This space is dedicated to the proposition that we need to know the history of the struggles on the left and of earlier progressive movements here and world-wide. If we can learn from the mistakes made in the past (as well as what went right) we can move forward in the future to create a more just and equitable society. We will be reviewing books, CDs, and movies we believe everyone needs to read, hear and look at as well as making commentary from time to time. Greg Green, site manager
“We are organizing ourselves to shift
power, and to ensure that farmers and farmworkers have a voice in the
industry…”
A battle for fundamental human rights is brewing in Vermont’s dairy industry,
and at the heart of it all lies this pivotal question: Who should speak for
farmworkers when it comes to defining the conditions in which they work and
live?
In one corner: Migrant Justice, a farmworker organization that has been hard
at work for years in the dairy worker community of Vermont, building a broad
base of members and drafting a sophisticated platform for change — a plan they
call “Milk with Dignity” — that envisions a more modern dairy industry founded
on an equal partnership among farmworkers, farmers, and the corporations that
buy Vermont’s dairy products.
In the other corner: Ben & Jerry’s, a wildly successful corporation with
a highly valuable brand based in large part on an image of progressive politics
and a genuine commitment to social responsibility. Yet despite its sterling
reputation, Ben & Jerry’s has chosen so far to reject Migrant Justice’s call
for worker-driven social responsibility, standing instead by its own plan,
dubbed “Caring Dairy,” a corporate social responsibility scheme that dairy
workers say relies on self-monitoring by farmers, lacks any real enforcement
mechanisms, and denies workers a real voice in the design and implementation of
a system to protect their own human rights.
Last week, as the battle began to heat up, Migrant Justice released the
campaign’s official video, a powerful one-two documentary punch...
March for Our Children to Shut Down Pilgrim Nuclear Plant
June 13 - 16 Plymouth to
Boston
Boston Downwinders will join Mass
Downwinders on a walk from Plymouth to the State House to raise awareness about
the terrible condition of Pilgrim Nuclear Plant, and to gather signatures on a
petition to Governor Baker to SHUT IT DOWN.
Starts: Saturday, June 13 in
Plymouth
Ends: Tuesday, June 16 in Boston
12:30 pm Rally at Dewey Square
1:00 pm Walk up Summer Street to the
State House
2:00 pm Rally in the Gardner Auditorium
at the State House
Join us! The walk will span 54 miles over
4 days - from the Pilgrim Nuclear Power Station in Plymouth to the Boston State
House. Good company, meals and
accommodations will be provided. All belongings can be towed by van, so you will
not have to carry any of your gear. You
can join us all the way or for any part of our journey.
Boston Downwinders is a recently formed
working group of Massachusetts Peace Action. Our immediate mission is to close
Pilgrim Nuclear Plant, which has the same failed GE Mark II design as the
Fukushima plant. Experts for the Massachusetts Attorney General said that the
Pilgrim's overloaded spent fuel pool is vulnerable to a catastrophic fire that
could contaminate over 100 miles downwind and cause up to 24,000 latent cancers
and $488 billion in damages. The
Nuclear Regulatory Commission placed Pilgrim among the 5 worst run reactors in
the US. And a Pentagon-commissioned analysis listed it among the 8 US plants
most vulnerable to catastrophic terror attack. As with every other nuclear
plant, there is no safe place to put the waste. Our grandchildren’s
grandchildren will have to take care of it -- while receiving no
benefits.
Boston Downwinders have been joining Cape
Downwinders in lobbying our State Reps and Senators to sponsor bills improving
Pilgrim's safety, health and evacuation procedures. And we are sharing our
concerns with the Mass. Emergency Management Association (MEMA), which is
responsible for evacuation in case of accident.
We need your energy, ideas and support.
Please come to our next meeting on June 1, 7pm at the First Church in
Cambridge, 11 Garden St., in Harvard Square.
And join us for all or part of the MARCH FOR OUR CHILDREN through Plymouth, Kingston, Weymouth,
Cohasset, Hingham Braintree and on to Boston.
Activists played a key role in shutting
down Vermont Yankee Nuclear Power Station and we can do the same for
Massachusetts!
Join Massachusetts Peace Action - or renew your membership
today! Dues are $40/year for an individual, $65 for a family, or
$10 for student/unemployed/low income. Members vote for leadership and
endorsements, receive newsletters and discounts on event admissions. Donate now and you will be a member
in good standing through December 2015!Your financial support makes this work possible!
As The 100th Anniversary Of The First
Year Of World War I (Remember The War To End All Wars) Continues ... Some
Remembrances-The Culturati’s Corner
In say 1912, 1913, hell, even the
beginning of 1914, the first few months anyway, before the war clouds got a
full head of steam in the summer they all profusely professed their unmitigated
horror at the thought of war, thought of the old way of doing business in the
world. Yes the artists of every school the
Cubist/Fauvists/Futurists/Constructivists, Surrealists or those who would come
to speak for those movements (hell even the hide-bound Academy filled with its
rules, or be damned, spoke the pious words of peace, brotherhood and the
affinity of all humankind when there was sunny weather), those who saw the
disjointedness of modern industrial society in its squalor, it creation of
generations of short, nasty, brutish lives just like the philosophers predicted
and put the pieces to paint, sculptors who put twisted pieces of metal
juxtaposed to each other saw that building a mighty machine from which you had
to run created many problems; writers of serious history books proving that,
according to their Whiggish theory of progress,humankind had moved beyond war as an instrument of policy and the
diplomats and high and mighty would put the brakes on in time, not realizing
that they were all squabbling cousins; writers of serious and not so serious
novels drenched in platitudes and hidden gazebo love affairs put paid to that
notion in their sweet nothing words that man and woman had too much to do, too
much sex to harness to denigrate themselves by crying the warrior’s cry and by
having half-virgin, neat trick, maidens strewing flowers on the bloodlust
streets; musicians whose muse spoke of delicate tempos and sweet muted violin
concertos, not the stress and strife of the tattoos of war marches with their
tinny conceits; and poets, ah, those constricted poets who bleed the moon of
its amber swearing, swearing on a stack of seven sealed bibles, that they would
go to the hells before touching the hair of another man, putting another man to
ground or laying their own heads down for some imperial mission.
They all professed loudly (and those
few who did not profess, could not profess because they were happily getting
their blood rising, kept their own consul until the summer), that come the war
drums they would resist the siren call, would stick to their Whiggish, Futurist,
Constructionist, Cubist worlds and blast the war-makers to hell in quotes,
words, chords, clanged metal, and pretty pastels. They would stay the
course.
And then the war drums intensified, the
people, their clients, patrons and buyers, cried out their lusts and they, they
made of ordinary human clay as it turned out, poets, beautiful poets like
Wilfred Owens who would sicken of war before he passed leaving a beautiful
damnation on war, its psychoses, and broken bones and dreams, and the idiots
who brought humankind to such a fate, like e. e. cummings who drove through
sheer hell in those rickety ambulances floors sprayed with blood, man blood,
angers, anguishes and more sets of broken bones, and broken dreams, like Rupert
Brooke all manly and old school give and go, as they marched in formation
leaving the ports and then mowed down like freshly mown grass in their
thousands as the charge call came and they rested, a lot of them, in those
freshly mown grasses, like Robert Graves all grave all sputtering in his words
confused about what had happened, suppressing, always suppressing that instinct
to cry out against the hatred night, like old school, old Thomas Hardy writing
beautiful old English pastoral sentiments before the war and then full-blown
into imperium’s service, no questions asked old England right or wrong, like
old stuffed shirt himself T.S. Eliot speaking of hollow loves, hollow men,
wastelands, and such in the high club rooms on the home front, and like old
brother Yeats speaking of terrible beauties born in the colonies and maybe at
the home front too as long as Eliot does not miss his high tea. Jesus what a
blasted night that Great War time was.
And as the war drums intensified, the
people, their clients, patrons and buyers, cried out their lusts and they, they
made of ordinary human clay as it turned out, artists, beautiful artists like
Fernand Leger who could no longer push the envelope of representative art
because it had been twisted by the rubble of war, by the crashing big guns, by
the hubris of commanders and commanded and he turned to new form, tubes, cubes,
prisms, anything but battered humankind in its every rusts and lusts, all
bright and intersecting once he got the mustard gas out of his system, once he
had done his patria duty, like speaking of mustard gas old worn out John Singer
Sargent of the three name WASPs forgetting Boston Brahmin society ladies in
decollage, forgetting ancient world religious murals hanging atop Boston museum
and spewing trench warfare and the blind leading the blind out of no man’s
land, out of the devil’s claws, like Umberto Boccioni, all swirls, curves,
dashes, and dangling guns as the endless charges endlessly charge, like Gustav
Klimt and his endlessly detailed gold dust opulent Asiatic dreams filled with
lovely matrons and high symbolism and blessed Eve women to fill the night,
Adam’s night after they fled the garden, like Joan Miro and his infernal boxes,
circles, spats, eyes, dibs, dabs, vaginas, and blots forever suspended in deep
space for a candid world to fret through, fret through a long career, and like
poor maddened rising like a phoenix in the Spartacist uprising George Grosz
puncturing the nasty bourgeoisie, the big bourgeoisie the ones with the real
dough and their overfed dreams stuffed with sausage, and from the bloated
military and their fat-assed generals stuff with howitzers and rocket shells,
like Picasso, yeah, Picasso taking the shape out of recognized human existence
and reconfiguring the forms, the mesh of form to fit the new hard order, like,
Braque, if only because if you put the yolk on Picasso you have to tie him to
the tether too.
And do not forget when the war drums
intensified, and the people, their clients, patrons and buyers, cried out their
lusts and they, they, other creative souls made of ordinary human clay as it
turned out sculptors, writers, serious and not, musicians went to the trenches
to die deathless deaths in their thousands for, well, for humankind, of course,
their always fate ….
*In
Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Sekou Kambui,
(William Turk)
http://www.thejerichomovement.com/prisoners.html
A link above to more information
about the class-war prisoner honored in this entry.
Make June Class-War Prisoners Freedom Month
Markin comment (reposted from 2010)
In “surfing” the National Jericho Movement
Website recently in order to find out more, if possible, about class- war
prisoner and 1960s radical, Marilyn Buck, whom I had read about in a The Rag
Blog post I linked to the Jericho list of class war prisoners. I found
Marilyn Buck listed there but also others, some of whose cases, like that of
the “voice of the voiceless” Pennsylvania death row prisoner, Mumia Abu-Jamal,
are well-known and others who seemingly have languished in obscurity. All of
the cases, at least from the information that I could glean from the site,
seemed compelling. And all seemed worthy of far more publicity and of a more
public fight for their freedom.
That last notion set me to the task at hand.
Readers of this space know that I am a longtime supporter of the Partisan
Defense Committee, a class struggle, non-sectarian legal and social defense
organization which supports class war prisoners as part of the process of
advancing the international working class’ struggle for socialism. In that
spirit I am honoring the class war prisoners on the National Jericho Movement
list this June as the start of what I hope will be an on-going attempt by all
serious leftist militants to do their duty- fighting for freedom for these
brothers and sisters. We will fight out our political differences and
disagreements as a separate matter. What matters here and now is the old
Wobblie (IWW) slogan - An injury to one is an injury to all.
Note: This list, right now, is composed of
class-war prisoners held in American detention. If others are likewise
incarcerated that are not listed here feel free to leave information on their
cases in the comment section. Likewise any cases, internationally, that come to
your attention. I am sure there are many, many such cases out there. Make
this June, and every June, a Class-War Prisoners Freedom Month- Free All
Class-War Prisoners Now!
From The Archives Of Women And Revolution
Markin comment:
The following is a set of archival issues of Women and Revolution that may have some historical interest for old "new leftists", perhaps, and well as for younger militants interested in various cultural and social questions that intersect the class struggle. Or for those just interested in a Marxist position on a series of social questions that are thrust upon us by the vagaries of bourgeois society. I will be posting articles from the back issues ofWomen and Revolution during Women's History Month in March and periodically throughout the year.
The Struggle Against The Continuing Militarization Of The Seas In New Hampshire
The Struggle For Justice In Boston-Veterans For Peace Memorial Day For Peace May 25, 2015
The Struggle For Justice In Boston-Black Lives Matter
In The Time Of The 1960s Folk Minute- With Tom Rush’s No Regrets In Mind
DVD Review
From The Pen Of Frank Jackman
No Regrets, narrated by Tom Rush and whoever else he could corral from the old Boston/Cambridge folk scene minute still around, 2014
I know your leavin's too long over due For far too long I've had nothing new to show to you Goodbye dry eyes I watched your plane fade off west of the moon It felt so strange to walk away alone
No regrets No tears goodbye Don't want you back We'd only cry again Say goodbye again
The hours that were yours echo like empty rooms Thoughts we used to share I now keep alone I woke last night and spoke to you Not thinkin' you were gone It felt so strange to lie awake alone
No regrets No tears goodbye Don't want you back We'd only cry again Say goodbye again
Our friends have tried to turn my nights to day Strange faces in your place can't keep the ghosts away Just beyond the darkest hour, just behind the dawn It feels so strange to lead my life alone
No regrets No tears goodbye Don't want you back We'd only cry again Say goodbye again
A few years ago in an earlier 1960s folk minute nostalgia fit I, at the request of my old time friend, Bart Webber, from Carver, a town about thirty miles south of Boston and close enough to have been washed by the folk minute, did some reviews of other male folk performers from that period. Bart had just seen a fragile seeming, froggy-voiced Bob Dylan in one of stages of his apparently never-ending concerts tours and had been shaken by the sight and had wondered about the fate of other such folk performers. That request turned into a series of reviews of male folk-singers entitled Not Bob Dylan (and after that, also at Bart’srequest, a series entitled Not Joan Baez based on some of the same premises and based as well on the mass media having back then declared that pair the “king and queen” of the burgeoning folk music minute scene).
That first series had asked two central questions-why did those male folk singers not challenge Dylan who as I noted the media of the day had crowned king of the folk minute for supremacy in the smoky (then, now the few remaining are mercifully smoke-free although then I smoked as heavily as any guy who though such behavior was, ah, manly) coffeehouse night and, if they had not passed on, were they still working the smoke-free church basement, homemade cookies and coffee circuit that constitutes the remnant of that folk minute even in the old hotbeds like Cambridge and Boston. Were they still singing and song-writing, that pairing of singer and writer having been becoming more prevalent, especially in the folk milieu in the wake of Bob Dylan’s word explosions back then. The days when the ground was shifting under the Tin Pan Alley kingdom.
Here is the general format I used for asking and answering those two questions which still apply today if one is hell-bent on figuring out the characters who rose and fell during that time:
“If I were to ask someone, in the year 2010 as I have done periodically both before and after, to name a male folk singer from the 1960s I would assume that if I were to get any answer to that question that the name would be Bob Dylan (that “getting any answer” prompted by the increasing non-recognition of the folk genre by anybody under say forty, those influenced by hip-hop, techno-music and just straight popular music). And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be since he clearly had tired of the role, or seemed to by about 1966 when he for all intents and purposes “retired” for a while prompted by a serious motorcycle accident) the voice of the Generation of ’68 (so named for the fateful events of that watershed year, especially the Democratic Convention in America in the summer of that year when the old-guard pulled the hammer down and in Paris where the smell of revolution was palpably in the air for the first time since about World War II, when those, including me, who tried to turn the world upside down to make it more livable began to feel that the movement was reaching some ebb tide) but in terms of longevity and productivity, the never-ending touring until this day and releasing of X amount of bootleg recordings, the copyrighting of every variation of every song, including traditional songs, he ever covered and the squelching of the part of the work that he has control over on YouTube he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review, Tom Rush, is one such singer/songwriter.
“The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960s and it is certainly an appropriate question to ask of Tom Rush as well. Did they aspire to be the “king” of the genre? I do not know if Tom Rush, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting (and strong baritone) voice to fit the lyrics of love, hope, and longing that he was singing about at the time, particularly the No Regrets/Rockport Sunday combination which along with Wasn’t That A Mighty Storm and Joshua Gone Barbados were staples early on. During much of this period along with his own songs he was covering other artists, particularly Joni Mitchell and her Urge For Going and The Circle Game, so it is not clear to me that he had that same Dylan drive by let’s say 1968.
As for the songs on this album I mentioned that he covered Joni Mitchell in this period. A very nice version of Urge For Going that captures the wintry, got to get out of here, imaginary that Joni was trying to evoke about things back in her Canadian homeland. And the timelessness and great lyrical sense of his No Regrets, as the Generation of ’68 sees another generational cycle starting, as is apparent now if it was not then. The covers of fellow Cambridge folk scene fixture Eric Von Schmidt on Joshua Gone Barbados and Galveston Flood are well done. As is the cover of Bukka White’s Panama Limited (although you really have to see or hear old Bukka flailing away on his old beat up National guitar to get the real thing on YouTube).”
Whether Tom Rush had the fire back then is a mute question now although in watching the documentary under review, No Regrets, in which he tells us about his life from childhood to the very recent past (2014) at some point he did lose the flaming burn down the building fire, just got tired of the road like many, many other performers and became a top-notch record producer, a “gentleman farmer,” and returned to the stage, most dramatically with his annual show Tom Rush-The Club 47 Tradition Continues held at Symphony Hall in Boston each winter. And in this documentary appropriately done under the sign of “no regrets” which tells Tom’s take on much that happened then he takes a turn, an important oral tradition turn, as folk historian.
He takes us, even those of us who were in the whirl of some of it back then to those key moments when we were looking for something rooted, something that would make us pop in the red scare Cold War night of the early 1960s. Needless to say the legendary Club 47 in Cambridge gets plenty of attention as does his own fitful start in getting his material recorded, or rather starts, mainly walking around to every possible venue in town to get backing for record production the key to getting heard by a wider audience via the radio and to become part of the increasing number of folk music-oriented programs, the continuing struggle to this day from what he had to say once you are not a gold-studded fixture.
Other coffeehouses and other performers of the time, especially Eric Von Schmidt, another performer with a ton of talent and song-writing ability who had been on the scene very, very early on who eventually decided that his artistic career took first place, get a nod of recognition. As does the role of key radio folk DJ Dick Summer in show-casing new work (and the folk show, picked up accidently one Sunday night when I was frustrated with the so-called rock and roll on the local AM rock station and flipped the dial of my transistor radio and heard a different sound, the sound of Dave Von Ronk, where I started to pick up my life-long folk “habit”). So if you want to remember those days when you sought refuse in the coffeehouses and church basements, sought a “cheap” date night (for the price of a couple of cups of coffee sipped slowly in front of you and your date, a shared pastry and maybe a few bucks admission or tossed into the passed-around “basket” you got away easy and if she liked the sound too, who knows what else) or, ouch, want to know why your parents are still playing Joshua’s Gone Barbados on the record player as you go out the door Saturday night to your own adventures watch this film.
The Dawn Of The Bourgeois Age-The English Revolution, Warts and All
The Dawn Of The Bourgeois Age-The English Revolution, Warts and All
Today, in 2015, it may seem odd that a modern day radical would harken back to the mid-17th century to pay homage to one of those leaps in human progress that those who insist on an ever upward and onward spiral of history keep talking about, the English Revolution. However I have my own reasons, political reasons, for reflecting on that series of events this year since the English revolution (some call it under the name civil war, some deny any revolution occurred, others cringe at the thought that his or her royal highness would be subjected to the chopping block, literally and historically). One can reasonably although at a primitive level date the notion of the rise of the individual with rights and prerogatives from out of the undifferentiated subject mass of humanity in medieval times from that period. And that hard fact was progressive in itself now that we are deeply emerged in the age of the sainthood of the self. More importantly some of the basic notions about being a citizen rather than a subject date from that period although it would take a bloodier and more thorough-going revolution in France some one hundred and fifty years later to round those rights one more distinctly ( a process still going on today).
That brings me to my main point which is that the period we live in today despite the incredible advances in science, industrial production, and mass technology in its ideas in many ways are going back to pre-English Revolution sensibilities. The late Professor Christopher Hill did yeoman’s work to inform us about this revolutionary period which saw a flourishing of science and a struggle to break from both religious superstition and flat out ignorance in everyday thought. Saw in poets like Milton and Marvell a flourishing of literature. Saw with what Weber called the rise of the capitalist ethic associated with the rise of individualistic protestant religion a struggle for new forms of social organization and productive work.
Oh sure there was plenty of push-back as always by those who had lost something in the fight but despite set-backs and ebbs a good foundation was set up. Today when we confront climate-change deniers, religious fundamentalists from yahoo born-again Christians, who will quote chapter and verse, to crazed Islamic jihadists ready to set us back to the 8th century if they can, and those who have lost fate in some variation of the democratic principles of individual worth something has gone awry in the world body politic. So, yes, today I do not think that is odd to reflect back to the English Revolution, warts and all, for some inspiration.
In
Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Haki Malik
Abdullah, (s/n Michael Green)
http://www.thejerichomovement.com/prisoners.html
Click
on the link for more information about the class-war prisoner honored in this
entry.
Make June Class-War Prisoners Freedom
Month
Markin comment (reposted from 2010)
In “surfing” the National Jericho Movement
website recently in order to find out more, if possible, about class- war
prisoner and 1960s radical, Marilyn Buck [now deceased], whom I had read about
in a The Rag Blog post I linked to the Jericho list of class war
prisoners. I found Marilyn Buck listed there but also others, some of whose
cases, like that of the “voice of the voiceless” Pennsylvania [former] death
row prisoner, Mumia Abu-Jamal, are well-known and others who seemingly have
languished in obscurity. All of the cases, at least from the information that I
could glean from the site, seemed compelling. And all seemed worthy of far more
publicity and of a more public fight for their freedom.
That last notion set me to the task at hand.
Readers of this space know that I am a long -time supporter of the Partisan
Defense Committee, a class struggle, non-sectarian legal and social defense
organization which supports class- war prisoners as part of the process of
advancing the international working class’ struggle for socialism. In that
spirit I am honoring the class war prisoners on the National Jericho Movement
list this June as the start of what I hope will be an on-going attempt by all
serious leftist militants to do their duty- fighting for freedom for these
brothers and sisters. We will fight out our political differences and
disagreements as a separate matter. What matters here and now is the old
Wobblie (IWW) slogan - An injury to one is an injury to all.
Note: This list, right now, is composed of
class-war prisoners held in American detention. If others are likewise
incarcerated that are not listed here feel free to leave information on their
cases here. Likewise any cases, internationally that may come to your
attention. I am sure there are many, many such cases out there. Make this
June, and every June, a Class-War Prisoners Freedom Month- Free All Class-War
Prisoners Now!
No Killer/No Spy Drones...
Ever since the early days of humankind's existence an argument has always been made by someone and not always by the gung-ho warriors, many times rather by some safely-ensconced desk-bound soul who was too busy to become a warrior but was more than glad to let some other mother's son do the bitch work, that with some new technology, some new strategic gee-gad, warfare, the killing on one of our own species, would become less deadly, would be more morally justified, would bring the long hoped for peace that lots of people have yacked about in the abstract until they get their war blood up. Don't believe that false bill of goods, don't believe the insane war lies from warriors, arm-chair warriors, or the merely fearful, its the same old killing machine that has gone on for eons. Killing from far way places like Nevada drawing a bee-line to the Middle East in war game rooms set up like video games except tell that to the "sorry, collateral damage, no foul because not intended" victims who got in the way. Enough said and enough of killer drones killing and spy drones spying too.
Sunday, May 31, 2015
As The 100th Anniversary Of The First
Year Of World War I (Remember The War To End All Wars) Continues ... Some
Remembrances-Musicians’ Corner
In say 1912, 1913, hell, even the
beginning of 1914, the first few months anyway, before the war clouds got a
full head of steam in the summer they all profusely professed their unmitigated
horror at the thought of war, thought of the old way of doing business in the
world. Yes the artists of every school the
Cubist/Fauvists/Futurists/Constructivists, Surrealists or those who would come
to speak for those movements (hell even the hide-bound Academy filled with its
rules, or be damned, spoke the pious words of peace, brotherhood and the
affinity of all humankind when there was sunny weather), those who saw the
disjointedness of modern industrial society in its squalor, it creation of
generations of short, nasty, brutish lives just like the philosophers predicted
and put the pieces to paint, sculptors who put twisted pieces of metal
juxtaposed to each other saw that building a mighty machine from which you had
to run created many problems; writers of serious history books proving that,
according to their Whiggish theory of progress,humankind had moved beyond war as an instrument of policy and the
diplomats and high and mighty would put the brakes on in time, not realizing
that they were all squabbling cousins; writers of serious and not so serious
novels drenched in platitudes and hidden gazebo love affairs put paid to that
notion in their sweet nothing words that man and woman had too much to do, too
much sex to harness to denigrate themselves by crying the warrior’s cry and by
having half-virgin, neat trick, maidens strewing flowers on the bloodlust
streets; musicians whose muse spoke of delicate tempos and sweet muted violin
concertos, not the stress and strife of the tattoos of war marches with their
tinny conceits; and poets, ah, those constricted poets who bleed the moon of
its amber swearing, swearing on a stack of seven sealed bibles, that they would
go to the hells before touching the hair of another man, putting another man to
ground or laying their own heads down for some imperial mission.
They all professed loudly (and those
few who did not profess, could not profess because they were happily getting
their blood rising, kept their own consul until the summer), that come the war
drums they would resist the siren call, would stick to their Whiggish, Futurist,
Constructionist, Cubist worlds and blast the war-makers to hell in quotes,
words, chords, clanged metal, and pretty pastels. They would stay the
course.
And then the war drums intensified, the
people, their clients, patrons and buyers, cried out their lusts and they, they
made of ordinary human clay as it turned out, poets, beautiful poets like
Wilfred Owens who would sicken of war before he passed leaving a beautiful
damnation on war, its psychoses, and broken bones and dreams, and the idiots
who brought humankind to such a fate, like e. e. cummings who drove through
sheer hell in those rickety ambulances floors sprayed with blood, man blood,
angers, anguishes and more sets of broken bones, and broken dreams, like Rupert
Brooke all manly and old school give and go, as they marched in formation
leaving the ports and then mowed down like freshly mown grass in their
thousands as the charge call came and they rested, a lot of them, in those
freshly mown grasses, like Robert Graves all grave all sputtering in his words
confused about what had happened, suppressing, always suppressing that instinct
to cry out against the hatred night, like old school, old Thomas Hardy writing
beautiful old English pastoral sentiments before the war and then full-blown
into imperium’s service, no questions asked old England right or wrong, like
old stuffed shirt himself T.S. Eliot speaking of hollow loves, hollow men,
wastelands, and such in the high club rooms on the home front, and like old
brother Yeats speaking of terrible beauties born in the colonies and maybe at
the home front too as long as Eliot does not miss his high tea. Jesus what a
blasted night that Great War time was.
And as the war drums intensified, the
people, their clients, patrons and buyers, cried out their lusts and they, they
made of ordinary human clay as it turned out, artists, beautiful artists like
Fernand Leger who could no longer push the envelope of representative art
because it had been twisted by the rubble of war, by the crashing big guns, by
the hubris of commanders and commanded and he turned to new form, tubes, cubes,
prisms, anything but battered humankind in its every rusts and lusts, all
bright and intersecting once he got the mustard gas out of his system, once he
had done his patria duty, like speaking of mustard gas old worn out John Singer
Sargent of the three name WASPs forgetting Boston Brahmin society ladies in
decollage, forgetting ancient world religious murals hanging atop Boston museum
and spewing trench warfare and the blind leading the blind out of no man’s
land, out of the devil’s claws, like Umberto Boccioni, all swirls, curves,
dashes, and dangling guns as the endless charges endlessly charge, like Gustav
Klimt and his endlessly detailed gold dust opulent Asiatic dreams filled with
lovely matrons and high symbolism and blessed Eve women to fill the night,
Adam’s night after they fled the garden, like Joan Miro and his infernal boxes,
circles, spats, eyes, dibs, dabs, vaginas, and blots forever suspended in deep
space for a candid world to fret through, fret through a long career, and like
poor maddened rising like a phoenix in the Spartacist uprising George Grosz
puncturing the nasty bourgeoisie, the big bourgeoisie the ones with the real
dough and their overfed dreams stuffed with sausage, and from the bloated
military and their fat-assed generals stuff with howitzers and rocket shells,
like Picasso, yeah, Picasso taking the shape out of recognized human existence
and reconfiguring the forms, the mesh of form to fit the new hard order, like,
Braque, if only because if you put the yolk on Picasso you have to tie him to
the tether too.
And do not forget when the war drums
intensified, and the people, their clients, patrons and buyers, cried out their
lusts and they, they, other creative souls made of ordinary human clay as it
turned out sculptors, writers, serious and not, musicians went to the trenches
to die deathless deaths in their thousands for, well, for humankind, of course,
their always fate ….
In Boston Support The School Bus Drivers
Join The Struggle For Justice In Newark, New Jersey July 25th
Support The Boston School Bus Drivers!
Join The Struggle Against In New York City -Black Lives Matter
Stop The Killer/Spy Drones In Pennsylvania
Meanwhile In Boston No Killer/No Spy Drones...
Ever since the early days of humankind's existence an argument has always been made by someone and not always by the gung-ho warriors, many times rather by some safely-ensconced desk-bound soul who was too busy to become a warrior but was more than glad to let some other mother's son do the bitch work, that with some new technology, some new strategic gee-gad, warfare, the killing on one of our own species, would become less deadly, would be more morally justified, would bring the long hoped for peace that lots of people have yacked about in the abstract until they get their war blood up. Don't believe that false bill of goods, don't believe the insane war lies from warriors, arm-chair warriors, or the merely fearful, its the same old killing machine that has gone on for eons. Killing from far way places like Nevada to the Middle East in war game rooms set up like video games except tell that to the "sorry, collateral damage, no foul because not intended" victims who got in the way. Enough said and enough of killer drones killing and spy drones spying too.
Peace On The Jersey Shores-Get On Board
A View From The Left-The Bombing of Black Tulsa (1921)
Workers Vanguard No. 1068
15 May 2015
TROTSKY
LENIN
The Bombing of Black Tulsa
(Quote of the Week)
On 31 May 1921, police obliterated the heart of black Tulsa, Oklahoma, dropping dynamite from airplanes that killed at least 75 people. This racist bombing, followed by the detention of thousands of black people, came after black residents had taken up arms to defend a teenager from a white lynch mob. In the face of anti-black pogroms sweeping American cities from East St. Louis to Washington, D.C., at the end of World War I, black radicals like those in the African Blood Brotherhood (ABB) advocated race pride and armed self-defense against racist terror. Leaders of the ABB, which was mainly composed of West Indian immigrants, joined the early Communist Party, drawn by the liberating promise of the October 1917 proletarian revolution in Russia. Accused of inciting a “race riot” in Tulsa, the ABB replied with a defiant editorial excerpted below.
As at Washington, D.C., so at Tulsa, Okla. The entire power of the State, all of the forces of capitalist “law and order,” were turned upon the Negro in the process of “putting down” race riots that were started and most actively prosecuted by white mobs. All the deputies sworn in by the Tulsa authorities during the recent race riot were white. All the prisoners taken up and sent into concentration camps by these deputies, the Tulsa city police and the Oklahoma State militia were colored. That is the kind of justice the Negro gets in capitalist America! That is the kind of justice the Jew used to get in capitalist-Czarist Russia, until the workers of all races arose in their wrath and overthrew the capitalist-Czarist combination, and set up Soviets. Now the workers of all races get equal justice—in Russia. How long will the Negro in America continue to fall for capitalist bunk? How many more Tulsas will it take to line up the Negro where by all race interest he belongs—with the radical forces of the world that are working for the overthrow of capitalism and the dawn of a new day, a new heaven and a new earth?
