday a child came out to wonder
Caught a dragonfly inside a jar
Fearful when the sky was full of thunder
And tearful at the falling of a star
Then the child moved ten times round the seasons
Skated over ten clear frozen streams
Words like, when you’re older, must appease him
And promises of someday make his dreams

And the seasons they go round and round
And the painted ponies go up and dawn
We’re captive on the carousel of time
We can’t return we con only look behind
From where we cameAnd go round and round and round
In the circle game.

Sixteen springs and sixteen summers gone now
Cartwheels turn to car wheels thru the town
And they tell him,
Take your time, it won’t be long now
Till you drag your feet to slow the circles down

And the seasons they go round and round
And the painted ponies go up and dawn
We’re captive on the carousel of time
We can’t return we can only look behind
From where we came
And go round and round and roundIn the circle game

So the years spin by and now the boy is twenty
Though his dreams have lost some grandeurComing true
There’ll be new dreams, maybe better dreams and plenty
Before the last revolving year is through.

And the seasons they go round and round
And the painted ponies go up and down
We’re captive on the carousel of time
We can’t return, we can only look behind
From where we came
And go round and round and round
In the circle game

The Last Thing On My Mind- The Songs of Tom Paxton

CD REVIEW

The Greatest Hits of Tom Paxton, Tom Paxton, 1991

If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Tom Paxton is one such singer/songwriter.

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Tom Paxton as well. I do not know if Tom Paxton, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting (and strong) voice to fit the lyrics of love, hope, longing and sometimes just sheer whimsy, as in the children’s songs, that he was singing about at the time. I would venture however, given what I know of his politics and the probably influence that his good friend the late folksinger and historian Dave Van Ronk had on him, that the answer above is probably no.

As for the songs themselves in this greatest hits compilation, a format that never really give an artist’s full range of hits and that is the case here, we get a fair range of what the good Mr. Paxton produced in the old days. Ramblin’ Boy and Bottle of Wine are evocative of hobo days here. Some peace songs (Peace Will Come, Jimmy with an extremely powerful anti-war message), some songs of love (Katy) and the above-mentioned children’s songs (Going to the Zoo). And, of course, his 'theme song' and the one that he has stated that he never gets tired of playing, The Last Thing On My Mine. And I never get tired of listening to.

***Have You Ever Seen A .. The Songs of Jesse Winchester

CD REVIEW

Live From Mountain Stage, Jesse Winchester, 2001

If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Jesse Winchester is one such singer/songwriter.

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Winchester, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting voice to fit the lyrics of love, hope and longing that he was singing about at the time. Of course, the need to go to Canada as a draft exile from the Vietnam War perhaps cut across cut across some of those youthful dreams.

As for the songs themselves, many that evokes the Southern roots from which Winchester came. Eualie is evocative of that. Other nice touches are That’s What Makes You Strong and his patented Brand New Tennessee Waltz. But the one I have always liked personally, and here my roots show, is Yankee Lady. Hell, I once had a relationship with a woman like the one he describes in that little song. Didn’t we all (male or female), back then.

*A Folksinger (Oops) Jazz Vocalist Struts His Stuff- A Dave Van Ronk Encore

Click on title to link to YouTube's film clip of Dave Van Ronk performing "Hesitation Blues"

CD REVIEW

Somebody Else, Not Me, Dave Van Ronk, 1970

If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Dave Van Ronk is one such singer/songwriter.

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Dave Van Ronk as well. I do not know if Dave Van Ronk, like his near contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting (and strong baritone) voice to fit the lyrics of love, hope, longing and sheer whimsy as he barreled through the traditional folk catalogue he was singing about at the time. I would venture however, given what I know of his politics and the probably influence that his deep sense of folk history had on him (as well as other musical influences), that the answer above is probably no.

As for the songs themselves. "Oh, Hannah" (which I believe he wrote) stands out as a tribute to traditional shout and response music. His friend Tom Paxton’s "Did You Hear John Hurt?" about that legendary country blues singer is another stand out. His voice carries the "Casey Jones" tune with gusto. "Sportin’ Life" is his little tip of the hat to his jazz roots. And "Pastures of Plenty" a tip to Woody Guthrie (as well as Bob Dylan's "Song to Woody"). Just a nice selection that will have you screaming for more. Do it.


"Cocaine Blues"

Every time my baby and me we go uptown
Police come and they knock me down
Cocaine, all around my brain

Hey baby, you better come here quick
This old cocaine's about to make
Cocaine, all around my brain

Yonder come my baby she's dressed in red
She's got a shotgun, says she's gonna kill me dead
Cocaine, all around my brain

Hey baby, you better come here quick
This old cocaine's about to make me sick
Cocaine, all around my brain

You take Sally and I'll take Sue
Ain't no difference between the two
Cocaine, all around my brain

Hey baby, you better come here quick
This old cocaine's about to make me sick
Cocaine, all around my brain

Cocaine's for horses and it's not for men
Doctor says it kill you but it doesn't say when
Cocaine, all around my brain

Hey baby, you better come here quick
This old cocaine's about to make me sick
Cocaine, all around my brain

Hey baby, you better come here quick
This old cocaine's about to make me sick
Cocaine, all around my brain




COME ALL YE FAIR AND TENDER LADIES
(A.P. Carter)


The Carter Family - 1932
The Kingston Trio - 1961
Osborne Brothers - 1962
Anita Carter - 1963
Glen Campbell - 1963
The Browns - 1964
George Hamilton IV - 1964
Makem & Clancy - 1964
Clive Palmer - 1967
The Manhattan Transfer - 1969
Dave Van Ronk - 1969
The Hillmen - 1970
Herb Pedersen - 1977
Charlie McCoy - 1978
Mary McCaslin - 1981
Gene Clark & Carla Olson - 1987
The Rankin Family - 1992
The Whites - 2000

Also recorded by: June Carter; Rosanne Cash; Merle Travis;
Bread & Bones; Cherish The Ladies; Golden Delicious; Danú;
Murray Head; Country Gentlemen; Pete Seeger; Ian & Sylvia;
George Elliott; Black Twigs; Craig Herbertson; Tim O'Brien;
The Peasall Sisters:........and others.


Come all ye fair and tender ladies
Take warning how you court young men
They're like a bright star on a cloudy morning
They will first appear and then they're gone

They'll tell to you some loving story
To make you think that they love you true
Straightway they'll go and court some other
Oh that's the love that they have for you

Do you remember our days of courting
When your head lay upon my breast
You could make me believe with the falling of your arm
That the sun rose in the West

I wish I were some little sparrow
And I had wings and I could fly
I would fly away to my false true lover
And while he'll talk I would sit and cry

But I am not some little sparrow
I have no wings nor can I fly
So I'll sit down here in grief and sorrow
And try to pass my troubles by

I wish I had known before I courted
That love had been so hard to gain
I'd of locked my heart in a box of golden
And fastened it down with a silver chain

Young men never cast your eye on beauty
For beauty is a thing that will decay
For the prettiest flowers that grow in the garden
How soon they'll wither, will wither and fade away


******


ALTERNATE VERSION:


Come all ye fair and tender ladies
Take warning how you court young men
They're like a star on summer morning
They first appear and then they're gone

They'll tell to you some loving story
And make you think they love you so well
Then away they'll go and court some other
And leave you there in grief to dwell

I wish I was on some tall mountain
Where the ivy rocks are black as ink
I'd write a letter to my lost true lover
Whose cheeks are like the morning pink

For love is handsome, love is charming
And love is pretty while it's new
But love grows cold as love grows old
And fades away like the mornin' dew
And fades away like the mornin' dew

Soul of A City Boy- Jesse Colin Young

CD REVIEW

Soul of A City Boy, Jesse Colin Young, 1964

If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Jesse Colin Young is one such singer/songwriter.

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Colin Young, like his contemporary Bob Dylan whom he followed in moving from acoustic folk to folk rock, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A fair to middling acoustic guitar but a very interesting and mournful voice in the early acoustic days.

Moreover, Jesse set himself, more than others of the time, to speak to urban concerns and longings. I can remember being mesmerized by the effect of Four In The Morning (usually listening to it at that time, as well). Or the longing behind Suzanne and Black Eyed Susan. Or the late night whiff of whiskey in the air (Yes, I know we were underage at the time but let us let that pass) with the forgetfulness of Rye Whiskey. Yes, there were some tools and talent there. People may be more familiar with the latter electric rock material of the Youngbloods days but give a listen to Jesse, back in the day.

The Greatest Hits of Jesse Colin Young, Jesse Colin Young, 1991

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Colin Young, like his contemporary Bob Dylan whom he followed in moving from acoustic folk to electric folk rock, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A fair to middling acoustic guitar but a very interesting and mournful voice in the early acoustic days. Then the switch to electric folk rock and beyond, and the joining up with the Youngbloods that forms the core of this greatest hits compilations.


Jesse Colin Young and the Youngbloods were one of the signature groups of the 1960’s not so much for their sound which was pretty much a familiar one from the period but the lyrics and the politics. Songs like Get Together, Sunlight, Darkness, Song for Juli and some others created a mood of hope (sometimes with dope) that got a number of people through the hard times of growing up in that time. Personally, though as much as I liked some of what the Youngbloods did I still go back to that old Jesse classic from the acoustic days Four In The Morning- that’s the ticket. If you need to hear it all though, this is a good bet.

*Killin' The Blues- The Blue Folk World Of Chris Smither

CD Review

Train Home, Chris Smither, 2004

If I were to ask someone, in the year 2008, to name a male folk singer from the 1960's I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of '68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Chris Smither is one such singer/songwriter.

I do not know if Chris Smither, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. He plays that signature blue guitar for all it is worth on such covers as "Crocodile Man" yet can turn it down several notches for a song like "Never Needed You" and then goes softer on reflective songs like "Kind Woman". Moreover he is as capable as a songwriter as any of writing of longing, lost love, thoughts of mortality and...being stupid in the world. Witness "Let It Go" on that last point. Then turn it up a notch with a bittersweet song like "Lola" (males-haven't we all had our Rock and Roll Lolas-or wanted to). As then, as if to pay homage to the icon of the generation, a nod to Bob with a shortened version of the Dylan classic "Desolation Row". Yes, Chris had the tools to go out and slay the dragons of the folk world. This is his five star work. That work may not be well known outside the precincts of the graying folk world, but it should be.

It Ain't Easy, Chris Smither, 1993

I do not know if Chris Smither, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. He plays that signature blue guitar for all it is worth on Rock and Roll Doctor yet can turn it down several notches for a song like "Killin’ The Blues" (a song that he wished that he had written and I agree) and then goes softer on reflective songs like "Take It All". Moreover he is as capable as a songwriter as any of writing of longing, lost love, thoughts of mortality and…being stupid in the world. Witness "Memphis, In The Meantime" on that last point. Then turn it up a notch with a bittersweet song like "Happier Blue". Yes, Chris had the tools to go out and slay the dragons of the folk world. That work may not be well known outside the precincts of the graying folk world, but it should be.

Lyrics to Happier Blue :

I was sad, and then I loved you,
It took my breath
Now I think you love me, and
It scares me to death,
‘Cause now I lie awake and wonder, I worry,
I think about losin' you
I don't care what you say
Maybe I was happier blue
I don't care what you say
Maybe I was happier blue

Justice is a lady,
Blind, with a scale,
And a big letter-opener.
She's been readin' my mail
I don't know why this should shame me,
But it does, somehow
I don't care what you say,
She don't look like a lady now.
I don't care what you say,
She don't look like a lady now

I believe in heavy thinking,
I believe in heavy sound,
I believe in heavy images
To hold it all down.
Light as a feather in spite of me
I don't care what you say
Faith is not a guarantee
I don't care what you say
Faith is not a guarantee

Did you think I didn't know that?
You might be right.
I swear I will forget it if it
Takes all night.
I never needed nothin' like I ever needed
Knowin' I needed you
I don't care what you say
None of this is nothin' new
I don't care what you say
None of this is nothin' new

Lyrics to Killing The Blues :

Oh, leaves were falling

They're just like embers

In colors red and gold they set us on fire

Burning just like moonbeams in our eyes

Someone said they saw me

They said I was swinging the world by the tail

Bouncing over the white clouds

That I was killing the blues

Just killing the blues

Well, I am guilty of something

That I hope you never do

'Cause nothing is sadder

Than losing yourself in love

Someone said they saw me

They said I was swinging the world by the tail

Bouncing over the white clouds

Just killing the blues

Just killing the blues

Oh, when you asked me

Just to leave you

And set out on my own to find what I needed

You asked me to find what I already had

Someone said they saw me

They said I was swinging the world by the tail

Bouncing over the white clouds

I was killing the blues

Just killing the blues

Someone said they saw me

They said I swinging the world by the tail

Bouncing over the white clouds

I was killing the blues

Been killing the blues

Just killing the blues


"Train Home"

Take a look inside,
I got nothin' left to hide,
take me as I am,
not what I wanna be.
The why we'll never know, we passed that long ago.
Is and was is all we're ever gonna be.

He's almost shade, down by the river,
feels a breath that makes him shiver,
takes a breath and makes a dive alone.
But the dead don't get no vacation,
down in that subway station,
the only break they take is to the bone.
They waitin' on a train to take 'em home.

I don't think I see much of anything for me
in visions of the past or the ever-after.
Now is what can be,
all the rest is wait and see,
those prophets never hear that cosmic laughter.

And gypsies in their wagons rollin'
never hear those death bells tollin',
never take no notice of the tone.
But I do, and my pulse beats quicker,
scornful laughs and knowing snickers,
stop my heart and sink it like a stone.
And I'm waitin' on a train to take me home.

This ain't what it seems, it's not the stuff of dreams,
nothing is as clear as this confusion.
The somewhat welcome news
is there is no way to lose,
because what isn't real is genuine illusion.

And it's all about that graveyard dancin',
some sit still, some still prancin',
some get caught between them
in a zone where there's nothin' left to give 'em cover,
they can't even see each other,
they just step and stumble on their own.
They waitin' on a train to take 'em home.

They waitin' on a train,
I'm waitin' on a train,
we all waitin' on a train to take us home


"Lola"

Lookin' for my Lola, she's drinkin' rum and Coca Cola,
Smokes big cigars,
she drives big cars around.
Folks say she's gonna reach the top,
but she says that's just her first stop.

I know she ain't a good 'un,
whatcha bet she wouln' lose much sleep
if I should die today.
She says the love ain't cheap, but the pain is free
and I say, 'But that sounds good to me!'
She's got hooks to make a fish think twice,
but I ain't no fish.
I'll pay any price.
If I think at all, I think, 'This feels nice!'

Lookin' for my Lola, what if I'd 'a told ya
she don't even know she hurts me so.
She says 'I don't hate you, it ain't that big a deal,
you don't even figure in the way I feel.' but
don't think she feels too much at all.
I said 'Have a heart', she told me to my face,
'What little heart I got is in the wrong place.'

Lookin' for my Lola, she's a little rock 'n roller,
party down, paint the town again.
She drinks too much, she keeps it hid,
everybody says she's a hell of a kid,
but she ain't no kid when she's cuttin' me apart.
That's OK, I told her from the start,
'Don't stop 'fore you get my heart.'

Lookin' for my Lola, I barely got to know ya.
For all I know, there ain't a lot to know.
Either I gave up or she let me go,
how I got away I'll never know.
My life should be better, and it's not.
I know you think that she was pretty bad,
I wouldn't know, she was all I had


"Never Needed It More"

If love is the meal for the hunger you feel,
call for the witer.
We're all gonna feed on whatever
we need sooner or later.
I just stay out of my way.
I call for the check when I'm ready to pay.
The bill's for the faith or the will,
whichever is greater.

CHORUS Tell me how does it happen?
I can't tell you for sure,
but I don't think I ever needed it more

Cuz now it's two for the show and
they all wanna how
did you meet her?
I think it was luck,
she fell off a truck,
from there it was follow the leader.
I saw her walkin' alone,
I treated her nice and she followed me home.
There was nobody there to tell me
that I couldn't keep her.

CHORUS (variant) Tell me how does it happen?
I can't tell you for sure,
but I don't shut my tail in the door any more.

CHORUS

You know it's only a scene,
the play is the dream,
the bigger the better.
What can I say,
she's writin' the play and I'm gonna let her.
I just believe in the role.
I open wide and it swallows me whole.
The take is the give,
the give is the way that I get her.

*"The Long Goodbye"- Raymond Chandler's Phillip Marlowe-Style

Click On Title To Link To Raymond Chandler Web page.

BOOK/DVD REVIEW

The Long Goodbye, novel written by Raymond Chandler, movie directed by Robert Altman, starring Elliot Gould, 1972

Phillip Marlowe, Raymond Chandler's classic noir hard-boiled private detective forever literarily associated with Los Angeles and its means streets is right at home here in his search, at the request of a friend, a ne'e-do-wll friend as it turns out, for the inevitable `missing woman' ("dame", "frill", "frail", for the non-politically correct types) who 'conveniently' turns up dead. There is plenty of sparse but functional dialogue, physical action and a couple of plot twists, particularly around the identity of the above-mentioned `dame' and the motives behind the involvement of various wealthy Californians who have much to gain by a cover-up.

Have no fear however the intrepid Marlowe will figure it out in the end and some kind of 'rough' justice will prevail. At this point in the Chandler Marlowe series our shamus has been around the block more than a few times but he still is punching away at the 'bad guys' and the absurdity of the modern world. How does this one compare with the other Marlowe volumes? Give me those background oil derricks churning out the wealth while looking for General Sternwood's Rusty Regan in The Big Sleep or the run down stucco flats in some shady places in pursuit of Moose's Velma in Farewell, My Lovely any day. Nevertheless, as always with Chandler, you get high literature in a plebeian package.

There have been many cinematic Phillip Marlowes from Bogart and Powell to Elliot Gould in this Altman production. They reflect their director's take on the times and on the character of Marlowe himself. The world-weary but virtuous Marlowe of the 1940's has been replaced in this film by a decidedly out-of-tune Marlowe who could realistically be arrested for vagrancy any minute in the up-scale and upward striving Los Angeles of 'new' California. Fortunately Robert Altman can make it work without being too syrupy. In other less capable hands, and with an actor other than Elliot Gould who sets the standard for all post-Bogart modern Marlowes (except probably the incessant chain-smoking) giving his all to the role, that is an iffy proposition. In any case the days of Chandler's, Cain's and Hammett's intrepid California characters are long gone. But, thankfully, at least not on film. This one will join that crowd.

The Grapes of Wrath-John Steinbeck Unchained

BOOK REVIEW

The Grapes of Wrath, John Steinbeck, Random House, New York, 1998

Oddly, I first read John Steinbeck's classic tale of the 1930's depression, Grapes of Wrath, as a result of listening to Woody Guthrie's also classic Dustbowl Ballads. In that album Woody sings/narrates the trials and tribulations of the Joad family as they got the hell out of drought-stricken Oklahoma and headed for the land of milk and honey in California. After listening to that rendition I wanted to get the full story and Steinbeck did not fail me. His tightly-woven story stands as a very strong exposition of the plight of rural Americans as they tried to make sense of a vengeful God, unrelenting Nature and the down-side of the American dream. For those who have seem Walker Evans's and other photographers pictures of the Okies, Arkies, etc. of the period this is the story behind those forlorn, if stoic, faces.

The story line is actually very simple. The land in Oklahoma was played out, the banks nevertheless were pressing for payment or threatening foreclosure and for the Joads, as for others, time had run out. In the classic American tradition they pulled up stakes and headed west to get a new start. With great hopes and no few illusions they set out as a family for the sunny and plentiful California of their dreams. Their struggle along the way is a modern day version of the struggles of the old Westward heading wagon trains-including the causalities. But, that is not the least of it.

Apparently they had not read Frederick Jackson Turner's thesis that the frontier was gone- the land was taken. The bulk of the story centers of what happened when they get to the golden land-and it is not pretty. Day labor, work camps, strike action, murder, and mayhem-you know, California, the real California of the day. Not the Chamber of Commerce version. In short, as Woody sang, no hope if you ain't got the do re mi.

Grapes of Wrath was made into a starkly beautiful film starring a young Henry Fonda as Tom Joad. On a day when you are not depressed it is a film you want to see, if only for its photographic quality. So here is the list. Listen to Woody sing the tale. Watch Henry Fonda as he acts it out. And by all means read Steinbeck. He had an ear for the 1930's struggle of the Okies and their ilk as they hit California. What happened to those people later and their influence on California culture and what happened to those who didn't make it are chronicled by others like Howard Fast, Hunter Thompson and Nelson Algren. But for this period your man is Steinbeck.

Another Time To Try Men's Souls- The Detroit Winter Soldier Investigations-1971

As The Burns-Novick Vietnam War Documentary Airs- Another Time To Try Men's Souls- The Detroit Winter Soldier Investigations-1971

DVD Review

Winter Soldier, various soldier witnesses, Winterfest Productions, 1972

I am rather fond of invoking, especially in writing of the American Revolution that we have just again celebrated, Tom Paine’s little propaganda piece in defense of that revolution which hails the winter soldiers of 1776 for staying at their posts when others either ran away or became faint-hearted at the prospects of defeating the bloody English. It is those efforts by those long ago winter soldiers that other leftists and I have honored in the past and continue to honor today. We will leave the hollow holiday rhetoric and mindless flag waving to the sunshine patriots. Needless to say, given the title of the film under review, I am not the only one who appreciates that description and the producers here, I believe, have caught the essence of the spirit of those long ago winter soldiers in this documentary about the rank and file soldier-driven investigation in 1971 into the atrocities and horrors produced by the American military in the Vietnam War.

It is an old hoary truism, if not now something of a cliché, that war does not bring out humankind’s nobler instincts. For a very recent example one need look no further back than at the newspaper headlines of the past few years concerning various atrocities and acts of torture committed by the American military in Iraq and Afghanistan. However, Iraq and Afghanistan are hardly the first time that the American military has been exposed acting in less than its self-proclaimed ‘agent of liberation’ role in its various imperial adventures. If one rolls the film of history back to the last generation, for those who have forgotten or were not around, Vietnam presents that same story. As against prior wars two things made awareness that something had gone horribly wrong possible in Vietnam. First, Vietnam was the first televised war and at some point it became impossible for the military to hide everything that it was doing. Secondly, a small critical mass of American military personnel, mainly those rank and file personnel who actually carried out military policy, wanted to clear the air of their complicity in that policy.

Needless to say, an investigation into atrocities and torture is not something that the American military establishment wished to have aired in public (and as the fate of this film indicates raised hell to successfully keep it out of the major media markets of the time). That establishment was much more comfortable with internal governmental investigations or whitewashes of their actions as occurred, ultimately, in the case of My Lai. However the traumatic reaction of a significant element of the rank and file soldiery in Vietnam caused this 'unofficial' investigation to take place. For those who grew up, like this reviewer, believing something of Lincoln’s expression that the American democratic experience was the ‘last, best hope for mankind’ this was not pretty viewing. For one, also like the reviewer, who was a soldier during the Vietnam War period and who had friends and ‘buddies’ just like those that populate this documentary AND DID SOME OF THE SAME THINGS it was doubly hard. But, dear reader, for the most part what the citizen-soldiers- our brothers, sons and other relatives- have to say here needed to be said.

Naturally in a documentary that films an investigation into atrocities, torture and military standard operating procedure (SOP) during the Vietnam War the interviewees are going to be a little more articulate, a little more remorseful and a lot more angry than the average soldier who went through Vietnam came home and tried to forget the experience. These soldiers had an agenda- and that agenda was to get their buddies- the troops still in Vietnam- home. Nevertheless one must be impressed by the way they expressed themselves –sometimes haltingly, sometimes inarticulately, sometimes from some depth that we have no understanding of. Moreover, their testimony has the ring of truth. Not the SOP military truth but this truth- humankind has a long way to go before it can, without embarrassment, use the word civilized to describe itself. No, my friends, these were not our soldiers but, they were our people-these were the winter soldiers of the Vietnam War.

A Fresh Look At 1776- The Great American Revolution

This year marks the 232th Anniversary of the Declaration of Independence. A lot has gone wrong with the promise presented by that document and the revolution that went with it but we nevertheless justly still commemorate that event today. The point is to take that history out of the hands of the sunshine patriots who have appropriated it- and by the look of things - we better make it pronto.

BOOK REVIEW

1776, David McCullough, Simon&Schuster, New York, 2005

Regular readers of this space will recognize that I spend a fair amount of time discussing the lessons of, or looking at specific aspects of, the three great European revolutions- the English, French and the Russian. I have also given a fair amount of space to the grandeur of the American Civil War. I have, in contrast, tended to give short shrift to the virtues of the American Revolution. This is flat out wrong. Thus, over the past couple of years I have tried to rectify that slight by increasing the amount of space given over to various aspects of the American Revolution, mainly biographic sketches. Today I continue that shift with a review of the well-known historian and documentary narrator David McCullough’s 1776.

Part of the reason for selecting Mr. McCullough’s work is the personal need to go over again the specifics of the revolutionary period. You know, the battle of this or that, or some military operation led by whomever. However, the more pressing reason is that Mr. McCullough has written an important book centered on detailing the creation of the American revolutionary national liberation army, its trials, tribulations and faults. Moreover, McCullough has written his narrative of events in an easy to follow way, including some very insightful commentary about various turning points in the revolutionary experience, like the effect of the issuance of the Declaration of Independence on the morale of the troops in the field.

The key to understanding the eventual success of the American colonial struggle against bloody England was the coalescing of a ragtag, localized basically over-sized weekend militia into first a New England- wide then a continent-wide army worthy of the name. Along the way cadres were formed that saw the struggle through to the end. No revolutionary movement can be successful without that accrual. The case of Henry Knox, local Boston bookseller turned military magician, bringing captured cannon from Fort Ticonderoga to Boston in order to help ‘push’ the British out of Boston is just the most dramatic case of such cadre development

Equally as important, the names Washington, Gates and Knox and lesser cadre keep coming up repeatedly during this narrative, and rightly so. That points to the decisive question that the narration of events here turns on- leadership at crunch time. A whole school of historians, at one time at least, tended to diminish the role that Washington played in keeping these ragtag forces together. McCullough, rightly I think, challenges that assumption and places the Washington leadership as a key component to success.

McCullough, moreover, intentionally or not, through his narrative not only traces the development of Washington as a leader in the abstract but how he fares during the various campaigns. Thus we are treated to the high of his maneuvers in the key fight that led to the evacuation of Boston by the British in March of 1776, and then the low of the shifting of the struggle to the south with the devastating initial colonial defeats in the greater New York area when the militarsy forces of British imperialism got into high gear and applied its muscle.

Thereafter McCullough details the various retreats down through New Jersey and ends the year with the famous Battle of Trenton that was key to the survival of the revolutionary army in its first year. The narrative breaks off there. Although the opponents slugged it out for several more years the maintenance of a functioning revolutionary army in the field pointed positively toward the conclusion that victory was possible. Read this book and learn more about some of our common revolutionary history.

*Dual Power in the American Revolution-Professor Maier's View

Click on title to link to The History Place's Timetable for the pre-revolutionary events that are discussed in the book reviewed below.


This year marks the 232th Anniversary of the Declaration of Independence. A lot has gone wrong with the promise presented by that document and the revolution that went with it but we nevertheless justly still commemorate that event today. The point is to take that history out of the hands of the sunshine patriots who have appropriated it- and by the look of things - we better make it pronto.

BOOK REVIEW

From Resistance to Revolution: 1765-1776, Paula Maier, 1974

In my youth I was greatly enamored of Crane Brinton’s classic sociological study of the stages of revolution, Anatomy of a Revolution. In that work Brinton put forth a number of propositions that he believed were common to the English revolution of the 17th century, the American and French revolutions of the 18th century and the Russian of the 20th century as he tried to draw some conclusions about the similarities of great modern revolutions up to his time. Although his work has been superseded, in part, by advances in scholarship over the past half century of so every thoughtful observer of revolutions can still benefit by a reading of his work.

A central theme of that work was that in the pre-revolutionary period a fair slice of society (generally a literate, activist segment) shifted its allegiance in self-defense away from the established order and either adhered to new parallel political organizations or remained neutral toward the possibilities of an impeding uprising. Professor Maier has taken that proposition, although she seemingly has made no formal recognition of her debt to Brinton, and applied it to a study of the American Revolution and has made a very nice case for Professor Brinton’s proposition. Using his schema has nevertheless strenghtened her argument.

Leon Trotsky in his seminal three-volume work The History of the Russian Revolution has a chapter in Volume Two headed Dual Power. The gist of the argument that Trotsky presented there is that in revolutionary periods the organized structures of the old regime are confronted with parallel structures organized by the revolutionary forces. In the case of the Russian revolution that, once the question of the monarchy was out of the way- a question basically settled by the February revolution, shaped up to be a battle between the forces around Kerensky’s bourgeois Provisional government and the revolutionary forces around the Workers, Soldiers and Peasants Soviets. In the long haul one of those two forces had to prevail and in the Russian case it was the soviets.

Trotsky, here was, of course, discussing the question of the direct struggle for state power but I would argue that that same notion can be used for the pre-revolutionary period, at least for the American Revolution. Professor Maier’s work bears out that contention. Certainly the way that she structured her time frames captures the various turns in the political struggle toward revolution fairly accurately (first peaceful petition and non-cooperation, then spirited public demonstrations, boycotts, acts of violence against British property and eventually creation of an organ of self-government- the Continental Congress).

In that ten year period from 1765, the period of the agitation centered on the activities of the Sons of Liberty against Stamp Act, through the various other oppositional movements to unjust parliamentary actions through the key establishment of a Continental Congress (the American equivalent of the National Assembly in the French and Soviets in the Russian experiences) culminating in a declaration of independence there is a sea change in the shift of the political allegiance by the bulk of American colonists toward England and the monarchy.

The radicals in America, like John and Samuel Adams (cousins), Joseph Warren, James Otis and John Hancock, started out assuming that the English monarchy, its governmental ministries and an elected Parliament were rational organizations. And they were for the English if not for the unrepresented colonialists. Thus each act, like the Stamp Act, Townsend Acts, etc. contrary to the interests of the colonialists met with an organized opposition. However, this opposition started out with the colonialists acting merely as aggrieved by an uninformed, or in the worst case manipulated, sovereign as time and the number of egregious incidents goes on the radicals move further left, pick up other layers of society and begin to see that self-interest required independence. Along the way some elements react against the leftward movement and either goes to the sidelines of the political struggle or adhere to the monarchy. Valuable political lessons were accumulated along the way.

Are there any lessons to be drawn today from those struggles of our forebears, though? In short, are we in that ten-year period prior to a revolutionary turn? Certainly the objective situation in the economy, the world political situation and the crush of social institutions are not qualitatively different from 1765. But no, I see no parallels today of people creating alternate institutions to take on the government, although they should. Nevertheless scholars, history buffs, radicals and revolutionaries should read this book to learn about revolutionary timing, if nothing else.

*To The Armed Struggle League- Propaganda or Agitation?

Click on the title to link to an "Under The Hood" (Fort Hood G.I. Coffeehouse)Web site online article about the "Oleo Strut" Coffeehouse, an important development in the anti-Vietnam War struggle. Hats off to those bygone anti-war fighters.


Commentary

On Slogans- Propaganda or Agitation?

Every once in a while I get a political communication that baffles me. Today is one of those days. I am looking for help and comments from readers as much as I want to comment on this one myself. I monitor a number of amorphous left wing political sites to get a sense of what is happening in our little corner of the political universe and to get a better slant on events than one generally gets from the bourgeois media (although one should not dismiss that source out of hand, if for no other reason than to know what the buggers are up to). I have commented on other occasions that some of these left wing sites have gone off on more than one conspiracy theory tangent to explain away the impotent of the left but the subject of today’s entry is of different magnitude.

Here is what I am up against upon receipt of a communiqué (in English, although today that means less than it used to) from a group called the Armed Struggle League. Personally, I have never heard of this group, at least not under that name although I do not necessarily keep up with the doings of every grouplet as I have enough to do creating my own propaganda along with my own little grouplet. The substance of the Armed Struggle League’s message is that NOW is the time, due to a myriad of political, social and economic circumstances (the usual laundry list- the wars in Iraq and Afghanistan, the housing crisis, the commodities crisis, the poor American education and health systems) to form workers councils, use those organizations to struggle for power and defend them by arming the workers. That is where we part company-for the moment.

After giving the communiqué some thought my initial satirical reaction was that here was a group that had been underground for a long time and had only surfaced now that United States Supreme Court Justice Antonin Scalia and his majority had given its imprimatur for the individual right to bear arms. But that was too facile an analysis even for this writer. My next reaction was that the group had been underground for a long time and had only recently gotten the word that the 1917 February Revolution had occurred in Russia and that they were playing catch-up somewhere in the summer of that year. Again, that is too easy an answer. I am going to assume for my own political purposes that this is a rational group and that they are just frustrated (like the rest of us on the extra-parliamentary left) that the masses have not yet risen to slay the monster who is certainly taking a big chunk out of their lives.

Elsewhere I have tried to explain the difference between our general propaganda tasks in defense of socialism in this period and our occasional ability to take the offensive and agitate for certain demands either because the objective situation cries to high heaven for that solution or because the demand has some capacity to get a hearing from some segment of today’s political audience. The clearest example that I can give of this in recent times, and that concerned me personally, was the question of creating soldiers and sailors solidarity committees to link up with the soldiers in Iraq to end the war a couple of years ago when there were openly civil war conditions in Iraq and American military forces, especially the rank and file, were in turmoil. Without going into all the details of how my group decided to agitate around that issue it certainly met, for a time, the two criteria I mentioned above- objective necessity and possibilities of a hearing from political elements. Sometime in mid-2007 that slogan lost its agitational edge as things calmed down in Iraq with the ‘victory’ of the Bush/Petraeus ‘troop surge’ strategy. We still use the slogan as propaganda on selected occasions but we do not highlight it much less agitate around the slogan today.

And that, my friends, is exactly what is wrong with the political prospectus of the Armed Struggle League today. Workers Councils- great idea. Center a workers government around this organizational form- even better. Defend those organizations by arming the workers against internal counter-revolution and external imperialist intervention- ABC’s. But what does all that have to do with today’s “simple” little tasks like getting working people in America to break from their political allegiance to the Democratic Party (and, apparently, in the cases of at least some white workers the Republican Party) and struggling to create a workers party that can fight for a workers government. Not as sexy as invoking the glory days of the Russian Revolution but those are our general propaganda tasks today.

Note: The thought had passed my mind that this message was an act of provocation by some nefarious forces, governmental or otherwise. For what purposes, however, I do not know. The e-mail address I tried to reply to was one of those no reply things. However, since the thrush of the communiqué had some sense of historical knowledge I think this is really the work of some antsy “ultra left” kids. In that case I urge them to think things through- our day will come, it is just not today. If any reader knows anything about this group, has received this communiqué or is a member of the group I definitely want to hear from you.

*Again, An Anniversary of Sorts- On Keeping (Or Trying To Keep) A Revolutionary Perspective In Hard Political Times

Click on title to link to the Leon Trotsky Internet Archive's copy of pages from Leon Trotsky's Journal for 1936 and 1937, a tough period for him politically and personally before the Mexican exile came through.

Commentary

Parts of this entry were used last summer (An Anniversary of Sorts, July 2007 archives) to mark my 35th year as a follower of Karl Marx. Most of these remarks are also pertinent here as I celebrate my 35th year as a follower of Leon Trotsky.

This summer (2007) marks the 35th year of my commitment to Marxism. Those who have been reading my commentaries for a while know that I try to commemorate, and comment on, important anniversaries in our common working class and leftist history like the execution of Sacco and Vanzetti or the start of the Paris Commune. Those same readers also know that I have been rather short with bourgeois politicians like John Kerry who have a habit of commemorating every little political move they have taken. The winner for me was Kerry’s very public celebration at historic Fanueil Hall in Boston in 2006 of the 35th anniversary of his anti-war testimony before Congress in 1971. Christ, I still chuckle over the absurdity of that one. But hear me out on this. I want no pat on the back but to just make a comment about why, despite the current historic trend away from socialist solutions to the world’s problems, I still proudly carry the title communist.

I once remarked in a review of Karl Marx’s Communist Manifesto that the third section of that document where he polemicizes against the various liberal and so-called socialist groups of his day that in my search for political solutions in my early days I had probably held virtually every position that he argued against. And believe me, dear reader, that is no exaggeration-except maybe I did not advocate for feudal socialism. But the rest, liberalism, both tactical and principled versions of pacifism, anarchism, guerrilla warfare, and ...well you get the drift I was right in the thick of. This is probably why when I headed, reluctantly I might add, to Marxism it stuck. And that is the main idea I am trying to get at in this piece. That is the power of Marxism as a tool for looking at and changing the world. The only other point I would add is that over the past thirty-five years nothing in politics, our few victories and our many, too many defeats at the hands of the capitalists, has made me regret that I took the road back to my working class roots. I have made many a political mistake in my life, that is for sure. But this is not one of them. LONG LIVE THE WORLD SOCIALIST REVOLUTION!!!

2008

Recently in an entry (A Slight Irving Howe Confession, May 2008 archives) I mentioned Professor Howe’s role in my introduction (at least conscious introduction) to the work of Leon Trotsky. As mentioned below it was not enough back in 1972 to come to a Marxist understanding of the world it was also necessary to trace the threads through to the thoughts of more modern Marxist thinkers. I repost the section on how I was introduced to Trotsky’s thought here as a little reminder that fate takes some funny turns in this wicked old world.

Confession#2- Irving Howe actually acted, unintentionally, as my recruiting sergeant to the works of Leon Trotsky that eventually led to my embrace of a Trotskyist worldview. As I noted last year I have been a Marxist since 1972. But after some 150 years of Marxism claiming to be a Marxist is only the beginning of wisdom. One has to find the modern thread that continues in the spirit of the founders. This year marks my 35th year as a follower of Leon Trotsky. Back in 1972, as part of trying to find a political path to modern Marxism I picked up a collection of socialist works edited by Professor Howe. In that compilation was an excerpt from Trotsky’s History of the Russian Revolution, a section called On Dual Power. I read it, and then re-read it. Next day I went out to scrounge up a copy of the whole work. And the rest is history. So, thanks, Professor Howe- now back to the polemical wars- the truce is over.

Once Again in 2008- Long Live The World Socialist Revolution!

Alabama, God Damn- Harper Lee's "To Kill A Mocking Bird"

Click on the headline to link to a "Wikipedia" entry for Harper Lee's "To Kill A Mocking Bird" as background for this entry.

DVD REVIEW

To Kill a Mocking Bird, Gregory Peck, black and white, 1962

This film is an excellent black and white adaptation of Harper Lee’s book of the same name. The acting, particularly by Gregory Peck (and a cameo by a young Robert Duval), brings out all the pathos, bathos and grit of small town Southern life in the 1930’s. The story itself is an unusual combination, narrated by Peck’s film daughter Scout (and presumably Lee herself), of a coming of age story that we are fairly familiar with and the question of race and sex in the Deep South (and not only there) with which we were (at the time of the film’s debut in 1962) only vaguely familiar. That dramatic tension, muted as it was by the cinematic and social conventions of the time, nevertheless made a strong statement about the underlying tensions of this society at a time when the Southern black civil rights struggle movement was coming into focus in the national consciousness.

The name Atticus Finch (Peck’s role) as the liberal (for that southern locale) lawyer committed to the rule of law had a certain currency in the 1960’s as a symbol for those southern whites who saw that Jim Crow had to go. Here Finch is the appointed lawyer for a black man accused of raping a white women of low origin- the classic ‘white trash’ depicted in many a film and novel. Finch earnestly, no, passionately in his understated manner, attempts to defend this man, a brave act in itself under the circumstances.

Needless to say an all white jury of that black man’s ‘peers’ nevertheless convicts him out of hand. In the end the black man tries to escape and is killed in the process. In an earlier scenario Finch is pressed into guard duty at the jailhouse in order to head off a posse of ‘white trash’ elements who are bend on doing ‘justice’ their way- hanging him from a lynching tree. On a mere false accusation of a white woman this black man is doomed whichever way he turns. Sound familiar?

The other part of the story concerns the reactions by Finch’s motherless son and tomboyish daughter to the realities of social life, Southern style. That part is in some ways, particularly when the children watch the trial from the “Negro” balcony section of the courtroom, the least successful of the film. What is entirely believable and gives some relief from the travesty that is unfolding are the pranks, pitfalls and antics of the kids. The tensions between brother and sister, the protective role of the older brother, the attempt by the sister to assert her own identity, the sense of adventure and mystery of what lies beyond the immediate household that is the hallmark of youth all get a work out here. But in the end it is the quiet dignity of solid old Atticus and the bewildered dignity of a doomed black man that hold this whole thing together. Bravo Peck. Kudos to Harper Lee.

*From The Archives Of "Women And Revolution"-In Defense of Homosexual Rights: The Marxist Tradition

Click on the headline to link to a "Wikipedia" entry for "Communism and homosexuality".

Markin comment:

The following is an article from the Summer 1988 issue of "Women and Revolution" that may have some historical interest for old "new leftists", perhaps, and well as for younger militants interested in various cultural and social questions that intersect the class struggle. Or for those just interested in a Marxist position on a series of social questions that are thrust upon us by the vagaries of bourgeois society. I will be posting more such articles from the back issues of "Women and Revolution" during Women's History Month and periodically throughout the year.


In Defense of Homosexual Rights: The Marxist Tradition

Defense of democratic rights for homosexuals is part of the historic tradition of Marxism. In the 1860s, the prominent lawyer J.B. von Schweitzer was tried, found guilty and disbarred for homosexual activities in Mannheim, Germany. The socialist pioneer Ferdinand Lassalle aided von Schweitzer, encouraging him to join Lassalle's Universal German Workingmen's Association in 1863. After Lassalle's death, von Schweitzer was elected the head of the group, one of the organizations that merged to form the German Social Democratic Party (SPD). The SPD itself waged a long struggle in the late 19th century against Paragraph 175 of the German penal code, which made homosexual acts (for males) a crime. August Bebel and other SPD members in the Reichstag attacked the law, while the SPD's party paper Vorwarts reported on the struggle against state persecution of homosexuals.

In 1895 one of the most infamous anti-homosexual outbursts of the period targeted Oscar Wilde, one of the leading literary lights of England (where homosexuality had been punishable by death until 1861). Wilde had some socialist views of his own: his essay, "The Soul of Man Under Socialism," was smuggled into Russia by young radicals. When the Marquess of Queensberry called him a sodomist, Wilde sued for libel. Queensberry had Wilde successfully prosecuted and sent to prison for being involved with Queensberry's son. The Second International took up Wilde's defense. In the most prestigious publication of the German Social Democracy, "Die Neue Zeit", Eduard Bernstein, later known as a revisionist but then speaking as a very decent Marxist, argued that there was nothing sick about homosexuality, that Wilde had committed no crime, that every socialist should defend him and that the people who put him on trial were the criminals.

Upon coming to power in 1917 in Russia, the Bolshevik Party began immediately to undercut the old bourgeois prejudices and social institutions responsible for the oppression of both women and homosexuals— centrally the institution of the family. They sought to create social alternatives to relieve the crushing burden of women's drudgery in the family, and abolished all legal impediments to women's equality, while also abolishing all laws against homosexual acts. Stalin's successful political counterrevolution rehabilitated the reactionary ideology of bourgeois society, glorifying the family unit. In 1934 a law making homosexual acts punishable by imprisonment was introduced, and mass arrests of homosexuals took place. While defending the socialized property forms of the USSR against capitalist attack, we Trotskyists fight for political revolution in the USSR to restore the liberating program and goals of the early Bolsheviks, including getting the state out of private sexual life. As Grigorii Batkis, director of the Moscow Institute of Social Hygiene, pointed out in "The Sexual Revolution in Russia," published in the USSR in 1923:
"Soviet legislation bases itself on the following principle:

'It declares the absolute non-interference of the state and society into sexual matters so long as nobody isinjured and no one's interests are encroached upon

"Concerning homosexuality, sodomy, and various other forms of sexual gratification, which are set down in European legislation as offenses against public morality—Soviet legislation treats these exactly the same as so-called 'natural' intercourse. All forms of sexual intercourse are private matters." [emphasis in original]

—quoted in John Lauritsen and David Thorstad, The Early Homosexual Rights Movement 1864-1935

1950's Oldies But Goodies- Roy, Carl and Elvis

Here are few revivals out of our past, if you grew up in the 1950's.

Roy The Boy

Black and White Nights, Roy Orbison, Roy Orbison Productions, 1987

In another entry in this space I have reviewed Roy Orbison’s In Dreams that is a more ‘talking heads’ approach to his life and music. And that too has its merits. However, when we talk of Roy Orbison then the music is what we really want to deal with. And here one gets all the Roy the Boy one wants, and more. Backed by the likes of Bruce Springsteen, Elvis Costello, Tom Wait and Jackson Browne Roy goes through a litany of his greatest hits from Claudette to Pretty Woman.

But wait, what about the back up singers that were mandatory to late 1950’s rock music. Well, how about k.d. Lang, Bonnie Raitt and Jennifer Warnes. Well, not bad for backup, right? That tells you exactly what you are getting here. The best. Plus a bonus, bonus in some very, very fine licks by T-bone Burnett. Outstanding here are Sweet Dreams, Baby (with Springsteen on lead vocals along with Roy) and the finale Pretty Woman (with an incredible series of riffs by all the guitarists). Yes, Sweet Dreams, Baby.


How About Them Blue Suede Shoes

Carl Perkins- King of Rockabilly and Friends, Carl Perkins, 1985

Everyone who cares now knows that the roots of rock and rock came from a few sources, country blues, city blues, and rhythm and blues of the Big Joe Turner sort and from the white South rockabilly from the likes of Jerry Lee Lewis and the artist reviewed here- Carl Perkins. Over the long haul I believe that the key is that Turner rhythm and blues on Shake, Rattle and Roll that defines the roots of rock and roll but that is just for argument’s sake. Carl Perkins can lay claim to a piece of that magic with Blue Suede Shoes (latter covered by Elvis, adding a great deal to his career, of course).

Whether Perkins is a key figure is the history of rock and roll beyond that initial contribution is also an open question. However, no one can question that here in a 30th Anniversary show in London to an audience that was perhaps more appreciative than a home-grown one at that time no one can doubt that he rocks the rockabilly with the best of them. As usual with this format we have the guests- and quite good ones in the likes of Roseanne Cash, Ringo Starr, Eric Clapton and George Harrison as well as a nice traveling band. Additionally there were some serious dancers, dressed in appropriate 50's style, in the audience kicking up a storm. The hit here is, without a doubt, the finale with a collective all out rendition of Blue Suede Shoes.

Inventing Elvis

Elvis-The First Year-1954, narrated by Jack Perkins, 1992

Elvis Presley a rock and roll hero of my youth, if not to me personally then to many I knew especially girls, is the subject of this in-depth look at the first year that Elvis began inventing himself as the King. Jack Perkins’s somber narration and idiosyncratic style sets the tone for a thoughtful look back at Elvis’s trials and tribulation on the road to stardom. We have the full ‘talking head’ treatment here from Elvis’s surviving band member, Scotty Moore, to ex-sweethearts, motel owners, agents, radio producers and announcers, cooks, bakers and candlestick makers. Basically anyone who crossed his path in 1954 in that first tough year out on the road.

And what a road it was. Playing small clubs, high school auditoriums, the Louisiana Hayride and every where he could get his foot in the door Elvis stretched and clawed his way to success, and apparently was not a bad guy to hang around with then either. He, moreover, exhibited all the virtues that small town Southerners liked in the 1950’s, except maybe those sideburns and, just maybe, swinging that pelvis just a little too much when their daughters were around.

An interesting part of this presentation is an attempt to place the roots of Elvis’s music in the context of his time and place. And, as has been expressed elsewhere as well, that included black musical influences in the deeply segregated South. Sun Records Sam Phillip’s old adage comes true through Elvis- finding a white boy who could sing black. This segment only adds to something that I have been arguing for the past few years- the roots of rock and roll owe more than a little to black blues musical influence – think in this regard of the importance of Big Joe Turner’s Shake, Rattle and Roll, also produced in 1954. But Elvis certainly rode the wave to great effect and this little valentine to him is good for those who like musical history with their music. For those who need just the music look elsewhere.

A Victory For The Right To Bear Arms

Commentary

Sometimes it is actually fun to watch the maneuverings of the Justices of the United States Supreme Court as they form their various majority opinions (when they can avoid those plurality opinions where every justice who can put pen to paper gives a concurring opinion). Today’s, Thursday June 26, 2008, big decision is really big as this court has held that the Second Amendment to the Constitution concerning the right to bear arms means more than provision of well- regulated militia by the state and entails the individual right to bear arms. The specifics of the case involved overturning Washington, D.C.'s extremely restrictive handgun laws (and upholding the Federal Circuit Court of Appeals' previous holding overturning those laws). Justice Scalia, author of the majority decision (who by a fortunate quirk of fate as far as this decision goes never got past the legal decisions of 1791 in law school), is our ‘friend’ here. Along with ‘friends’ Roberts, Alito. Thomas and swing voter Kennedy.

They say that politics makes strange bedfellows and that is true on this issue. Of course we are also keeping company with the likes of the National Rifle Association but so be it. While they all have their own axes to grind here is what concerns us. We support, unlike the august Supreme Court Justices, the right to revolution just like our forbears did. That is why this decision is legally, at least, important to us. But as a practical matter here is the skinny- we do not want the cops, crazies and criminals to be armed while we are defenseless. No way. Enough said.