Songs To While Away The Class Struggle By-In Honor Of The Frontline Defenders Of The International Working Class-From Our Forebears The Diggers Of The English Revolution-The World Turned Upside Down

 

A YouTube film clip of Billy Bragg (Known In This Space As Narrator Of Woody Guthrie And His Guitar: This Machine Kills Fascists )performing The World Turned Upside Down.

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An Injury To One Is An Injury To All!-Defend The International Working Class Everywhere! ********
Fight-Don’t Starve-We Created The Wealth, Let's Take It Back! Labor And The Oppressed Must Rule!
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A Five-Point Program As Talking Points

*Jobs For All Now!-“30 For 40”- A historic demand of the labor movement going back to the 1930s Great Depression the last time that unemployment, under-employment, and those who have just plain quit looking for work was this high in the American labor force, although it is admittedly down from the Great Recession highs. Thirty hours work for forty hours pay is a formula to spread the available work around. This is no mere propaganda point but shows the way forward toward a more equitable distribution of available work.

The basic scheme, as was the case with the early days of the longshoremen’s and maritime unions, is that the work would be divided up through local representative workers’ councils that would act, in one of its capacities, as a giant hiring hall where the jobs would be parceled out. This would be a simpler task now than when it was when first proposed in the 1930s with the vast increase in modern technology that could fairly accurately, via computers, target jobs that need filling and equitably divide up current work.

Without the key capitalist necessity of keeping up the rate of profit the social surplus created by that work could be used to redistribute the available work at the same agreed upon rate rather than go into the capitalists’ pockets. The only catch, a big catch one must admit, is that no capitalist, and no capitalist system, is going to do any such thing as to implement “30 for 40” –with the no reduction in pay proviso, although many low–end employers are even now under the “cover” of the flawed Obama-care reducing hours WITH loss of pay-so that to establish this work system as a norm it will, in the end, be necessary to fight for and win a workers government to implement this demand.

Organize the unorganized is a demand that cries out for solution today now that the organized sectors of the labor movement, both public and private, in America are at historic lows, just over ten percent of the workforce. Part of the task is to reorganize some of the old industries like the automobile industry, now mainly unorganized as new plants come on line and others are abandoned, which used to provide a massive amount of decent jobs with decent benefits but which now have fallen to globalization and the “race to the bottom” bad times. The other sector that desperately need to be organized is to ratchet up the efforts to organize the service industries, hospitals, hotels, hi-tech, restaurants and the like, that have become a dominant aspect of the American economy. Support the recent militant efforts, including the old tactic of civil disobedience, by service unions and groups of fast-food workers to increase the minimum socially acceptable wage in their Fight For 15.

Organize the South-this low wage area, this consciously low-wage area, where many industries land before heading off-shore to even lower wage places cries out for organizing, especially among black and Hispanic workers who form the bulk of this industrial workforce. A corollary to organizing the South is obviously to organize internationally to keep the “race to the bottom” from continually occurring short of being resolved in favor of an international commonwealth of workers’ governments. Hey, nobody said it was going to be easy.

Organize Wal-Mart- millions of workers, thousands of company-owned trucks, hundreds of distribution centers. A victory here would be the springboard to a revitalized organized labor movement just as auto and steel lead the industrial union movements of the 1930s. The key here is to organize the truckers and distribution workers the place where the whole thing comes together. We have seen mostly unsuccessful organizing of retail stores. To give an idea of how hard this task might be though someone once argued that it would be easier to organize a workers’ revolution that organize this giant. Well, that’s a thought.

Defend the right of public and private workers to unionize. Simple-No more defeats like in Wisconsin in 2011, no more attacks on collective bargaining the hallmark of a union contract. No reliance on labor boards, arbitration, courts or bourgeois recall elections either. Unions must keep their independent from government interference. Period.

* Defend the independence of the working classes! No union dues for Democratic (or the stray Republican) candidates. In 2008 and 2012 labor, organized labor, spent over 450 million dollars respectively trying to elect Barack Obama and other Democrats (mainly). The “no show, no go” results speak for themselves as the gap between the rich and poor has risen even more in this period. For those bogus efforts the labor skates should have been sent packing long ago. The idea in those elections was that the Democrats (mainly) were “friends of labor.” The past period of cuts-backs, cut-in-the-back give backs should put paid to that notion. Although anyone who is politically savvy at all knows that is not true, not true for the labor skates at the top of the movement.

The hard reality is that the labor skates, not used to any form of class struggle or any kind of struggle, know no other way than class-collaboration, arbitration, courts, and every other way to avoid the appearance of strife, strife in defense of the bosses’ profits. The most egregious recent example that I can recall- the return of the Verizon workers to work after two weeks in the summer of 2011 when they had the company on the run and the subsequent announcement by the company of record profits. That sellout strategy may have worked for the bureaucrats, or rather their “fathers” for a time back in the 1950s “golden age” of labor, but now we are in a very hard and open class war. The rank and file must demand an end to using their precious dues payments for bourgeois candidates all of whom have turned out to be sworn enemies of labor from Obama on down.

This does not mean not using union dues for political purposes though. On the contrary we need to use them now more than ever in the class battles ahead. Spent the dough on organizing the unorganized, organizing the South, organizing Wal-Mart, and other pro-labor causes. Think, for example, of the dough spent on the successful November, 2011 anti-union recall referendum in Ohio. That type of activity is where labor’s money and other resources should go. And not on recall elections against individual reactionaries, like in Wisconsin, as substitutes for class struggle (and which was overwhelmingly unsuccessful to boot-while the number of unionized public workers has dwindled to a precious few).  

*End the endless wars!- As the so-called draw-down of American and Allied troops in Iraq reached its final stages back in 2011, the draw- down of non-mercenary forces anyway, I argued that we must recognize that we anti-warriors had failed, and failed rather spectacularly, to affect that withdrawal after a promising start to our opposition in late 2002 and early 2003 (and a little in 2006).As the endless American-led wars (even if behind the scenes, as in Libya, Yemen, Somalia, and other proxy wars) continue now with a new stage against ISIS (Islamic State) in Iraq we had better straighten out our anti-war, anti-imperialist front quickly if we are to have any effect on the U.S. troop escalation we know is coming before that fight is over. Not Another War In Iraq! No Intervention In Syria! Stop The Arms Shipments To The Middle East! Stop The Bombing Campaign! Defend The Palestinian People-End The Blockade of Gaza. And as always since 2001 Immediate, Unconditional Withdrawal Of All U.S./Allied Troops (And Mercenaries) From Afghanistan!  

U.S. Hands Off Iran! Hands Off Syria!- American (and world) imperialists have periodically ratcheted up their propaganda war (right now) and increased economic sanctions that are a prelude to war well before the dust has settled on the now unsettled situation in Iraq and well before they have even sniffed at an Afghan withdrawal of any import. We will hold our noses, as we did with the Saddam leadership in Iraq and on other occasions, and call for the defense of Iran against the American imperial monster. A victory for the Americans (and their junior partner on this issue, Israel) in Iran is not in the interests of the international working class. Especially here in the “belly of the beast” we are duty-bound to call not just for non-intervention but for defense of Iran. We will, believe me we will, deal with the mullahs, the Revolutionary Guards, and the Islamic fundamentalist in Iran in our own way in our own time.

U.S. Hands Off The World! And Keep Them Off!- With the number of “hot spots” that the American imperialists, or one or another of their junior allies, have their hands on in this wicked old world this generic slogan would seem to fill the bill.

Down With The War Budget! Not One Penny, Not One Person For The Wars! Honor World War I German Social-Democratic Party MP, Karl Liebknecht, who did just that in 1915 in the heat of war and paid the price unlike other party leaders who were pledged to stop the war budgets by going to prison. The only play for an honest representative of the working class under those conditions. The litmus test for every political candidate must be first opposition to the war budgets (let’s see, right now no new funding in Iraq, Afghanistan, Pakistan, Iran preparations, China preparations, etc. you get my drift). Then that big leap. The whole damn imperialist military budget. Again, no one said it would be simple. Revolution may be easier that depriving the imperialists of their military money. Well….okay.

*Fight for a social agenda for working people! Free Quality Healthcare For All! This would be a no-brainer in any rationally based society. The health and welfare of any society’s citizenry is the simple glue that holds that society together. It is no accident that one of the prime concerns of workers states like Cuba, whatever their other political problems, has been to place health care and education front and center and to provide to the best of their capacity for free, quality healthcare and education for all. Even the hide-bound social-democratic-run capitalist governments of Europe have, until recently anyway, placed the “welfare state” protections central to their programs. Be clear Obamacare is not our program and has been shown to be totally inadequate and wasteful however we will defend that program against those who wish to dismantle it and leave millions once again uninsured and denied basic health benefits.  

Free, quality higher education for all! Nationalize the colleges and universities under student-teacher-campus worker control! One Hundred, Two Hundred, Many Harvards!

This would again be a no-brainer in any rationally based society. The struggle to increase the educational level of a society’s citizenry is another part of the simple glue that holds that society together. Today higher education is being placed out of reach for many working-class and minority families. Hell, it is getting tough for the middle-class as well.

Moreover the whole higher educational system is increasing skewed toward those who have better formal preparation and family lives leaving many deserving students from broken homes and minority homes in the wilderness. Take the resources of the private institutions and spread them around, throw in hundreds of billions from the government (take from the military budget and the bank bail-out money if you want to find the money quickly to do the job right), get rid of the top heavy and useless college administration apparatuses, mix it up, and let students, teachers, and campus workers run the thing through councils on a democratic basis.

Forgive student debt! The latest reports indicate that college student debt is something like a trillion dollars, give or take a few billion but who is counting. The price of tuition and expenses has gone up dramatically while low-cost aid has not kept pace. What has happened is that the future highly educated workforce that a modern society, and certainly a socialist society, desperately needs is going to be cast in some form of indentured servitude to the banks or other lending agencies for much of their young working lives. Let the banks take a “hit” for a change!

Stop housing foreclosures and aid underwater mortgages now! Although the worst of the crunch has abated there are still plenty of problems and so this demand is still timely if not desperately timely like in the recent past. Hey, everybody, everywhere in the world not just in America should have a safe, clean roof over their heads. Hell, even a single family home that is part of the “American dream,” if that is what they want. We didn’t make the housing crisis in America (or elsewhere, like in Ireland, where the bubble has also burst). The banks did. Their predatory lending practices and slip-shot application processes were out of control. Let them take the “hit” here as well.

*We created the wealth, let’s take it back. Karl Marx was right way back in the 19th century on his labor theory of value, the workers do produce the social surplus appropriated by the capitalists. Capitalism tends to beat down, beat down hard in all kinds of ways the mass of society for the benefit of the few. Most importantly capitalism, a system that at one time was historically progressive in the fight against feudalism and other ancient forms of production, has turned into its opposite and now is a fetter on production. The current multiple crises spawned by this system show there is no way forward, except that unless we push them out, push them out fast, they will muddle through, again.

Take the struggle for our daily bread off the historic agenda. Socialism is the only serious answer to the human crisis we face economically, socially, culturally and politically. This socialist system is the only one calculated to take one of the great tragedies of life, the struggle for daily survival in a world that we did not create, and replace it with more co-operative human endeavors.

Build a workers’ party that fights for a workers government to unite all the oppressed. None of the nice things mentioned above can be accomplished without as serious struggle for political power. We need to struggle for an independent working-class-centered political party that we can call our own and where our leaders act as “tribunes of the people” not hacks. The creation of that workers party, however, will get us nowhere unless it fights for a workers government to begin the transition to the next level of human progress on a world-wide scale.

As Isaac Deutscher said in his speech “On Socialist Man” (1966):

“We do not maintain that socialism is going to solve all predicaments of the human race. We are struggling in the first instance with the predicaments that are of man’s making and that man can resolve. May I remind you that Trotsky, for instance, speaks of three basic tragedies—hunger, sex and death—besetting man. Hunger is the enemy that Marxism and the modern labour movement have taken on.... Yes, socialist man will still be pursued by sex and death; but we are convinced that he will be better equipped than we are to cope even with these.” 

Emblazon on our red banner-Labor and the oppressed must rule!

  

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

 

THE FOLLOWING IS A SONG BASED ON THE DIGGER EXPERIENCE IN 1650

If John Milton was the literary muse of the English Revolution then the Diggers and their leader, Gerrard Winstanley, were the political muses.

The World Turned Upside Down

We will not worship the God they serve, a God of greed who feeds the rich while poor folk starve.

In 1649 to St. George's Hill

A ragged band they called the Diggers came to show the people's

will

They defied the landlords, they defied the laws

They were the dispossessed reclaiming what was theirs.

We come in peace, they said, to dig and sow

We come to work the lands in common and make the waste

ground grow

This earth divided we will make whole

So it may be a common treasury for all "**

The sin of property we do disdain

No man has any right to buy or sell the earth for private gain

By theft and murder they took the land

Now everywhere the walls spring up at their command

They make the laws to chain us well

The clergy dazzle us with heaven, or they damn us into hell

We will not worship the God they serve,

a God of greed who feeds the rich while poor folk starve

We work and eat together, we need no swords

We will not bow to masters, nor pay rent to the lords

Still we are free, though we are poor

Ye Diggers all, stand up for glory, stand up now!

From the men of property the orders came

They sent the hired men and troopers to wipe out the Diggers'

claim

Tear down their cottages, destroy their corn

They were dispersed - only the vision lingers on

Ye poor take courage, ye rich take care

This earth was made a common treasury for everyone to share

All things in common, all people one

They came in peace - the order came to cut them down

WORDS AND MUSIC BY LEON ROSSELSON, 1981

 

*A Communist Before His Time –Gerrard Winstanley and the Digger Colonies in the English Revolution

 

DVD REVIEW

Winstanley, starring Miles Harriwell, directed by Kenneth Brownlow, 1975

The time of the English Revolution in the 1640's, Oliver Cromwell's time, as in all revolutionary times saw a profusion of ideas from all kinds of sources- religious, secular, the arcane, the fanciful and the merely misbegotten. A few of those ideas however, as here, bear study by modern left-wing militants. As the film under review exemplifies, True Leveler (a. k. a. Diggers) Gerrard Winstanley's agrarian socialist utopian tracts from the 1640's, the notion of a socialist solution to the problems of humankind has a long, heroic, and storied history. The solutions presented by Winstanley had and, in a limited sense, still do represent rudimentary ways to solve the problem of social and economic distribution of the social surplus produced by society. Without overextending the analogy Winstanley's tract represented for his time, the 1600's, what Communist Manifesto represented for Kaarl Marx's time-and ours-the first clarion call for the new more equitable world order. And those with property, those who controlled and gained from the means of production, hated both men with the same amount of venom, in their respective times.

One of the great advances Marx had over Winstanley was that he did not place his reliance on an agrarian solution to the crisis of society as Winstanley, by the state of economic development of his times, was forced to do. Marx, moreover, unlike Winstanley, did not concentrate on the question of distribution but rather on who controlled the means of production a point that all previous theorists had either failed to account for, dismissed out of hand, or did not know about. Thus, all pre-Marxist theory is bound up with a strategy of moral as well as political persuasion as a means of changing human lifestyles. Marx posed the question differently by centering on the creation of social surplus so that under conditions of plenty the struggle for daily survival would be taken off the human agenda and other more lofty goals put in its place. Still, with all the True Levelers' weaknesses of program and their improbabilities of success in the 1640's militants today still doff our hats to Winstanley's vision.

Notwithstanding the utopian nature of the experiment discussed above the filmmaker, Kenneth Brownlow, and his associates here have painstakingly, lovingly and with fidelity to the narrative and detail that are known from the researches of the likes of Christopher Hill and George Sabine, among others, that make for an excellent snapshot of what it might have been like up on Winstanley's St. George's Hill long ago. Two things add to that end.

First, the use of black and white highlights the bleak countryside (after all although the land was "common" it was waste that the landlord did not find it expedient to cultivate) and the pinched appearances of the "comrades" (especially the deeply-farrowed expressions of Miles Harriwell as Winstanley). Secondly, the director has used to the greatest extent possible Winstanley's own pamphlets that dealt with what was going on in Surrey and what his political purposes were (expressed as almost always in those days in religious terms- but taking land in common for use rather than profit is understandable in any language. I might add that the attempts to replicate the costumes of the period, the furnishings and the music round out a job well done.

Note: Part of this DVD contains a section on the hows and whys of the making of the film, including in-depth coverage of its making and commentary by Mr. Brownlow. You are getting this film for the Winstanley reenactment but this section is interesting if you are interested in filmmaking as well.

Okay, Rosalie Sorrels Have You Seen Starlight On The Rails

 
 
 
From The Pen Of Frank Jackman

Every hobo, tramp, and bum and there are social distinctions between each cohort recognized among themselves, and subject to fierce dispute including some faux fists, if not quite so definitely by rump sociologists who lump them all together but that is a story for another day has seen starlight on the rails. I probably would have also not drawn the distinctions in my youth, before I hit the hitchhike road heading west at one time in search of the blue-pink great American west out there somewhere and had on one more than one occasion along with the late Peter Paul Markin who led the way among the North Adamsville corner boys on that trail been forced to stop along a railroad trestle “jungle camp,” under a cardboard city bridge, or out in the arroyos if you got far enough west.

The hobos of the “jungle” were princes among men (there was no room for women in such a male-dominated society, not along the jungle although at the missions and Sallys, Salvation Army Harbor-lights, that might be a different story) as long as you did not ask too many damn questions. Shared olio stews, cigarettes, cheap rotgut wine, Thunderbird or Ripple whichever was cheapest after crapping the day’s collective pennies together. Later when my “wanting habits” built up from the edges of that sullen youth got the better of me and my addictions placed me out in that same “jungle” for keeps for a while that distinction got re-enforced.  

But hobo, bum or tramp each had found him or herself (mainly hims though like I said out on the “jungle” roads) flat up against some railroad siding at midnight having exhausted every civilized way to spent the night. Having let their, our, collective wanting habits get the best of them, us. Maybe penniless, maybe thrown out of some flophouse in arrears and found that nobody bothers, or did bother you out along the steel rails when the train lost its luster to the automobile and plane and rusted and abandoned provided safe haven from the vagaries of civilization. So has seen the stars out where the spots are darkest and the brilliance of the sparkle makes one think of heaven for those so inclined, think of the void for the heathen among them. Has dreamed penitent dreams of shelter against life’s storms, had dreamed while living for the moment trying to get washed clean after the failure of the new dispensation to do the job (hell, what did they/he think just because the drugs or alcohol flowed freely once, just because the fixer man fixed, fixed fine, that that was the Garden of Eden, that was Nirvana, hell, those ancient forebears all after they were expelled saw that same starlight as they/he did). 
 

Maybe this will explain it better. An old man, or at least he has the marks of old age, although among the iterant travelling peoples, the hoboes, tramps, and bum, who have weathered many of life’s storms bottle or needle in hand, panhandled a million quarters now lost, old age, or their marks wear a soul down early, white beard, unkempt, longish hair, also unkempt, a river of lines in his face, deep crow’s feet setting off his vacant eyes, a second-hand soiled hat atop his head, a third-hand miner’s jacket clipped off some other lonesome traveler, shredded at the cuffs chino pants of indeterminate hand, and busted up shoes, soles worn, heels at forty-five degree angles from crooked walks on crooked miles and game legs is getting ready to unroll his bedroll, ground cloth a tablecloth stolen from Jimmy Jack’s Diner’s somewhere, a blanket stolen from a Sally Harbor Light house in salad days, rolled newspapers now for a mattress for the hundredth, hundredth time against the edge of the railroad trestle just outside Gallup, New Mexico. Do not ask him, if you have the nerve to approach him, and that is an iffy proposition just ask a guy going under the moniker of Denver Shorty how he got that deep scar across his face, where he is going or where he has come from because just that moment, having scratched a few coins in the town together for a jug of Thunderbird he is ready to sleep his sleep against the cold-hearted steel of the Southern Pacific railroad tracks just ten yards from where he stands.      

And this night, this starlit brown, about eight colors of brown,   desert night he hopes that he will not dream, not dream of that Phoebe Snow whom he left behind in Toledo when he had no beard, no longish unkempt hair, and no rivers of lines on his misbegotten face. Not dream as he always did about whatever madness made him run from all the things he had created, all the things that drove him west like a million other guys who needed to put space between himself and civilization. Dream too about the days when he could ride the rails in the first-class   cars, and about the lure of the rails once he got unhinged from civilization. About how the train pace had been chastised by fast cars and faster planes when a the speed of a train fitted a man’s movements, about the days when they first built the transcontinental, this line that he was about to lie his head down beside, about the million Chinks, Hunkies, Russkies, Hibernians, hell, Micks, Dagos who sweated to drive the steel in unforgiving ground, many who laid down their heads down to their final rest along these roads, and later guys he knew on he knew on the endless road like Butte Bobby, Silver Jones, Ding-dong Kelly, who did not wake up the next morning.

As he settled in to sleep the wine’s effect settling down too he noticed the bright half- moon out that night reflecting off the trestle, and the arroyos edges, and thought about what a guy, an old wizard like himself told him about the rails one time when he was laid up Salt Lake City, in the days when he tried to sober up. The guy, a guy who had music in his soul or something said to him that it was the starlight on the rails that had driven him, rumble, stumble, tumble him to keep on the road, to keep moving away from himself, to forget who he was. And here he was on a starlit night listening down the line for the rumble of the freight that would come passing by before the night was over. But as he shut his eyes, he began to dream again of Phoebe Snow, always of Phoebe Snow.         

 

But not everybody has the ability to sing to those starlit heavens (or to the void if that is what chances to happen as the universe expands quicker than we can think) about the hard night of starlight on the rails and that is where Rosalie Sorrels, a woman of the American West out in the Idahos, out where, as is said in the introduction to the song by the same name ripping some wisdom from literary man Thomas Wolfe who knew from whence he spoke, the states are square (and at one time the people, travelling west people and so inured to hardship, played it square, or else), sings old crusty Utah Phillips’ song to those hobo, tramp, bum heavens. Did it while old Utah was alive to teach the song (and the story behind the song) to her and later after he passed on in a singular tribute album to his life’s work as singer/songwriter/story-teller/ troubadour.         

Now, for a fact, I do not know if Rosalie in her time, her early struggling time when she was trying to make a living singing and telling Western childhood stories had ever along with her brood of kids been reduced by circumstances to wind up against that endless steel highway but I do know that she had her share of hard times. Know that through her friendship with Utah she wound up bus-ridden to Saratoga Springs up in the un-squared state of New York where she performed and got taken under the wing of Lena from the legendary Café Lena during some trying times. And so she flourished, flourished as well as any folk-singer could once the folk minute burst it bubble and places like Café Lena, Club Passim (formerly Club 47), a few places in the Village in New York City and Frisco town became safe havens to flower and grow some songs, grow songs from the American folk songbooks and from her own expansive political commentator songbook. And some covers too as her rendition of Starlight on the Rails attests to as she worked her way across the continent. Worked her way to a big sold out night at Saunders Theater at Harvard too when she called the road quits a decade or so ago. Sang some nice stuff speaking about the west, about the Brazos, about the great Utah desert which formed Utah a little, formed him like his old friend Ammon Hennessey, the old saint Catholic Worker brother who sobered some guys up, made them take some pledges, made them get off the railroad steel road. Sobered me up to, got me off that railroad track too, but damn if I didn’t see that starlight too. So listen up, okay.           

 

Take Another Little Piece Of My Heart-With Blues Queen Janis Joplin In Mind  

 

It was never stated in so many words by anybody Sam Lowell knew, never given some academic jargon mumbo-jumbo like it was when the sociologist, social historians and cultural anthropologists got their hands on the work long after the high tide of the 1960s had ebbed, had turned into a remnant rear-guard action by the ragged stragglers who would just not let go but they had lived under a certain sign, a certain way to navigate the world and seek out kindred. Perhaps being young and carefree Sam’s “youth nation” could not articulate it that that way, maybe too afraid to speak of it out loud fearing to unleash some demons that they could not control. (Let’s call the phenomenon “youth nation” a term that today’s youth nation generation can relate to better since the advent of the great social media blast has elements of that older camaraderie rather than the more restrictive “hippie” or counter-culture generation since when the deal went down the numbers of hippies, the hip, did not have enough of a critical mass to keep everything going against the counter-offensive by those who were in charge yet many, many more of the young took snippets of what was offered, while not testing the limits of bourgeois society [Sam’s words for what bothering him at the time]).

Those, like Sam who had initially gotten caught up in the doings (dope, politics, life-styles, a new ethos) by the late Peter Paul Markin, one of the corner boys from around Jimmy Jack’s Diner in growing up town Carver and an early Janis Joplin fan having seen her out in Monterrey on one of his hitchhiking trips to Big Sur when that place mattered in the youth nation configuration and who despite his many contradictions had a preternatural bead on what was coming down, who had been washed clean by the fresh new breeze that came through the country in the early 1960s lived under the sign of “live fast, die young and make a good run at it.” Some later cynics, or maybe the too candid made the third part “and make a good corpse” but that was when all hope that the “newer world” was upon us had faded like a tissue in the wind. A time too when the overwrought pile up of corpses from overdoses, crashed cars, suicides, and just plain “from hunger” wanting habits like Markin’s being in the wrong place at the wrong time when the deal went down, went down badly made that part of the mantra more explicable.

Nobody said it all in so many word, although Sam and the surviving corner boys hinted at that very idea, that living fast idea, one night after the definite word had come up from down in Sonora in late 1976 that Markin had cashed his check when they gathered at Jimmy Jack’s to mull things over and Frankie Riley, who had called Markin “the Scribe”in the old days had said some guys are “dead men on leave” and nobody contradicted him. But mostly nobody could articulate it that that way, maybe too afraid to speak of it out loud fearing to unleash some demons that could not be controlled lived under that certain sign in sullen wonder. To be old, old being over thirty to youthful twenty something eyes who saw the getting ahead career, wife and family in some leafy suburb drinking elegant wines writing on the wall, reflecting the phrase of the time taking direct aim at parents “don’t trust anybody over thirty,” meant “square,” a residue expression for the tail end of the “beat” generation which whether Sam and the guys knew it or not was their launching pad as they  came of age in that 1960s red scare Cold War night. That was Markin’s time really, the time of sensing the breeze not the mud of the breeze itself.  Meant too, meant as a signal far greater than Markin’s reach that if one did not imbibe in whatever one desired by the time they did get to thirty it would be too late, way too late.     

So Sam, Markin, Frankie, all the guys who stayed around long enough who had not been inducted into the service or to have married their high school sweethearts pursued their  outrageous appetites moved from the traditional working class neighborhood fashion dress statement , winter flannel /summer plaid shirt, chinos, black winter or summer, loafers or engineer boots (saved for rumbles, or threats of rumbles when turf was an issue way before dope smooth such silliness out and hair (boys’ regular Lenny the barber called it without  a whiff of irony) and liquor addictions (cheap rotgut wines, smoother Southern Comfort once the cheap wines lost allure, low-shelf whiskeys when some town wino would buy for underage them) to the new ones of the era (new at least to young mostly white eyes not familiar with old-time Billie Holiday New York café jazz needles and “beat” Village high tea time) with the emerging hip “drugstore” of every imaginable medication to salve the soul. Tried every kind of living arrangement as long as it drifted toward the communal (even on church-friendly floors and bedraggled Volkwagen bus campsites) and every kind of love, including the love that could not speak its name (this well before GLBTQ times). Tried every way to take dead aim at old bourgeois society and turn it upside down. Wanted to, desperately wanted to, listen to new music that reflected the new drug-induced karma that matched the chemicals spinning in their brains. No more rock and roll music, or any music, from Bobby Vee/Rydell/Darin, Fabian, Brenda Lee, Leslie Gore, Patsy Cline, that our parents might like, might even tolerate. Everything had be acid- etched.          

Sam had pegged it exactly right one night not long ago when he and some of the old gang who went through the 1960s experience were preparing for a Carver High class reunion when he told the gathering that “we sought to ‘live free,’ to break from convention and we expected out musical heroes (actually all of our heroes which in retrospect seemed of a piece with the outrageous appetites of the time) to partake of our newly established ethos, to lead the way. (That bit of wisdom despite the fact, to his occasional regret whenever he thought about what he could have done to “save” Markin,    he had eased out of the “hippie” life-style in the early 1970s and snuck back into law school and that career track while Markin had held out to his visions for much longer.) They had expected their heroes like their slightly older brothers and sisters who went wild over brooding Marlon Brando, sulky James Dean, and moody Elvis to live high off the edge. And so they did, so anyway did what became the holy trinity come concert night, come party time, Jim (Morrison), Jimi (Hendricks), and Janis (Joplin). They lived hard, lived out there on the edge subject to their own doubts, subject like the rest of us to those rat ass things that formed our childhoods and would not let go and they needed release just like us. So Jim twirled the whirling dervish shamanic dance, Jimi fired up his grinding guitar and Janis, little Janis with the big raspy voice sang like some old-time barrelhouse blues mama reincarnate. Sang like the ghost of Big Mama Thornton had her back, like Bessie Smith was holding her place in the devil-is-going-to-get you blues pantheon. Gave us down-hearted blues to fill the heavens, gave us, well, gave us whatever she had to give with every little beat of her heart. Yeah, and they, she lived fast, and died, died way too young not matter what our ethos stated. Markin would have understood that, understood it in aces.      

Sitting On The Rim Of The World- With The Son Of The Neon Wilderness Nelson Algren In Mind-Take Four

 

From The Pen Of Frank Jackman

He wrote of small-voiced people, mostly people who had started out in the world with small voices, small voices which never got louder, never were heard over the rumble of the subway, working stiffs and their women, sometimes their kids, their kids growing up like weeds, who turned out to be disappointments but what could expect more from the progeny of small-voiced people, guys who sat around gin mills all night (maybe all day too I knew a few who inhabited the Dublin Grille in my old hometown of North Adamsville, another town filled with small-voice people). Never wrote, or wrote much, about big-voiced people who tumbled down to the sound of rumble subway stops out their doors, people who fell off the rim of the world from some high place due to their hubris, their addictions, their outrageous wanting habits never sated before the fall (not some edenic fall but just a worldly fall that once it happened the world moved on and ignored). Wrote of the desperately lonely, a man talking to himself on some forsaken park bench the only voice, not a big voice but a voice that had to be reckoned with, of the stuffed cop swaggering his billy club menacingly to him move on, or else, a woman, unhappy in love, hell maybe jilted at the altar, sitting alone like some Apple Annie in that one Ladies Invited tavern on the corner, the one just off Division where she had met that man the first time and meets all men now, all men with the price of a drink, no more. Yeah, a big old world filled with the lonely hearing only their own heartbeats, heard no other heartbeats as they waited out their days. What did Eliot call it, oh yeah, measured out their lives in coffee spoons. Wrote of alienated people too, not the Chicago intellectuals who were forever belly-aching about the de-humanization of man, about how we had built a mechanical world from which we had to run but the common clay, the ones who manned the conveyor belts, ran the damn rumbling subways, shoveled the snow, hell, shoveled shit day and night. Wrote of the night people, of the ones who would show up after midnight in some police precinct line-up, the winos, the jack-rollers, the drifters, the grifters, the midnight sifters, maybe a hooker who had not paid the paddy and thus was subject to the grill. Wrote of the  people who inhabit the Nighthawk Diner (artist Edward Hopper’s all shape angles, all dim lights outside, bright fluorescent no privacy, no hiding lights inside, all the lonely people eating their midnight hamburgers fresh off the greased grill, another grill that forlorn hooker knew well, or Tom Waits’ rummies, bummies, stumblers, street-walkers looking for respect all shadows left behind, take your pick), the restless, the sleepless, the shiftless, those who worked the late shift, those who drew the late shift of life, those who worked better under the cover of night in the dark alleyways and sullen doorways.

He wrote big time, big words, about the small-voiced people, big words for people who spoke in small words, spoke small words about small dreams, or no dreams, spoke only of the moment, the eternal moment. The next fix, how to get it, the next drink, how to get it, the next bet, how to con the barkeeper to put him on the sheet, the next john, how to take him, the next rent due, how to avoid the dun and who after all had time for anything beyond that one moment. Waiting eternally waiting to get well, waiting for the fixer man to walk up the stairs and get you well, well beyond what any doctor could prescript, better than any priest could absolve, to get some kicks. (Needle, whiskey, sex although that was far down the list by the time that needle was needed or that shot of low-shelf whiskey drove you to your need, again.) Waiting for the fixer man, waiting for the fixer man to fix what ailed them. Not for him the small voice pleasant Midwestern farmers providing breadbaskets to the world talking to kindred about prices of wheat and corn, the prosperous small town drugstore owners filling official drug prescriptions and selling the under-aged liquor as medicine or whatever the traffic would bear, or of Miss Millie’s beauty salon where the blue-haired ladies get ready for battle and gossip about how Mister so and so had an affair with Miss so and so from the office and how will Mildred who of course they would never tell do when the whole thing goes public (although one suspects that he could have written that stuff, written and hacked away his talent)who in the pull and push of the writing profession they had (have) their muses. Nor was he inclined to push the air out of the small town banker seeking a bigger voice (calling in checks at a moment’s notice), the newspaper publisher seeking to control the voices or the alderman or his or her equivalent who had their own apparatuses for getting their small voices heard (although again one suspects he could have, if so inclined, shilled for that set). No, he, Nelson Algren, he, to give him a name took dead aim at the refuge of society, the lumpen as he put it in the title of one short story, those sitting on the rim of the world.

And he did good, did good by his art, did good by his honest snarly look at the underside of society, and, damn, by making us think about that quarter turn of fate that separated the prosperous farmer (assuming as we must that he, secretly, was not short-weighting the world), the drugstore owner (assuming as we must that he, secretly, was not dispensing his wares, his potent drugs, out the back door to a craving market) , Miss Millie (assuming as we must that she, secretly, was not running a call girl service on the side), the banker (assuming as we must that he, maybe secretly maybe not, was not gouging rack rents and usurious interest), the newspaper editor (assuming as we must that he, very publicly, in fact was printing all the news fit to print), and the politician (assuming as we must that he, secretly, was not bought and paid for by all of the above, or others) from the denizens of his mean streets. The mean city streets, mainly of Chicago, but that is just detail, just names of streets and sections of town to balance his work where his characters eked out an existence, well, anyway they could, some to turn up face down in some muddy ravine, under some railroad trestle, in some dime flop house, other to sort of amble along in the urban wilderness purgatory.

Brother Algren gave us characters to chew on, plenty of characters, mostly men, mostly desperate (in the very broadest sense of that word), mostly with some jones to work off, mostly with some fixer man in the background to wreak havoc too. He gave us two classics of the seamy side genre, one, the misbegotten Frankie Machine, the man with the golden arm, the man with the chip on his shoulder, the mid-century(20^th century, okay) man ill at ease in his world, ill at ease with the world and looking, looking for some relief, some kicks in that mid-century parlance, and, two, that hungry boy, that denizen of the great white trash night, Dove Linkhorn, who, perhaps more than Frankie spoke to that mid-century angst, spoke to that world gone wrong, for those who had just come up, come up for some place where time stood still to gain succor in the urban swirl, to feast at the table, come up from the back forty lots, the prairie golden harvest wheat fields, the Ozarks, all swamps and ooze, mountain wind hills and hollows, the infested bayous and were ready to howl, howl at the moon to get attention.

I remember reading somewhere, and I have forgotten where now, that someone had noted that Nelson Algren’s writing on Dove Linkhorn’s roots was the most evocative piece on the meaning of the okie–arkie out migration segment of that mid-century America ever written, the tale of the wandering boys, the railroad riders, the jungle camp jumpers, the skid row derelicts. Hell, call it by its right name, the white trash, that lumpen mush. And he or she was right, of course, after I went back and re-read that first section of Walk On The Wild Side where the Linkhorn genealogy back unto the transport ships that brought the first crop of that ilk from thrown out Europe are explored. All the pig thieves, cattle-rustlers, poachers, highwaymen, the -what did some sociologist call them?, oh yeah, “the master-less men,” those who could not or would not be tamed by the on-rushing wheels of free-form capitalism as the system relentlessly picked up steam, the whole damn lot transported. And good riddance.

The population of California after World War II was filled to the brim with such types, the feckless “hot rod” boys, boys mostly too young to have been though the bloodbaths of Europe and Asia building some powerful road machines out of baling wire and not much else, speeding up and down those ocean-flecked highways looking for the heart of Saturday night, looking for kicks just like those Chicago free-flow junkies, those twisted New Orleans whoremasters. Wandering hells angels riding two by two (four by four if they felt like it and who was to stop them) creating havoc for the good citizens of those small towns they descended on, descended on unannounced (and unwelcomed by those same good citizens). In and out of jail, Q, Folsom, not for stealing pigs now, but armed robberies or some egregious felony, but kindred to those lost boys kicked out of Europe long ago. Corner boys, tee-shirted, black leather jacket against cold nights, hanging out with time on their hands and permanent smirks, permanent hurts, permanent hatreds, paid to that Algren observation. All the kindred of the cutthroat world, or better “cut your throat” world, that Dove drifted into was just a microcosm of that small-voiced world.

He spoke of cities, even when his characters came fresh off the farm, abandoned for the bright lights of the city and useless to that short-weighting farmer who now is a prosperous sort, making serious dough as the breadbasket to the world. They, the off-hand hot rod king, the easy hell rider, the shiftless corner boy, had no existence, no outlets for their anger and angst, in small towns and hamlets for their vices, or their virtues, too small, too small for the kicks they were looking for. They needed the anonymous city rooming house, the cold-water flat, the skid- row flop house, the ten- cent beer hall, hell, the railroad jungle, any place where they could just let go with their addictions, their anxieties, and their hunger without having to explain, endlessly explain themselves, always, always a tough task for the small-voiced of this wicked old world. They identified with cities, with city 24/7/365 lights, with Algren’s blessed neon lights, city traffic (of all kinds), squalor, cops on the take, cops not on the take, plebeian entertainments, sweat, a little dried blood, marked veins, reefer madness, swilled drinks, white towers, all night diners (see it always comes back to that lonely, alienated Nighthawk Diner just ask Waits), the early editions (for race results, the number, who got dead that day, the stuff of that world), a true vision of Edward Hopper’s Nighthawk for a candid world.

He spoke of jazz and the blues, as if all the hell in this wicked old world could be held off for a minute while that sound sifted thought the night fog air reaching the rooming house, the flop, the ravine, the beer hall as it drifted out to the river and drowned. Music not upfront but as a backdrop to while the steamy summer nights away, and maybe the frigid lake front winter too. Strangely, or maybe not so strangely, he spoke of a small-voiced white world, residents of white slums and pursuers of white- etched dreams and only stick character blacks but his beat, his writing rhythm made no sense without the heat of Trouble In Mind or that cool blast of Charlie Parker, Miles, Dizzie be-bopping, made absolutely no sense, and so it went.

He spoke of love too. Not big flamed love, big heroes taking big falls for some hopeless romance like in olden times but squeezed love, love squeezed out of a spoon, maybe, but love in all its raw places. A guy turning his woman into a whore to feed his endless habit love, and her into a junkie love. A woman taking her man through cold turkey love. A man letting his woman go love, ditto woman her man when the deal went wrong. When the next best thing came by. Not pretty love all wrapped in a bow, but love nevertheless. And sometimes in this perverse old world the love a man has for a woman when, failing cold turkey, he goes to get the fixer man and that fixer man get his woman well, almost saintly and sacramental. Brothers and sisters just read The Last Carousel if you want to know about love. Hard, hard love. Yah, Nelson Algren knew how to give voice, no holds barred, to the small-voiced people.

  

 

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 ….