*The King Of Swing- The Jazz Music Of Benny Goodman

Click On Title To Link To YouTube's Film Clip OF Benny Goodman And His Band Performing "Sing, Sing, Sing".

CD Review

Benny Goodman: Gold Collection, Benny Goodman and various side men, Dejavu, 1992

Musically, I am a blues man. I am informed, malformed, deformed, reformed by the blues. Then I am a rock man. And a folk man, in all its variants. So where doe that lead me into an exposition of jazz that I have recently started to write more about in this space. Well, let’s just call it an extension of the blues (not hard to do by the way). I mentioned in a recent review of the work of jazz singer Mildred Bailey that the clearest example of that is Lady Day, Billie Holiday. I noted there, that, yes, I know that she was a jazz singer extraordinaire. But, the way she swept my blues away when I was down in the dumps sure makes me think she was the queen of the blues (Bessie Smith being, of course, outlandishly the “Empress” ). I would further note in the category of male bandleaders (that is, after all, what jazz was about back in the days, bands) Duke Ellington’s work has a similar status.

Taking this idea once more as my theme all of this is by a very round about way of bringing the jazz band leader under review, Benny Goodman into the picture. Duke Ellington set the standard in the 1940’s for the phrasing of a jazz piece, for the mix of instruments, for the hush that signaled a new direction to the piece, for the … well, underlying sense of what was going on. As I expressed elsewhere, for that something unsayable but certainly knowable when the music is done right. Benny Goodman, although I believe more into the commercial showmanship of the music than Ellington and others like Chick Correa (who will be highlighted here later) had that in spots. But Benny had that something different, consciously so. He made his work jump to the swing that would get even a tongue-tied, doubled-jointed clod like this review up and dancing. That, my friends, is no mean trick.

I believe that Benny Goodman had two good stretches. One when he had the singer Peggy Lee fronting for his big band. And as highlighted here when he worked (and according to the memories of those who worked under him, worked them hard) small groups that demonstrated that swing could be done in that small combo, if you just had the right personnel. Proof here? “St. Louis Blues”. “Chloe” (Christ, even the name gives the swing sound sense of it). “One O’Clock Jump”. How’s that. If you need more, believe me there are more here and on other Goodman CD’s. No wonder Hitler, according to some memoirs of Hamburg youth that were made into a movie, wanted his work banned. Swing On...

*The King Of Swing- The Small Group Jazz Music Of Benny Goodman

Click On Title To Link To YouTube's Film Clip Of Benny Goodman's Band Performing A Swing Medley.

CD Review

Benny Goodman: Small Groups: 1941-1945, Benny Goodman and various side men, Columbia Records, 1989

Musically, I am a blues man. I am informed, malformed, deformed, reformed by the blues. Then I am a rock man. And a folk man, in all its variants. So where doe that lead me into an exposition of jazz that I have recently started to write more about in this space. Well, let’s just call it an extension of the blues (not hard to do by the way). I mentioned in a recent review of the work of jazz singer Mildred Bailey that the clearest example of that is Lady Day, Billie Holiday. I noted there, that, yes, I know that she was a jazz singer extraordinaire. But, the way she swept my blues away when I was down in the dumps sure makes me think she was the queen of the blues (Bessie Smith being, of course, outlandishly the “Empress” ). I would further note in the category of male bandleaders (that is, after all, what jazz was about back in the days, bands) Duke Ellington’s work has a similar status.

Taking this idea once more as my theme all of this is by a very round about way of bringing the jazz band leader under review, Benny Goodman into the picture. Duke Ellington set the standard in the 1940’s for the phrasing of a jazz piece, for the mix of instruments, for the hush that signaled a new direction to the piece, for the … well, underlying sense of what was going on. As I expressed elsewhere, for that something unsayable but certainly knowable when the music is done right. Benny Goodman, although I believe more into the commercial showmanship of the music than Ellington and others like Chick Correa (who will be highlighted here later) had that in spots. But Benny had that something different, consciously so. He made his work jump to the swing that would get even a tongue-tied, doubled-jointed clod like this review up and dancing. That, my friends, is no mean trick.

I believe that Benny Goodman had two good stretches. One when he had the singer Peggy Lee fronting for his big band. And as highlighted here when he worked (and according to the memories of those who worked under him, worked them hard) small groups that demonstrated that swing could be done in that small combo, if you just had the right personnel. Proof here? "If I Had You", a hot "Blues In The Night", always the "St. Louis Blues" and two versions of "Body And Soul" Case closed, except.. Swing On.

*Jazz Days On My Mind- The Music Of Mildred Bailey

Click On Title To Link To YouTube's Film Clip Of Mildred Bailey Performing "Rocking Chair".

CD Review

Thanks For The Memories: Mildred Bailey, Giants Of Jazz, 1996

Musically, I am a blues man. I am informed, malformed, deformed, reformed by the blues. Then I am a rock man. And a folk man, in all its variants. So where doe that lead me into an exposition of jazz that I have recently started to write more about in this space. Well, let’s just call it an extension of the blues (not hard to do by the way). And the clearest example of that is Lady Day, Billie Holiday. Yes, I know that she was a jazz singer extraordinaire. But, the way she swept my blues away when I was down in the dumps sure makes me think she was the queen of the blues (Bessie Smith being, of course, outlandishly the “Empress”).

All of this is by a very round about way of bringing the jazz singer under review, Mildred Bailey into the picture. Billie Holiday set the standard in the 1940’s (and to a lesser extent in the 1950’s when the dope started to get the best of her) for the phrasing of a jazz song, for the hush that signaled a new direction to the song, for the … well, underlying sense of the song. For that something unsayable but certainly knowable when a song is done right. Mildred Bailey and others (who will be highlighted here later) had that in spots and that is why she and this “greatest hits’ compilation of her work are being reviewed here.

So what sticks out here in that regard? How about her rendition of Duke Ellington’s “I Didn’t Know About You”. Or King Oliver’s “’Taint What You Do”. Or, for that matter, Crosby’s “ A Ghost Of A Chance”. And, of course, “Gulf Coast Blues”. Finally, though, let us see why she is a cut below Billie and Bessie- “St Louis Blues”. That is the cut line. But she still is good. Listen up.

*It Ain’t Always About Politics- The Recorded Topical Folk Song in American History- Man Versus Man (And Woman, Too)

Click On Title To Link To YouTube's Flm Clip Of William And Versey Smith Performing " When The Great Ship Went Down"

CD Review

People Take Warning!: Murder Ballads& Disaster Songs, 1913-1938, Tompkins Square, 2007

Yes, for the umpth time, I am deep in research of the roots, the many roots of American folk music. As part of this search I have spilled plenty of ink over the folk revival of the 1960’s, and its links to today’s folk scene, that I have the most intimate knowledge about. But that is hardly the end of the story. In fact the 1960’s folk revival is something of the tail end of a vast exploration done by a few musicologists, most famously the father and son team of John and Alan Lomax. While the revival itself explored many kinds of music from the mountains of Appalachia to the plains of Texas and beyond the “rage” for roots then, exploited most effectively by the likes of Bob Dylan, centered on the topical songs of the day done by in the age old manner of the traveling troubadours of yore.

While the subject matter of the 1960’s scene, naturally, tendered toward the overtly political around the issues of conventional war, nuclear disarmament, the fierce civil rights struggle in the American South that dominated all serious talk, social isolation, the rebellion against social conformity and the like historically the “singing” newspaper tradition was far from those “deep” concerns. The tendency was to be more personal either with songs of love. longing for love or of thwarted love or on a more mundane level disaster, manmade or natural, murders and other sensational crimes and whatever other local gossip could be turned into a ballad. But beyond that, as this compilation bears witness to every song seemingly had to provide a cautionary note.

Whether that note was to beware of getting to dependent on the emerging whirlwind of the newest technologies like the airplane or “unsinkable” ships, the mysteries of natural disasters like floods and fire or the hazards of pre-martial sex, being a vexing wife or coveting another man’s the hand of “God” was written all over these things. People take warning was not only, or merely, a convenient metaphor to set the parameters of the song. That is what this three CD set is all about. So if you want to know about train wrecks ship wrecks, grizzly murders, the sorrows of the Great Depression and other obscure tales from the early 20th century then here is your chance to those subjects all in one place. And, incidentally, with a very nice and informative booklet of liner notes included, a grand piece of the puzzle of roots musical history and a small capsule of American everyday history.

Disc Three: Man Versus Man (And Woman, Too). If you think man-made machine disasters or the handiwork of old “Mother Nature” have gotten a serious workout in the topical selections here, and in life, you ain’t seen nothing yet until you get to this third disc about the short tempers, ill-advised motives and general ne’r -do- well happenings when men and women, their loves, hatred, sorrows and misadventures get a musical rendering. Watch out, murder and mayhem are the least of it. Someone is going to jail, or the gallows. No question about it. Tops here are the old saga about poor old Dupree and his life of crime trying to please his lady in “Dupree Blues”. Needless to say the male of the species is not the only one subject to temptation and revenge as “Frankie” a much covered song with many variations is done here by the Dykes Magic City Trio. Of course the better known murder and outlaw tales of the ill-fated “Railroad Bill” and the likewise cursed “Tom Dooley” get a play here. Listen on.

*It Ain’t Always About Politics- The Recorded Topical Folk Song in American History- Man Versus Nature

Click On Title To Link To YouTube's Film Clip Of Charlie Patton Performing "High Water Everywhere, Part 2".

CD Review

People Take Warning!: Murder Ballads& Disaster Songs, 1913-1938, Three CD Set, Tompkins Square, 2007


Yes, for the umpth time, I am deep in research of the roots, the many roots of American folk music. As part of this search I have spilled plenty of ink over the folk revival of the 1960’s, and its links to today’s folk scene, that I have the most intimate knowledge about. But that is hardly the end of the story. In fact the 1960’s folk revival is something of the tail end of a vast exploration done by a few musicologists, most famously the father and son team of John and Alan Lomax. While the revival itself explored many kinds of music from the mountains of Appalachia to the plains of Texas and beyond the “rage” for roots then, exploited most effectively by the likes of Bob Dylan, centered on the topical songs of the day done by in the age old manner of the traveling troubadours of yore.

While the subject matter of the 1960’s scene, naturally, tendered toward the overtly political around the issues of conventional war, nuclear disarmament, the fierce civil rights struggle in the American South that dominated all serious talk, social isolation, the rebellion against social conformity and the like historically the “singing” newspaper tradition was far from those “deep” concerns. The tendency was to be more personal either with songs of love. longing for love or of thwarted love or on a more mundane level disaster, manmade or natural, murders and other sensational crimes and whatever other local gossip could be turned into a ballad. But beyond that, as this compilation bears witness to every song seemingly had to provide a cautionary note.

Whether that note was to beware of getting to dependent on the emerging whirlwind of the newest technologies like the airplane or “unsinkable” ships, the mysteries of natural disasters like floods and fire or the hazards of pre-martial sex, being a vexing wife or coveting another man’s the hand of “God” was written all over these things. People take warning was not only, or merely, a convenient metaphor to set the parameters of the song. That is what this three CD set is all about. So if you want to know about train wrecks ship wrecks, grizzly murders, the sorrows of the Great Depression and other obscure tales from the early 20th century then here is your chance to those subjects all in one place. And, incidentally, with a very nice and informative booklet of liner notes included, a grand piece of the puzzle of roots musical history and a small capsule of American everyday history.

Disc Two: Man Versus Nature. Although the marvels of modern technology have provided an increasing share of stories about the vagaries of the machine age old “Mother Nature”, especially when observed up close as is the case down on the farm or out on the prairies still confounds us with her fury. We need only go back a few years to Hurricane Katrina to get very quickly reminded of our sometimes precarious position in the scheme of things. Floods and fires are center stage in this disc and no such compilation on this subject can be complete without the work of the “pre-blues” man Charlie Patton here on several tracks, most importantly those two parts of “High Water Everywhere”. Uncle Dave Mason deserves a nod for “Tennessee Tornado” as does a young Son House for “Dry Spell Blues”. Also of note is Charlie Poole’s “Baltimore Fire” that Kate and Anna McGarrigle covered several years ago.

*It Ain’t Always About Politics- The Recorded Topical Folk Song in American History-Man Versus Machine

Click On Title To Link To YouTube's Film Clip Of Furry Lewis Performing " When I Lay My Burden Down".

CD Review

People Take Warning!: Murder Ballads& Disaster Songs, 1913-1938, Three CD Set, Tompkins Square, 2007

Yes, for the umpth time, I am deep in research of the roots, the many roots of American folk music. As part of this search I have spilled plenty of ink over the folk revival of the 1960’s, and its links to today’s folk scene, that I have the most intimate knowledge about. But that is hardly the end of the story. In fact the 1960’s folk revival is something of the tail end of a vast exploration done by a few musicologists, most famously the father and son team of John and Alan Lomax. While the revival itself explored many kinds of music from the mountains of Appalachia to the plains of Texas and beyond the “rage” for roots then, exploited most effectively by the likes of Bob Dylan, centered on the topical songs of the day done by in the age old manner of the traveling troubadours of yore.

While the subject matter of the 1960’s scene, naturally, tendered toward the overtly political around the issues of conventional war, nuclear disarmament, the fierce civil rights struggle in the American South that dominated all serious talk, social isolation, the rebellion against social conformity and the like historically the “singing” newspaper tradition was far from those “deep” concerns. The tendency was to be more personal either with songs of love. longing for love or of thwarted love or on a more mundane level disaster, manmade or natural, murders and other sensational crimes and whatever other local gossip could be turned into a ballad. But beyond that, as this compilation bears witness to every song seemingly had to provide a cautionary note.

Whether that note was to beware of getting to dependent on the emerging whirlwind of the newest technologies like the airplane or “unsinkable” ships, the mysteries of natural disasters like floods and fire or the hazards of pre-martial sex, being a vexing wife or coveting another man’s the hand of “God” was written all over these things. People take warning was not only, or merely, a convenient metaphor to set the parameters of the song. That is what this three CD set is all about. So if you want to know about train wrecks ship wrecks, grizzly murders, the sorrows of the Great Depression and other obscure tales from the early 20th century then here is your chance to those subjects all in one place. And, incidentally, with a very nice and informative booklet of liner notes included, a grand piece of the puzzle of roots musical history and a small capsule of American everyday history.

Disc One: Man Versus Machine. If your thing is plane wrecks, train wrecks and ship sinkings then this disc will provide you will all you need to know about the hazards involved in the early stages of the modern transportation revolution, especially if you need to know about 57 versions of the sinking of the “unsinkable” Titanic. The best of that lot is the William and Versy Smith cover of “When That Great Ship Went Down” that I remember Cambridge resident folkie Eric Von Schmidt covering in the early 1960’s. As for trains there is nothing better than the legendary country blues guitar impresario Furry Lewis, an artist whose work I have reviewed individually in this space, performing his two part of “Kassie Jones”. The Skillet Lickers “Wreck of The Old 97” also deserves a listen. Finally Blind Alfred Reed, another artist covered individually here, has a couple of things, most prominently “The Wreck Of The Old Virginian” you must listen to.

*It Ain’t Always About Politics- The Topical Song in American Folklore-Man Versus Machine, Man Versus Nature, Man Versus Man (And Woman, Too)

Click On Title To Link To YouTube's Film Clip Of William And Versy Smith Performing "When That Great Ship Went Down".

CD Review

People Take Warning!: Murder Ballads& Disaster Songs, 1913-1938, Three CD Set, Tompkins Square, 2007

Yes, for the umpth time, I am deep in research of the roots, the many roots of American folk music. As part of this search I have spilled plenty of ink over the folk revival of the 1960’s, and its links to today’s folk scene, that I have the most intimate knowledge about. But that is hardly the end of the story. In fact the 1960’s folk revival is something of the tail end of a vast exploration done by a few musicologists, most famously the father and son team of John and Alan Lomax. While the revival itself explored many kinds of music from the mountains of Appalachia to the plains of Texas and beyond the “rage” for roots then, exploited most effectively by the likes of Bob Dylan, centered on the topical songs of the day done by in the age old manner of the traveling troubadours of yore.

While the subject matter of the 1960’s scene, naturally, tendered toward the overtly political around the issues of conventional war, nuclear disarmament, the fierce civil rights struggle in the American South that dominated all serious talk, social isolation, the rebellion against social conformity and the like historically the “singing” newspaper tradition was far from those “deep” concerns. The tendency was to be more personal either with songs of love. longing for love or of thwarted love or on a more mundane level disaster, man made or natural, murders and other sensational crimes and whatever other local gossip could be turned into a ballad. But beyond that, as this compilation bears witness to every song seemingly had to provide a cautionary note.

Whether that note was to beware of getting to dependent on the emerging whirlwind of the newest technologies like the airplane or “unsinkable” ships, the mysteries of natural disasters like floods and fire or the hazards of pre-martial sex, being a vexing wife or coveting another man’s the hand of “God” was written all over these things. People take warning was not only, or merely, a convenient metaphor to set the parameters of the song. That is what this three CD set is all about. So if you want to know about train wrecks ship wrecks, grizzly murders, the sorrows of the Great Depression and other obscure tales from the early 20th century then here is your chance to those subjects all in one place. And, incidentally, with a very nice and informative booklet of liner notes included, a grand piece of the puzzle of roots musical history and a small capsule of American everyday history.

Disc One: Man Versus Machine. If your thing is plane wrecks, train wrecks and ship sinkings then this disc will provide you will all you need to know about the hazards involved in the early stages of the modern transportation revolution, especially if you need to know about 57 versions of the sinking of the “unsinkable” Titanic. The best of that lot is the William and Versy Smith cover of “When That Great Ship Went Down” that I remember Cambridge resident folkie Eric Von Schmidt covering in the early 1960’s. As for trains there is nothing better than the legendary country blues guitar impresario Furry Lewis, an artist whose work I have reviewed individually in this space, performing his two part of “Kassie Jones”. The Skillet Lickers “Wreck of The Old 97” also deserves a listen. Finally Blind Alfred Reed, another artist covered individually here, has a couple of things, most prominently “The Wreck Of The Old Virginian” you must listen to.



Disc Two: Man Versus Nature. Although the marvels of modern technology have provided an increasing share of stories about the vagaries of the machine age old “Mother Nature”, especially when observed up close as is the case down on the farm or out on the prairies still confounds us with her fury. We need only go back a few years to Hurricane Katrina to get very quickly reminded of our sometimes precarious position in the scheme of things. Floods and fires are center stage in this disc and no such compilation on this subject can be complete without the work of the “pre-blues” man Charlie Patton here on several tracks, most importantly those two parts of “High Water Everywhere”. Uncle Dave Mason deserves a nod for “Tennessee Tornado” as does a young Son House for “Dry Spell Blues”. Also of note is Charlie Poole’s “Baltimore Fire” that Kate and Anna McGarrigle covered several years ago.


Disc Three: Man Versus Man (And Woman, Too). If you think man-made machine disasters or the handiwork of old “Mother Nature” have gotten a serious workout in the topical selections here, and in life, you ain’t seen nothing yet until you get to this third disc about the short tempers, ill-advised motives and general ne’r -do- well happenings when men and women, their loves, hatred, sorrows and misadventures get a musical rendering. Watch out, murder and mayhem are the least of it. Someone is going to jail, or the gallows. No question about it. Tops here are the old saga about poor old Dupree and his life of crime trying to please his lady in “Dupree Blues”. Needless to say the male of the species is not the only one subject to temptation and revenge as “Frankie” a much covered song with many variations is done here by the Dykes Magic City Trio. Of course the better known murder and outlaw tales of the ill-fated “Railroad Bill” and the likewise cursed “Tom Dooley” get a play here. Listen on.

*Support Gay Marriage Rights- Down With The Federal Defense Of Marriage Act And State Laws Against Same -Sex Marrage!

Click on title to link to "Boston Globe" article about the massive demonstration in Washington, D.C. in support of gay rights- the right of same-sex marriage and the right to be openly gay in the military.

*There Is No Eye, Indeed- John Cohen’s Music For Photographs

Click On Title To Link To YouTube's Film Clip Of The New Lost City Ramblers Performing "The Soldier And The Lady".

CD (Plus Booklet Of Photographs) Review

There Is No Eye: Music For Photographs, music by various performers and photographs by John Cohen, Smithsonian/Folkways (Of course), 2001

Recently I was asked by a commenter on one of my blog sites how this current rash of reviews of mountain music, roots music or what have you that I have been frantically writing relates to the general theme of my work, reviews and comments on the history of the left in America and our current propaganda tasks. Good question. Hidden away in the recesses of trying to understand our common plebeian political history and why we have been on the political defensive for almost one hundred years now in our efforts to bring some social justice to this beleaguered country and establish some sense of working class consciousness is a rich, if underappreciated, body of cultural work, including musical, artistic and literary work, trying, one way or another, to do just that thing.

Those cultural efforts may not have always been, consciously or not, on the order of what is necessary to turn the capitalist regime out. They may not have always been made to order for our more thoroughly thought out theories of social struggle. And, certainly, the works and their creators or performers may not have always been “politically correct” and we may be forced to create an every day policy akin to the American military’s policy on the question of gays in the service- “don’t ask, don’t tell” in regard to some of the musical characters that are given space here but this is our common history- warts and all. The point to move on from there.

All of the above is by way of introducing a very interesting piece of Americana put out in 2001 by, one could almost say naturally, by Smithsonian/Folkways. As the headline to this review indicates this CD combines roots music and photographs by John Cohen of the performers in question to accompany that music. For those not familiar with the folk revival of the 1960’s John Cohen was already waiting at the gate for the young folkies to arrive at Greenwich Village. He, along with Tom Paley and Mike Seeger (venerable Pete’s half-brother), had already formed The New Lost City Ramblers who were an important catalyst in finding and “discovering” much roots music- just because they thought it was important to keep that tradition alive. Well, what do you think about that?

Almost every one familiar with roots music knows of the work of Pete Seeger’s father in going out into the field to record or listen to roots music back in the day. As many, perhaps, know of Pete’s own work in this area. Moreover, it is almost impossible to be interested in this genre and not know the work of John and then his son Alan Lomax (and to a much lesser extent Harry Smith). Many fewer, including this reviewer, knew of the field work of John Cohen, as least in taking pictures of musicians in the field. There is a 36 page booklet that accompanies this CD filled with liner notes and some of those photographs. This, my friends, is part of our history. Yes, part of our American left history.

For those non-believers let me just give a few examples to whet your appetite. How about Reverend Gary Davis, a country blues guitar virtuoso who has been the subject of more than one review in this space doing.” If I Had My Way”. Of course from the urban blue genre an early Muddy Waters doing “I Can’t Be Satisfied”. Or a very young Bob Dylan doing a song (on a radio show) that even an aficionado like me had not previously heard, “Roll On John”. How about Roscoe Holcomb, another name mentioned more than once in this space, doing “Man Of Constant Sorrow”. He is a man of Appalachia who I was thinking of when I mentioned that don’t ask, don’t tell policy above. You just know that he is one of those God-fearing good old boys. The same with Eck Robinson here doing the classic (and much covered) “Sally Goodin”. Needless to say no compilation in the modern era can skip over the work of North Carolina’s Elizabeth Cotten here performing “Oh Babe , It Ain’t No Lie”. Or, for that matter Woody Guthrie (whose pensive, I think as I am not sure of the date of the picture, photograph graces the cover of this CD) doing “Ramblin’ Round”. Of course, as mentioned above Brother Cohen gives a nod, rightly so, to his own work with The New Lost City Ramblers here doing “Buck Creek Girl”.

Now if all of this is not enough to make my point about the interconnection between our leftist sensibilities and our common musical roots heritage then this last point will have to do. One of the selections here seems out of kilter. That is a modern jazzy piece by the David Amram Quartet doing a scat called ‘Pull My Daisy”. For those, again, not familiar with the New York scene in the late 1950’s and early 1960’s this is also the name of film that “Beats” Jack Kerouac, Neal Cassidy (the model for the Dean Moriarty character in Kerouac’s “On The Road”) and Allen Ginsberg wrote, acted in, and produced. One may question the leftist (or any political) credentials of the ‘‘beats” but one cannot gainsay their seeking for American roots. There is a definite line from the Walt Whitman of “Leaves of Grass” arguably the first serious literary search for an American road to the “‘beats”. That, however, is best left for another day. Enough for now, except roots music and photos. Kudos Brother Cohen. Better check this one out.

*Under The Spell Of Bob Dylan's "Desolation Row"-On Obama's Nobel 'Peace' Prize

Click on title to link to YouTube's film clip of Bob Dylan performing his 1960s classic "Desolation Row".

Markin comment:

Every once in a while, and today is one of them, I NEED to listen to or read the lyrics to what is probably my most listened to Bob Dylan song. After news about American imperial chief Obama's winning the Nobel Peace Prize (an award also won by Henry Kissinger, Jimmy Carter and Al Gore among others which tells the tale)for some fluff about peace when he is getting ready to pull the hammer on troop escalation in Afghanistan has put me in a surreal frame of mind. But just to show I am still on top- Nobel Peace "Poster Child" Obama- Immediate Unconditional Withdrawal Of All U.S./Allied Troops From Afghanistan (And Iraq Too)!


Desolation Row

They're selling postcards of the hanging
They're painting the passports brown
The beauty parlor is filled with sailors
The circus is in town
Here comes the blind commissioner
They've got him in a trance
One hand is tied to the tight-rope walker
The other is in his pants
And the riot squad they're restless
They need somewhere to go
As Lady and I look out tonight
From Desolation Row

Cinderella, she seems so easy
"It takes one to know one," she smiles
And puts her hands in her back pockets
Bette Davis style
And in comes Romeo, he's moaning
"You Belong to Me I Believe"
And someone says," You're in the wrong place, my friend
You better leave"
And the only sound that's left
After the ambulances go
Is Cinderella sweeping up
On Desolation Row

Now the moon is almost hidden
The stars are beginning to hide
The fortunetelling lady
Has even taken all her things inside
All except for Cain and Abel
And the hunchback of Notre Dame
Everybody is making love
Or else expecting rain
And the Good Samaritan, he's dressing
He's getting ready for the show
He's going to the carnival tonight
On Desolation Row

Now Ophelia, she's 'neath the window
For her I feel so afraid
On her twenty-second birthday
She already is an old maid

To her, death is quite romantic
She wears an iron vest
Her profession's her religion
Her sin is her lifelessness
And though her eyes are fixed upon
Noah's great rainbow
She spends her time peeking
Into Desolation Row

Einstein, disguised as Robin Hood
With his memories in a trunk
Passed this way an hour ago
With his friend, a jealous monk
He looked so immaculately frightful
As he bummed a cigarette
Then he went off sniffing drainpipes
And reciting the alphabet
Now you would not think to look at him
But he was famous long ago
For playing the electric violin
On Desolation Row

Dr. Filth, he keeps his world
Inside of a leather cup
But all his sexless patients
They're trying to blow it up
Now his nurse, some local loser
She's in charge of the cyanide hole
And she also keeps the cards that read
"Have Mercy on His Soul"
They all play on penny whistles
You can hear them blow
If you lean your head out far enough
From Desolation Row

Across the street they've nailed the curtains
They're getting ready for the feast
The Phantom of the Opera
A perfect image of a priest
They're spoonfeeding Casanova
To get him to feel more assured
Then they'll kill him with self-confidence
After poisoning him with words

And the Phantom's shouting to skinny girls
"Get Outa Here If You Don't Know
Casanova is just being punished for going
To Desolation Row"

Now at midnight all the agents
And the superhuman crew
Come out and round up everyone
That knows more than they do
Then they bring them to the factory
Where the heart-attack machine
Is strapped across their shoulders
And then the kerosene
Is brought down from the castles
By insurance men who go
Check to see that nobody is escaping
To Desolation Row

Praise be to Nero's Neptune
The Titanic sails at dawn
And everybody's shouting
"Which Side Are You On?"
And Ezra Pound and T. S. Eliot
Fighting in the captain's tower
While calypso singers laugh at them
And fishermen hold flowers
Between the windows of the sea
Where lovely mermaids flow
And nobody has to think too much
About Desolation Row

Yes, I received your letter yesterday
(About the time the door knob broke)
When you asked how I was doing
Was that some kind of joke?
All these people that you mention
Yes, I know them, they're quite lame
I had to rearrange their faces
And give them all another name
Right now I can't read too good
Don't send me no more letters no
Not unless you mail them
From Desolation Row

Copyright ©1965; renewed 1993 Special Rider Music

*The Days Of Rage- From Bob Feldman's Blog- A Guest Film Clip

Click on title to link to YouTube's film clip on "The Days Of Rage", including commentary by last year's 'villain of the year' in bourgeois circles, Professor Bill Ayers.

*The 40th Anniversary Of The "Days Of Rage"-October 1969- The Days Of Political Futility

Click on title to link to Wikipedia's entry for the "Days Of Rage".

Markin comment:

I was originally going to make some extended remarks about this 'event' but after thinking about it, given how far we are removed in political time, space and consciousness from even that futile gesture against that version of the American imperial war machine I decided there were other topics that are more pressing and worthy of commentary. Like today where have all the anti-war, anti-capitalist, anti-imperialist protesters gone? Liberal, radical or revolutionary. We are at square one (or maybe one and one-half) and best realize that.

A couple of little, little comments to finish up. The rationale for this entry can be summed up this way- Today I am 'wishing' that the energy of those "days of rage", if not the political confusion behind the events, was stirring the political air. And the disastrous outcome of this event, for a lot of people I knew back in those days and who were sympathetic to its aims, got us thinking not only about the futility of isolated, virtually leaderless actions, but to seriously "hit the books" and go back to look seriously at the work of Karl Marx and fighting for a perspective of a mass movement based on the leadership role of the working class as the way to bring social change. That, my friends, is still a good lesson to remember on these cool, lonely nights.

* All Out To Oppose Obama's Aghan War (And Iraq And Pakistan Too!) On October 17th-The Streets Are Not For Dreaming Now!

Click on title to link to information about next weekend's (October 17, 2009)th) scheduled anti-war activities from the "United For Justice With Peace" web site. As usual I will make the disclaimer that I almost totally disagree with every strategic and tactical move this organization makes. However, we need to get to the streets now so this is the activity that we have to participate in-under our own anti-imperialist, anti-militarist, anti-capitalist banners. Simply put- "Obama-Immediate Withdrawal Of All U.S./Allied Troops From Afghanistan (And Iraq and Pakistan Too!)"

*Hands Off Roman Polanski!-A Guest Commentary

Click on title to link to "Workers Vanguard" article, dated October 9, 2009, concerning the recent arrest and attempts to extradite film director Roman Polanski.

Markin comment:

After reading the above linked article I noticed that I had been remiss in not having previously taking note in this space of this obvious travesty by the American government concerning the director Roman Polanski. I make special note that here is a case where the moral hypocrisy of the bourgeois state knows no bounds in a situation where, from the evidence, the question of effective consent was not at issue. This is the axis where we socialists draw our lines not some arbitrary statutory guidelines. I also note that the above linked article has an additional article attached from the original Roman Polanski persecution in the 1970s,“Stop the Puritan Witchhunt Against Roman Polanski!” which first appeared in WV No. 192, 10 February 1978. The political points in that piece are as relevant today as they were then, over three decades ago.

*“Tangled Up In Blue”- The Mid-Career Crisis Of One Bob Dylan-The Trans-Atlantic View

Click On Title To Link To YouTube's Film Clip Of Bob Dylan Performing His "If You See Her, Say Hello" From The "Blood On The Tracks" Album.

DVD Review

Bob Dylan: 1966-1978: After The Crash, Chrome Dreams, 2006

The first paragraph just below was used in some recent CD reviews of Bob Dylan’s later, post-1990’s work, like “Love And Theft” but also, generally, apply to this DVD review of what now amounts to his “middle” period from 1966 to 1978, the period from his ‘disappearance’ into the wilds of Woodstock, New York through to his reemergence with, arguably, his master work “Blood On The Tracks” and on through the famous “Rolling Thunder Revue” tour of the mid-1970’s:

“Okay, okay I have gone on and one over the past year or so about the influence of Bob Dylan’s music (and lyrics) on me, and on my generation, the Generation of ’68. But, please, don’t blame me. Blame Bob. After all he could very easily have gone into retirement and enjoyed the fallout from his youthful fame and impressed one and all at his local AARP chapter. But, no, he had to go out on the road continuously, seemingly forever, keeping his name and music front and center. Moreover, the son of a gun has done more reinventions of himself than one could shake a stick at (folk troubadour, symbolic poet in the manner of Rimbaud and Verlaine, heavy metal rocker, blues man, etc.) So, WE are left with forty or so years of work to go through to try to sort it out. In short, can I (or anyone else) help it if he is restless and acts, well, …. like a rolling stone?”

Frankly, I have covered so much Bob Dylan material, early, middle and late, over the past year I am beginning to feel like the guy interviewed in this DVD who made something of a ‘journalistic’ career (if also a nuisance) of going through Dylan’s garbage to see if he could find the “Rosetta Stone” to decode the meaning of his lyrics. Whew! At least I am not that bad off. I “merely” write reviews of what, as is the case here, Trans-Atlantic (meaning from the British Isles and their environs) professional music reviewers think Dylan was up to and his place in the folk/rock/pop pantheons.

I will just quickly run through the main points that are presented here as the “talking heads’ who dominate this documentary are fully capable of taking you through the highlights and lowlights of this period in Dylan’ career. Of course it makes no sense to have made this documentary if one does not recognize that after Dylan‘s motorcycle crash in 1966 and subsequent seclusion that this was a watershed event of some proportions in his life and career. This mysterious period, of which I will make a short comment on at the end, is obviously ripe for all kinds of speculation even to this day. What is not up for speculation is that Dylan emerges from this period with a different persona that the early folk troubadour and the subsequent highly poetic folk rock idol of the pre-1966 period.

This, in short, is the period of the various “basement, bootleg and borrowed” tapes of the Woodstock farm time, the seminal American roots/outlaw tribute album, “John Wesley Harding”, various minor albums leading up to a shifting back to rock with the “Planet Wave” album (which has “Forever Young” on it, that can now serve as something of an anthem for the “Generation of ‘68”), the mystical master work “Blood On The Tracks” and the almost equally masterful “Desire” album that served to advertise the “Rolling Thunder Revue” tour. When one puts the whole period together ,as one of the commentators mentioned, this is a remarkable, perhaps unique, amount of work from a guy who was left for dead, musically and culturally, if not physically. And all the time Dylan was ‘reinventing’ himself he was shedding that “folk oracle’ role from the early 1960’s that he was desperately running away from.

To finish up, I want make a comment on Dylan’s place in the music and cultural pantheon of the late 20th century. Much is made in this film, and elsewhere in other commentaries about the shifts in Dylan’s work, about his seeming hatred for the role of folk oracle/leader/messiah of what we were trying accomplish in the 1960’s. No question the folk troubadour Bob Dylan of the early 1960’s, the one who told us “The Times They Are A-Changin’”, that the answer was “Blowin’ In The Wind” and that we were “Like A Rolling Stone” has something to say , and something that we wanted, in some cases desperately, to hear about. That voice carried us through, rather nicely, the civil rights period and the period of questioning where we wanted to see American power and culture go.

However, when the deal went down and the American government and its various security agencies ratcheted up the heat on us during the anti-Vietnam period of the late 1960’s and Dylan was nowhere to found we did not fall apart in dismay or disorder. We heard other, more directly political voices, all the way from Robert Kennedy and Eugene McCarthy to Abbie Hoffman and Jerry Rubin and then on to Karx Marx, Vladimir Lenin, Mao and Leon Trotsky to name a few. Frankly, at least in the circles that I ran in, we did not miss Dylan even if we wondered, off-handedly, where the hell he was. But each man to his calling- “Tangled Up In Blue”, "Idiot Wind”, "Shelter From The Storm” and many other songs from this period still stand the test of musical time. In the end that is what he wanted to do, and that will endure.

*******

"Shelter from The Storm"

twas in another lifetime, one of toil and blood
When blackness was a virtue and the road was full of mud
I came in from the wilderness, a creature void of form.
Come in, she said,
Ill give you shelter from the storm.

And if I pass this way again, you can rest assured
Ill always do my best for her, on that I give my word
In a world of steel-eyed death, and men who are fighting to be warm.
Come in, she said,
Ill give you shelter from the storm.

Not a word was spoke between us, there was little risk involved
Everything up to that point had been left unresolved.
Try imagining a place where its always safe and warm.
Come in, she said,
Ill give you shelter from the storm.

I was burned out from exhaustion, buried in the hail,
Poisoned in the bushes an blown out on the trail,
Hunted like a crocodile, ravaged in the corn.
Come in, she said,
Ill give you shelter from the storm.

Suddenly I turned around and she was standin there
With silver bracelets on her wrists and flowers in her hair.
She walked up to me so gracefully and took my crown of thorns.
Come in, she said,
Ill give you shelter from the storm.

Now theres a wall between us, somethin theres been lost
I took too much for granted, got my signals crossed.
Just to think that it all began on a long-forgotten morn.
Come in, she said,
Ill give you shelter from the storm.

Well, the deputy walks on hard nails and the preacher rides a mount
But nothing really matters much, its doom alone that counts
And the one-eyed undertaker, he blows a futile horn.
Come in, she said,
Ill give you shelter from the storm.

Ive heard newborn babies wailin like a mournin dove
And old men with broken teeth stranded without love.
Do I understand your question, man, is it hopeless and forlorn?
Come in, she said,
Ill give you shelter from the storm.

In a little hilltop village, they gambled for my clothes
I bargained for salvation an they gave me a lethal dose.
I offered up my innocence and got repaid with scorn.
Come in, she said,
Ill give you shelter from the storm.

Well, Im livin in a foreign country but Im bound to cross the line
Beauty walks a razors edge, someday Ill make it mine.
If I could only turn back the clock to when God and her were born.
Come in, she said,
Ill give you shelter from the storm.

"If You See Her, Say Hello"

If you see her, say hello, she might be in tangier
She left here last early spring, is livin there, I hear
Say for me that Im all right though things get kind of slow
She might think that Ive forgotten her, dont tell her it isnt so.

We had a falling-out, like lovers often will
And to think of how she left that night, it still brings me a chill
And though our separation, it pierced me to the heart
She still lives inside of me, weve never been apart.

If you get close to her, kiss her once for me
I always have respected her for busting out and gettin free
Oh, whatever makes her happy, I wont stand in the way
Though the bitter taste still lingers on from the night I tried to make her stay.

I see a lot of people as I make the rounds
And I hear her name here and there as I go from town to town
And Ive never gotten used to it, Ive just learned to turn it off
Either Im too sensitive or else Im gettin soft.

Sundown, yellow moon, I replay the past
I know every scene by heart, they all went by so fast
If shes passin back this way, Im not that hard to find
Tell her she can look me up if shes got the time.

*From The Pages Of “Workers Vanguard”-Slavery and the Origins of American Capitalism, Three Part Series

Click on the headline to link to Part Three of the article from “Workers Vanguard” described in the title. Parts One and Two are posted below.


Markin comment:

As almost always these historical articles and polemics are purposefully helpful to clarify the issues in the struggle against world imperialism, particularly the “monster” here in America.

Workers Vanguard No. 942
11 September 2009

Slavery and the Origins of American Capitalism

Part One

We print below, in slightly edited form, a presentation by Jacob Zorn to a Spartacist League educational in New York on 30 March 2008, the first of several classes on black history and the development of the American labor movement.

This is not going to be a history class of everything that happened from 1492 to 1860; the material is too immense. I want to focus on the salient political points for this period, and also to try to set up the next class, on the Civil War. We are historical materialists, and as such we say that black oppression—and we say this often in WV—is not just a bunch of bad ideas but has a material, that is to say, a historical and class, basis. What I want to do in the class is explain the origins of this material basis. In the second class and in subsequent classes, this will be developed further. These are the three things I specifically want to drive home:

1. How slavery in the Americas was central to the development of capitalism, both on an international level and also here in the United States.

2. How elements of the contemporary black question, including the very concept of race, have their roots in the system of slavery.

3. How throughout every step of the development of the United States up through 1860 slavery was integral, from the colonial period, through the American war of independence, to the Constitution, and then culminating in the struggle that led up to the Civil War.

Marx and Primitive Capitalist Accumulation

I want to begin with what Marx calls the primitive accumulation of capital, which was discussed in one of the readings for this class, in the first volume of Capital. Marx has a very powerful quote in there: “In actual history, it is notorious that conquest, enslavement, robbery, murder, briefly force, play the great part.” And that’s kind of a summary of what I’m going to be talking about: enslavement, robbery and murder.

I’m not going to go over much of the European background, although it’s worth reviewing our pamphlet, Enlightenment Rationalism and the Origins of Marxism (1998), and also some of the articles we’ve written on the English Civil War, in addition to the Capital reading. Marx talks about the bloody origins of capitalism, and one of the key events was the enclosure acts that threw the peasantry off the land in England and Scotland in order to kind of kick-start capitalism. As Marx describes, in Europe this resulted both in a class that owned the means of production (because land became necessary as a means of production, for wool and other things) and also a class that owned nothing but its labor power. One result, necessary for the British colonization of North America, is that it created a large surplus of people in England who were subject to incredibly harsh punishment for very small crimes and for whom even colonial Virginia looked like a good escape.

Marx also talks about how the conquest of America, both North and South America and the Caribbean, was also key in the development of world capitalism. A key element of this was the dispossession of the indigenous population, a dispossession that was extremely violent and genocidal. If you want a taste of what this was like, you should read the writings of a Spanish priest by the name of Bartolomé de las Casas, which go into a lot of the gratuitous violence: about 95 percent of the pre-Colombian indigenous population was killed, perhaps 90 million people. But this early Spanish colonization, which was largely based on extracting gold and silver, fueled the development not only of Spanish but also of Dutch and English capitalism.

In North America, primitive capitalist accumulation meant not only dispossessing the indigenous population of the land, but also finding somebody to do the work, since in North America the English really didn’t use the Indians as a labor force. A comrade brought to my attention a really good article in WV No. 581 (30 July 1993), “Genocide ‘Made in USA’,” that shows how the destruction of millions of people was key in the building of the American nation and the laying of the basis for the development of North American capitalism, and how it left a birthmark of racism on American capitalism from the get-go. But fundamentally the colonists in North America had the opposite problem from what the ruling class in Britain had: that is, there was an abundance of land but a shortage of people to work on it.

I want to make the point that a lot of the history of the Americas, especially here in the United States, tends to be focused on North America. But in the early years of colonization, the most desired area of the Americas was really the Caribbean, and it was much later that North America was colonized—and not only by the English: there were Spanish outposts (for example, St. Augustine, Florida, is the longest continuously settled city founded by Europeans in the current U.S.); there was French fur trading in Quebec and plantation agriculture in Louisiana; and also obviously the Dutch in New Jersey and New York, as well as the British in Virginia. There was a lot of competition among these different European powers, and we’ll look especially at the rivalry of the Dutch and the English in terms of mercantilism.

Capitalism and Slavery

The readings talk about “chattel slavery.” So what exactly is a chattel slave? It’s not a concept that is used much today. “Chattel” means personal property. It’s related to the word “cattle.” And that is what slaves were: they were legally property that was sold and sometimes killed.

In the abstract, capitalism and slavery are fundamentally counterposed systems. One is based on free labor, and the other, on slave labor. Many of the advocates of capitalism opposed chattel slavery not only because they thought it was morally wrong, but also because they thought it was retrogressive. In The Wealth of Nations (1776), Adam Smith wrote: “From the experience of all ages and nations, I believe, that the work done by freemen comes cheaper in the end than that performed by slaves” and “Whatever work he does beyond what is sufficient to purchase his own maintenance can be squeezed out of him by violence only, and not by any interest of his own.”

Likewise, Alexander Hamilton, about whom we will be talking in a bit, said that slavery “relaxes the sinews of industry, clips the wings of commerce, and introduces misery and indigence in every shape” (quoted in James Oliver Horton, “Alexander Hamilton: Slavery and Race in a Revolutionary Generation,” New-York Journal of American History [Spring 2004]). The piece that comrades read from Eugene Genovese, “The Slave South: An Interpretation,” in The Political Economy of Slavery (1965) shows how, as a system, slavery was not capitalist; the slavocracy in the American South had its own productive system, its own values—or, to use Genovese’s phrase, its own “civilization”—that derived from this non-bourgeois system. Slavery was fundamentally different from capitalism.

However, capitalism did not evolve in the abstract, but in the concrete, and slavery was fundamental to this development. Even though the slave system itself was not capitalist, slavery was central to the development of capitalism, both in the U.S. and internationally. Slavery was also a very profitable “industry”—for lack of a better term—in its own right, and international and American capitalists are indelibly stained with slavery.

Slavery, of course, is not only a precapitalist, but also a prefeudal system of production. There is a brilliant book by Karl Kautsky called the Foundations of Christianity (1908) that, among other things, analyzes the importance of slavery in ancient Rome. Many of the elements of slavery in America are actually discussed by Kautsky in his treatment of plantation or mining slavery in Rome. He distinguishes, for example, between slavery for domestic use and slavery for profit, or commodity slavery. Obviously, commodity production in ancient Rome did not reach the level that it does under capitalism, but he made the point that when slaves make commodities that are then sold for the profit of their masters, the masters increase the exploitation of the slaves, which can only be done through immense oppression and brutality. Kautsky describes in detail a lot of the very brutal nature of Roman slavery, and he traces the decline of Rome to the contradictions in its slave system. For our purposes, one of the key elements, however, that is missing in Kautsky’s piece is race. This is not an accident, because, as we’ll see, Roman slavery was not a racial form of slavery.

With the destruction of the centralized Roman state in West Europe and the development of feudalism, slavery largely died out in medieval Europe. In 1086, for example, about 10 percent of the English population were slaves, but slavery was not central to medieval society. It was still practiced in the Mediterranean and parts of the Arab world, but in West Europe, feudalism was the dominant system, with serfdom the main productive form of labor.

The development of the English colonies in the Americas was concurrent with the development of capitalism in Britain—it was going on at the same time as the English Civil War, and there were various political intrigues over whom the colonies would support; there are cities in the United States named after both King Charles I and Cromwell, for example. Yet, the contradiction is that the rise of capitalism was accompanied with a new rise of slavery. Particularly in the English case, this was accompanied by the creation of the world sugar market. Eating sugar is not based on slavery, but the creation of the sugar market was.

I want to make some points about the development of slavery in the Americas. The first is that there is a prehistory: before the Spanish arrived in America, the Portuguese had begun using slave labor on plantations in their island colonies off Africa, such as Madeira and the Azores. By 1452, the Pope had given the Portuguese the right to trade slaves, and in 1479 the Spanish crown gave Portugal a monopoly over the slave trade. By 1502, there is evidence of black slaves in the Spanish colony of Santo Domingo
—that is to say 130 years before the English planters really began using slaves in the Caribbean and almost 200 years before slavery became entrenched in what would become the United States, in Virginia.

Slavery was crucial in almost every European colony throughout the Americas, and from the 16th century through the mid 19th century between 10 and 12 million Africans were “traded” as slaves. And it was extremely violent: depending on what century you’re looking at, between 10 and 40 percent of the slaves died in transit. Ninety-five percent of these African slaves ended up in either the Caribbean or Latin America. North America received a relatively small fraction of all the African slaves, and this would have important ramifications on how slavery developed here.

Although the first slaves arrived in Virginia in 1619, for most of the 17th century the dominant labor system in Virginia was indentured servitude, which was a really nasty and brutal system. If it weren’t for the slave system that came after, we would probably label indentured servitude one of the most brutal systems known. Indentured servants agreed to work for a period of years, usually between five and seven, in exchange for transportation to America. They might be promised land at the end of their terms.

But to begin with, many indentured servants did not live to the end of their terms of service. While they were servants, they were subjected to extremely harsh discipline and punishment. They could be whipped, they could be beaten, they could be sold for the duration of their terms of service. They worked a lot harder than English peasants worked, and a lot of what we think of as unique to slavery was also present in various ways in indentured servitude. Many servants ran away.

By the mid-to-late 1600s, from the point of view of the planters, there developed several problems with indentured servitude. Servants were living longer. (Incidentally, one of the reasons that they began to live longer is that they began to drink more alcohol and not drink polluted water.) This meant that there began to develop a layer of unruly and dissatisfied ex-indentured servants, making Virginia more and more unstable. The danger of this was highlighted in 1676 with Bacon’s Rebellion, when poor whites, mostly former indentured servants, and blacks united against the colonial government—in this case, to demand that the colonial government, among other things, drive out the Indians. But at the same time, fewer and fewer Europeans were willing to come to America as servants, partly because England was developing economically and partly because news got around England of what servitude was like, and it did not seem so attractive as it might have before.

So the fact that servants were living longer at the end of the 17th century made slavery (which was for life) more attractive, from the point of view of the planters, than servitude (which was usually for less than a decade). The planters in Virginia began to import slaves in larger and larger numbers. By the first decade of the 18th century, Virginia had been transformed from a society in which slaves were present into a society in which slavery was the central productive relationship, a slave society. This was not the only slave society in the Americas, but it was quite different from the slave societies in the Caribbean or Brazil.

When I was preparing this class, comrade Foster raised the interesting question: why did it take a revolution—the Civil War—to get rid of slavery in the United States, whereas in many other countries (not all of them, Haiti also obviously had a revolution) it did not take a revolution to get rid of slavery. There are various reasons, but one is that in the American South there were more slaveowners, many owning relatively few slaves, so that slavery was much more entrenched in colonial society and in later U.S. society. But importantly, from the point of view of the planters, slavery not only offered a source of labor, but also it offered a source of social stability, because with slavery came what veteran American Trotskyist Richard S. Fraser calls the concept of race.

The Race Concept

I’m not going to talk a lot about it because comrades are familiar, but there is no scientific basis for this concept of race. At the same time, various academics like to talk about race being “socially constructed.” But even though race is not scientifically real, it is very, very real. It affects almost every aspect of one’s life in this country, as we are reminded when we look at the newspaper every day. Marx, dealing with religion, wrote in The German Ideology (1846) that religion has no history—that is to say, no history independent of the social conditions that created it. So as Marxists, we understand that race is not just a bad idea, but one that developed out of a social system of production, a system of social relations, chattel slavery. This is explained very well in Fraser’s “The Negro Struggle and the Proletarian Revolution” [in Prometheus Research Series No. 3, August 1990, “In Memoriam: Richard S. Fraser”]. And for comrades who are interested in a more in-depth look at it, there is also a very good book on the creation of the idea of race in America by Winthrop Jordan, called White Over Black: American Attitudes Toward the Negro, 1550-1812 (1968), that goes back to the 16th century.

Chattel slavery is an inherently inhuman system. It involves degrading an entire group of people, putting them by definition outside the realm of both legal and moral protection. Chattel slaves are not legally human. As John Locke said in Two Treatises of Government, in 1690, slaves “are by the Right of Nature subjected to the Absolute Dominion and Arbitrary Power of their masters. These Men cannot in that state be considered as any part of Civil Society….” This would later be paraphrased in the Dred Scott decision that the black man had no rights that the white man was bound to respect. The concept of race served as a justification for slavery, conflating class status—slavery—with physical features: skin color. While there were some free blacks, even in the South, being black became equated with being a slave, that is, outside of the norms of human society. It’s also useful to keep in mind that, of course, Africans at the time of slavery were not all of the same “race,” either: there were very different societies in Africa, and if we could borrow a term, we could talk about “how Africans became black.” Frederick Douglass has an important statement from when slavery was still in existence:

“We are then a persecuted people, not because we are colored, but simply because that color has for a series of years been coupled in the public mind with the degradation of slavery and servitude.”

—“Prejudice Against Color” (1850), in The Life and Writings of Frederick Douglass, Vol. 2,
ed. Philip S. Foner (1950)

This is the beginning of the material basis for the creation of a race-color caste in North America. And it’s not an accident that laws banning interracial sex and marriage were passed in Virginia and Maryland at the same time that slavery became consolidated in the late 1600s and early 1700s.

The idea of race was defended using the so-called “Curse of Ham” from the Bible, which is the idea that blackness was a curse from God, going back to Noah. And there was in fact slavery in biblical times, and you can find lots of passages in the Bible about slavery, and these were used to justify American slavery. I don’t want to defend the honor of the Old Testament, but nowhere is racial slavery mentioned in the Bible because it did not exist. Comrade Don pointed out a very interesting article by George Breitman that was published in the Spring 1954 issue of Fourth International, called “When Anti-Negro Prejudice Began,” that looks at the development of racism. And he shows that in the ancient world, there was no one group of people that was by definition enslaved, nor was slavery confined to one particular group. This idea of race did not make sense—it didn’t exist. So, racial slavery did not exist.

I also want to make an aside that race in the U.S. is different than race in other places, particularly in Latin America and the Caribbean, which had different types of slavery. There’s a myth in Brazil called “racial democracy,” which is that there’s really no such thing as race in Brazil; everybody’s Brazilian. This is obviously untrue, but it does reflect the fact that there was a different expression of slavery there. A lot of the difference has to do with how slavery developed in North America and the nature of British mercantilism. At the time the Virginian planters began to use slaves, the Dutch had already taken over the slave trade from the Portuguese, and because of Dutch-English rivalries, in 1651 Navigation Acts were passed, making it illegal for British colonists to buy products from other countries. Slaves were included as “products,” obviously. This had an important ramification on the importation of slaves. In fact, many of the early slaves in Virginia were not actually from Africa, but from Barbados. It’s also important to keep in mind that from the British perspective, the center of the slave trade was not in North America but in the Caribbean.

Therefore, the slave population in North America became a lot more stable, tended to live a lot longer and have more children. The details, for example, of slavery in Jamaica are horrid. The average slave tended to die within seven years of arriving in Jamaica. Therefore, although the slave trade provided only half a million African slaves to North America, by the time of the Civil War, the slave population in the United States had grown to four million people. A lot of this has to do with the demographics. In the British Caribbean, many plantations were left in the hands of overseers, while their absentee owners were content to stay in Britain. Eric Williams talks about this in his book, Capitalism and Slavery (1944). In North America, the planters became more Americanized, and they tended to stay in North America. For example, the Lee family of Virginia arrived around 1639; the Washingtons arrived around the same time.

In the Caribbean, the plantations were much larger, and slaveowners there had more slaves than in North America. One result of this is that African culture was destroyed through the experience of slavery to a much larger degree in North America than in the Caribbean or Brazil. As Fraser put it in “The Negro Struggle and the Proletarian Revolution,” in the United States “the Negro people are among the oldest of all the immigrant groups. They are essentially American.” And this is also shown in Narrative of the Life of Frederick Douglass, in which Douglass pointedly calls himself An American Slave in the title. He illustrates that slaves in the U.S. spoke English, were largely Christian (he’s very powerful on the role of Christianity in supporting slavery), and were an organic part of American society. This is different than in Haiti, for example, where at the time of the Haitian Revolution, two-thirds of the black population were born in Africa. Or in Cuba. There’s a book by Miguel Barnet, The Autobiography of a Runaway Slave (1966), based on interviews with a former slave who was born 50 years after Douglass, Esteban Montejo, that talks about how even in the late 19th century there were lots of aspects of African culture that survived in Cuba.

So that’s an important part of understanding the integral and unique nature of slavery in the U.S., which has programmatic implications today: there’s no separate black nation, and our program is one of revolutionary integrationism.

Slavery and the Development of Capitalism

One of the strengths of the Williams book is that he shows how the development of British industrial capitalism was to a large degree based upon slavery. The bourgeoisie in Liverpool, Manchester and the City of London became rich through the slave trade, later through sugar trading, and then with textile production that used slave-produced cotton. Of course slavery was not what provided the labor in England in the development of English capitalism or the industrial revolution. But after the abolition of the slave trade in 1807, and then slavery itself in the British Caribbean in the 1830s, British capitalism still depended on slavery because the textile mills of Manchester, for example, needed cotton. In 1860, about 75 percent of all British cotton came from the American South. This is part of the reason, as Marx wrote at the time, that a section of the British bourgeoisie supported the South during the American Civil War.

Also, throughout the late 18th century, there was slavery in much of the North (comrades might remember the very good “Slavery in New York” exhibit at the New York Historical Society), even though it was not the central method of production. By the early 19th century, slavery as a social relationship had mostly disappeared from the North (the last Northern state to free its slaves was New Jersey, in 1846). But the main connection between the nascent bourgeoisie and slavery was not that they owned slaves.

There is a very interesting book called Complicity: How the North Promoted, Prolonged, and Profited from Slavery (2005), written by three reporters for the Hartford Courant. It shows how the Northern bourgeoisie was connected to the slave system by a million threads: they bought molasses, which was made with slave labor, and sold rum as part of the Triangle Trade; they lent money to Southern planters; and most of the cotton that was sold to Britain was shipped through Northern ports, including here in New York City. They financed the slave trade, and even after it became illegal, there were still ships leaving from New York that were involved in slave trading. And they sold manufactured goods to the South. This is the background to the relationship between Northern capitalism and slavery. Capitalism is very different from slavery, but at the same time they are very historically connected.

[TO BE CONTINUED]


Workers Vanguard No. 943
25 September 2009

Slavery and the Origins of American Capitalism

Part Two

We print below, in slightly edited form, Part Two of a presentation by Jacob Zorn to a Spartacist League educational in New York on 30 March 2008. Part One of this talk, published in WV No. 942 (11 September), focused on the centrality of black chattel slavery to the early development of capitalism.

I want to talk about the American Revolution, which we don’t write about all that much. I think there are two essential pitfalls in dealing with the American Revolution. One was shown most fully by Earl Browder, the head of the Communist Party (CP) during its popular-front phase in the mid 1930s. In What Is Communism?—the same book in which he tried to show that “Communism is the Americanism of the twentieth century”—Browder argued that the American Revolution of 1776 was essentially the model of the popular front. (There’s a novel by Howard Fast called Citizen Tom Paine, written during World War II, where he also makes this argument, that Tom Paine came up with the idea of a popular front against British colonialism.) The second pitfall is to pretend that the American Revolution isn’t really important at all.

There’s a WV article that was part of the readings, called “Why We Don’t Celebrate July 4” [WV No. 116, 2 July 1976], which is very useful. But just because we don’t celebrate the Fourth of July doesn’t mean that we think the revolution was unimportant. The revolution was, so far as it went, both important and progressive—the main thing is that it didn’t go all that far. The American Revolution was a bourgeois revolution in the sense that it laid the basis for the development of American capitalism, but keep in mind that Britain in 1776 was not a feudal society—the English Civil War had happened more than 100 years earlier. Socially, the revolution was an alliance between the planter elites of the Southern colonies, which obviously were based on slavery, and the merchants of the Northern colonies because both of them wanted to break away from the constraints of British mercantilism. Thus, the revolution spurred not only the development of American capitalism, but also the development of the slave system in the South. The revolution itself cemented the alliance between capitalism and slavery, an alliance that would later—to borrow a phrase from the Communist Manifesto—have to be burst asunder. But one of the interesting points about the American Revolution is that this relationship was almost not burst asunder. The revolution did not solve the question of which of these two systems would dominate; and in that sense, the Civil War really was the Second American Revolution. This is another part of the answer to comrade Foster’s question: Why did there need to be a Civil War? I think the American Revolution kind of set it up, in that sense.

I want to talk about the political significance of the revolution, however. Many of the ideals of the revolution, which drew upon the Parliamentary side of the English Civil War, are, in and of themselves, important. The right to bear arms, the separation of church and state, representative democracy, republicanism and colonial independence are good things. It’s worth reading Common Sense by Thomas Paine. Some of these ideas were quite radical for the time—and I would just remind comrades that in Britain there is still both a crown and an established church. Plus, the founding fathers were by and large secular. I don’t think that if George Washington had said that God had told him to fight England that people would have taken him seriously. That’s another point that our article on the Fourth of July makes—that even by bourgeois standards, the leaders of the American Revolution stand several heads and shoulders above the current leaders.

The Nature of the American Revolution

The American Revolution, however, was not a social revolution, unlike either the French or the Haitian revolutions that immediately followed it. The question of the revolution was not whether the goal of the colonies was to be capitalist, or to make money, but for whom the colonies would be making money. It is important to keep in mind that of all the British colonies in America, the West Indies—the so-called “sugar colonies”—were much more important than the mainland North American colonies. The Northern colonies, as Eric Williams describes, essentially existed to provide food and other supplies to the Caribbean colonies. They preferred importing food, even at very high prices, from North America to wasting land that could otherwise be used for sugar. And in an earlier book, The Negro in the Caribbean (1942), Williams described how even then, most of the fish eaten in the Caribbean was imported from elsewhere, even though obviously the Caribbean is made up of islands. And the West Indian planters were a powerful section of the British ruling class, including many representatives in Parliament. So Parliament was not going to do anything that would harm the interests of these planters.

Under British mercantilism, there were basically two ways that the North American colonies were important to Britain. Under the Navigation Act of 1651, and later the Molasses Act of 1733, they were supposed to trade only with other British colonies. For the North, these acts were largely dead letters; they traded with whomever they wanted to trade. Northern merchants regularly bought molasses from French colonies, which tended to be more productive and sold cheaper, and they sold rum and other products—made directly or indirectly from slave labor—to non-British colonies. The planters in the South were expected to sell tobacco only to the British, but they found ways to get around this. The other important role of the North American colonies was to pay taxes. And tobacco was taxed at this time, in much of the 18th century, not by its value (i.e., by the price), but by how much was actually grown, so that as the planters’ profits declined, their taxes often still increased. So, in much of the 18th century, even though the sugar colonies were much more profitable, they paid much less in taxes than did Virginia. And Virginia, in fact, paid more taxes to the royal treasury than any other colony. Nonetheless, for most of this period, the British government had a policy that was called salutary—or benign—neglect, allowing the colonies to ignore much of the mercantile laws while the colonies ran themselves.

This all changed at the end of the Seven Years (or the French and Indian) War, in 1763, which, in America at least, was fought in part over control of the Caribbean and French Canada. It was very complicated, and in some ways perhaps the first world war, drawing in every European power. But two trends merged at the end of this war. Britain ended the war with immense holdings in North America, with a large empire, and the newly crowned George III wanted to reassert a vigorous role for the British Crown. But the British were broke after the war and looked to America as a way of paying for this. As the Encyclopedia Britannica puts it, the British “felt that the colonies were ungrateful children, ready to profit from the security our arms had gained for them, but unwilling to pay the price.”

So Parliament and George III, in a rather ham-handed way, passed a series of laws regarding the colonies (if you remember ninth grade, you probably went through them). But the bottom line is that these laws convinced both the American planters in the South and the merchants in the North that as long as they continued to remain a part of the British system, they would not be able to develop in the way that they wanted. And slavery was central to all of this, both because the main product that was being sent from Virginia—tobacco—was made with slave labor, but also because sugar and other things that were being traded in the North were an integral part of the Triangle Trade between Europe, the American colonies and Africa.

Slavery and the American Revolution

There is a great article that deals with the American Revolution in WV No. 764, called “The Haitian Revolution and the American Slavocracy.” Many comrades don’t remember it because it was published on September 14, 2001, but it explains how the American Revolution did not involve a social revolutionary component that was equivalent, for example, to the sans-culottes in France. It did not fundamentally change the class structure of the United States. But in order to mobilize the mass of the white populace—small farmers, artisans, shopkeepers—to risk their lives and livelihoods against Britain, the wealthy colonial elites had to tell them that all men, having been created equal, were entitled to life, liberty and the pursuit of happiness.

One of the key ways they were able to do this was through the institution of slavery, and the American rulers could give political rights to whites because the central labor force in the American South was slaves, who were excluded from all this. This is one of the reasons that there was no regime of plebeian terror in the American Revolution as there was in France; there was no Robespierre or, as in the English Civil War, Cromwell. Famously, in writing the Declaration of Independence, Thomas Jefferson, himself a slaveholder (he owned about 200 slaves), had put in some mild anti-slavery language, blaming George III for supporting the slave trade. This was taken out at the insistence of the slaveholders. That is to say, slavery couldn’t be touched.

From the revolution until the Constitution was adopted, the law of the land was what is called the Articles of Confederation. They allowed each state to regulate its own affairs, including whether to have slavery or not—this is the concept which later is called “states’ rights.” Earl Browder, in the same piece I referenced earlier, wrote that the Constitution was a “counter-revolution engineered by Alexander Hamilton.” (Given that this was about the same time that Browder was defending the Stalinist Moscow Trials in the USSR, his idea of a political counterrevolution might be somewhat suspect.) The CP fundamentally preferred the side of Jefferson—their school here in New York City, for example, was called the Jefferson School of Social Science. Jefferson liked to talk of individual liberties, and in some ways he is one of the more eloquent spokesmen for the American Revolution. But the system that was set up was really a cover, to a large degree, for slavery. Jefferson’s traditional enemy is considered to be Alexander Hamilton, and there are a lot of bad things about Alexander Hamilton, I suppose—he was willing to sacrifice political liberty upon the altar of bourgeois development, and he feared the people having too much power. But one of the key things was that he opposed slavery. If any of the founding fathers were vindicated by the Civil War, I think it was really Alexander Hamilton, who was in favor of a strong central government to develop capitalism, was opposed to slavery, and who also proposed arming blacks in the American Revolution, something that, again, the slaveholders opposed. Part of this is probably his own background, because he came from the British Caribbean and was intimately familiar with slavery.

Although the Constitution did represent a move away from the more egalitarian goals, or at least the rhetoric, of the revolution, it was carried out largely by the same men who made the revolution—as our piece in 1976 put it, they died of old age. It was not really a political counterrevolution in the same way that you can talk about Thermidor in the French Revolution, because there was not really a Robespierre in the American Revolution. The closest you would have, I guess, would be Daniel Shays, who in late 1786 in western Massachusetts rebelled against high taxes. It was fundamentally a different type of revolution.

The Constitution of 1787 was pushed by Alexander Hamilton in order to create a centralized government that would have the power to help create a unified, capitalist country. It was not very democratic, even if we exclude the question of slavery. In this context, I recommend section three in the July 2003 amici curiae (friends of the court) brief by the Partisan Defense Committee on Jose Padilla, which is called, “It Took a Civil War to Establish the Rights and Privileges of United States Citizenship.” It makes the point that federalism—the so-called separation of powers, including between the states and the national government—really allowed slavery to exist until the Civil War. Therefore, the Constitution of 1787 codified the coexistence of two battling social systems, with the South given extra power.

I’m sure comrades have listened to, or at least read, Barack Obama’s recent “A More Perfect Union” speech, where he argues that:

“The answer to the slavery question was already embedded within our Constitution—a Constitution that had at its very core the ideal of equal citizenship under the law; a Constitution that promised its people liberty, and justice, and a union that could be and should be perfected over time.”

Well, no, the Constitution actually made resolving this question short of a Civil War largely impossible. Also—it’s interesting—when he lists all the bad things about the Constitution, he leaves out the most important part, which is the three-fifths compromise, which not only said that blacks are 60 percent human beings, but essentially gave the slave South control of the federal government. As Frederick Douglass put it in an article titled “The Constitution and Slavery” (1849): “Under it, the slave system has enjoyed a large and domineering representation in Congress, which has given laws to the whole Union in regard to slavery, ever since the formation of the government.” Out of the three-fifths clause we also have the amazing contraption of the electoral college, which basically was designed to, and did, give the South the presidency, by giving more power to states that owned slaves. Some nine out of the first 15 presidents were Southerners, most from Virginia. So slavery was not, as Obama put it—and it’s not just Obama, it’s a common liberal myth—a “stain” on early American politics and society, but an essential thread woven throughout the development of American capitalism. It’s a fundamental aspect, not extraneous or peripheral.

The Bill of Rights was adopted in 1791 in order to get the states to support the adoption of the Constitution, and this is what the Padilla brief calls the “Second Constitution.” And these recognized important rights, but they still did not define any sense of national citizenship, something that would not come until the Civil War. In fact, one of the reasons that the framers didn’t put these rights in the original Constitution is that they didn’t want to start off saying that “all men are equal” again. That is to say, they didn’t want to have anything that could be seen as challenging slavery. Of course, a point that is made in the Padilla brief and that we have often made since the “war on terror” began is that rights are not just granted by a piece of paper but also reflect what type of social struggle is going on in society.

[TO BE CONTINUED]

Click on the headline to post for Part Three.

* No, No Damn It- Not Obama's Eight Months But Eight Long Years In Afghanistan

Click on title to link to my September 4, 2009 blog entry of National Public Radio's report on September 1, 2009 of the musings of Afghan top commander, General Stanley "Search and Destroy first and let god sort it out) McChrystal, about (another) future troop escalation in Afghanistan. Well,boys and girls, the time for Obamian illusions is over. It is time to settle up. The streets are not for dreaming now. Get the poster boards, the old bed sheets, magic markers, paint and cell phones ready. "Obama-Immediate Unconditional Withdrawal Of All U.S./Allied Troops From Afghanistan ((And Iraq And Pakistan Too!)"

Markin comment:

I really am, after a long political life, usually non-plussed by bizarre remarks from liberals and from those even further to the right, who I do not even bother rebutting these days, but a recent remark from one such liberal specimen after I made a comment about Obama’s Afghan war policy and troop escalations has got “my dander” up. It seems the rules of war, or at least of calculating the lengths of such wars, have changed in the “Age of Obama”. Apparently this person has been steeped in the educational philosophy of John Locke and his theory of tabula rasa. The logic of this position in terms of Obama’s innate Afghan War policy is that we should not count the war times under former President George W. Bush against newly-minted current President Obama.

A follow up discussion on that logic indicated that this person believed that one could, and should, draw a sharp distinction between Bush’ s “war of choice” and Obama’s “war of necessity” and give the President a break. No, no a thousand times no. But just to prove I do not remain forever with my “dander” up here is what I will do. Prior to 12 o’clock noon on January 20, 2009 Bush- Immediate Unconditional Withdrawal of All U.S./Allied Troops From Iraq and Afghanistan! After 12 o’clock noon on January 20, 2009 Obama- Immediate Unconditional Withdrawal of All U.S./Allied Troops From Iraq and Afghanistan! There, now let’s do the math starting from the bombing of Afghanistan- eight long ……years. Enough.


******
Every once in a while (more frequently than I would like but today seems like a very appropriate time) old Pete Seeger's song about his World War II adventures that served as a parable for President Lyndon Johnson and his constant Vietnam escalations, "Waist Deep In The Big Muddy” just seems appropriate. This is one of those occasions. Just switch "Big Poppy" for "Big Muddy" and you will have it just about right.

"Waist Deep In The Big Muddy"-Pete Seeger

It was back in nineteen forty-two,
I was a member of a good platoon.
We were on maneuvers in-a Loozianna,
One night by the light of the moon.
The captain told us to ford a river,
That's how it all begun.
We were -- knee deep in the Big Muddy,
But the big fool said to push on.

The Sergeant said, "Sir, are you sure,
This is the best way back to the base?"
"Sergeant, go on! I forded this river
'Bout a mile above this place.
It'll be a little soggy but just keep slogging.
We'll soon be on dry ground."
We were -- waist deep in the Big Muddy
And the big fool said to push on.

The Sergeant said, "Sir, with all this equipment
No man will be able to swim."
"Sergeant, don't be a Nervous Nellie,"
The Captain said to him.
"All we need is a little determination;
Men, follow me, I'll lead on."
We were -- neck deep in the Big Muddy
And the big fool said to push on.

All at once, the moon clouded over,
We heard a gurgling cry.
A few seconds later, the captain's helmet
Was all that floated by.
The Sergeant said, "Turn around men!
I'm in charge from now on."
And we just made it out of the Big Muddy
With the captain dead and gone.

We stripped and dived and found his body
Stuck in the old quicksand.
I guess he didn't know that the water was deeper
Than the place he'd once before been.
Another stream had joined the Big Muddy
'Bout a half mile from where we'd gone.
We were lucky to escape from the Big Muddy
When the big fool said to push on.

Well, I'm not going to point any moral;
I'll leave that for yourself
Maybe you're still walking, you're still talking
You'd like to keep your health.
But every time I read the papers
That old feeling comes on;
We're -- waist deep in the Big Muddy
And the big fool says to push on.

Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep! Neck deep! Soon even a
Tall man'll be over his head, we're
Waist deep in the Big Muddy!
And the big fool says to push on!

*Political Journalist's Corner- John Reed's 1917 "Masses" Article "Whose War?"

Click on title to link to the John Reed Internet Archive's 1917 "Masses" article, "Whose War?".

Markin comment:

As we come up to the 8th anniversary of the, apparently, endless occupation of Afghanistan here is a voice from an earlier imperialist adventure, the American government's entry into World War I. Whose war, indeed. Nice work, Comrade Reed.

*Eight Year Is Enough-Obama- Immediate Unconditional Withdrawal Of All U.S./Allied Troops From Afghanistan

Click on title to link to National Public Radio's report on September 3, 2009about the growing opposition to Obama's Afghan war policy. This is a repost from that entry. Today, October 7, 2009, marks the eight anniversary of the effective American occupation of Afghanistan. Well,boys and girls, the time for Obamian illusions is over. It is time to settle up. The streets are not for dreaming now. Get the poster boards, the old bed sheets, magic markers, paint and cell phones ready. "Obama-Immediate Unconditional Withdrawal Of All U.S./Allied Troops From Afghanistan ((And Iraq And Pakistan Too!)"

October 9, 2009- In light of Obama's ward of the Nobel "Peace" Prize this post should take on added significance. There is also a high level White House meeting of all levels of the American political/military establishment today. Do not,despite keeping his eyes on the prize, rule out an Obama troop escalation in Afghanistan. So much for "peace".
******

Every once in a while (more frequently than I would like) old Pete Seeger's song about his World War II adventures that served as a parable for President Lyndon Johnson and his constant Vietnam escalations, "Waist Deep In The Big Muddy” just seems appropriate. This is one of those occasions. Just switch "Big Poppy" for "Big Muddy" and you will have it just about right.

"Waist Deep In The Big Muddy"-Pete Seeger

It was back in nineteen forty-two,
I was a member of a good platoon.
We were on maneuvers in-a Loozianna,
One night by the light of the moon.
The captain told us to ford a river,
That's how it all begun.
We were -- knee deep in the Big Muddy,
But the big fool said to push on.

The Sergeant said, "Sir, are you sure,
This is the best way back to the base?"
"Sergeant, go on! I forded this river
'Bout a mile above this place.
It'll be a little soggy but just keep slogging.
We'll soon be on dry ground."
We were -- waist deep in the Big Muddy
And the big fool said to push on.

The Sergeant said, "Sir, with all this equipment
No man will be able to swim."
"Sergeant, don't be a Nervous Nellie,"
The Captain said to him.
"All we need is a little determination;
Men, follow me, I'll lead on."
We were -- neck deep in the Big Muddy
And the big fool said to push on.

All at once, the moon clouded over,
We heard a gurgling cry.
A few seconds later, the captain's helmet
Was all that floated by.
The Sergeant said, "Turn around men!
I'm in charge from now on."
And we just made it out of the Big Muddy
With the captain dead and gone.

We stripped and dived and found his body
Stuck in the old quicksand.
I guess he didn't know that the water was deeper
Than the place he'd once before been.
Another stream had joined the Big Muddy
'Bout a half mile from where we'd gone.
We were lucky to escape from the Big Muddy
When the big fool said to push on.

Well, I'm not going to point any moral;
I'll leave that for yourself
Maybe you're still walking, you're still talking
You'd like to keep your health.
But every time I read the papers
That old feeling comes on;
We're -- waist deep in the Big Muddy
And the big fool says to push on.

Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep! Neck deep! Soon even a
Tall man'll be over his head, we're
Waist deep in the Big Muddy!
And the big fool says to push on!

*Guest Commentary- Stephen Lendman On Radical Journalist Izzy Stone

Click on title to link to Stephen Lendman's blog entry for the late old time radical journalist (seemingly a long gone breed) I. F. (Izzy) Stone. More to come on this interesting journalist who tried to get it right.