Bloodbath Presidential Debate Shows the Need for an Alternative
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Tuesday, October 11, 2016
From Socialist Alternative-Bloodbath Presidential Debate Shows the Need for an Alternative
Bloodbath Presidential Debate Shows the Need for an Alternative
From The Class Struggle Archives-Stop The Trans-Pacific Partnership-Then- And Now Too!
From The Class Struggle Archives-Stop The Trans-Pacific Partnership-Then- And Now Too!
Stop The Sweetheart Deals For International Big Business-Organize the Unorganized Internationally-Built The International Workers Front!
Building A Thing From Which You Have To Run-With The Trans-Pacific Partnership (TPP) In Mind
By Sam Lowell
“I’m not a Luddite, I’m not a guy who thinks we should go back and live in the caves, fearful of beasts, natural disasters, smirking shadows on the walls, bemoaning fate dealt by some unmerciful god. Not a guy either, maybe even less so these days when we are trying to downsize our lives, Melinda and me, who needs the latest gadget to prove that he has made something of himself in his ordinary clay life,” Josh Breslin told his three companions (plus that down-sizing- crazed Melinda) one night as they sat across from each other in Lenny’s, the best place by far in Portland (east side America version up in Maine not tree-hugger-crazed Oregon) for super local wines and equally super crabs and clam-cakes. They, Frank Jackman, Zack James, and Jimmy Jenkins were in Maine as guests of their old-time friend Josh who after many years of living in Cambridge down in Massachusetts when he had finished up a half-bright feet of ordinary clay career as an independent writer for half the unread radical magazines and journals in the country. You know the ones that every half-sensate intellectual or wannabe had on his or her coffee table to display come small intimate party time to show-off to their compatriots how “hip” they are (and Josh in his more candid moments grateful for those guilt-edged subscription bases which helped with alimony, child support and college tuitions for two ex-wives and four bright kids, two and two).
That last point, the point about Josh’s writing for many of the glossy and un-glossy publications of the past half century is important since the subject under discussion that night that bought out a spark of Josh’s old confrontational self was the recent passage by the United States Congress of President Obama’s negotiated Trans-Pacific Partnership. Trans-Pacific that is with everybody who wanted in on the cozy deal, for oligarchs, big business and governmental bureaucrats except the elephant in the room, China (formerly known in Josh’s and his kindred’s youth as Red China, to distinguish it from the “real” China of the day-Taiwan). This whole pact was meant as nothing else than as a move to counter growing Chinese influence in that section of the world to the advantage of the United States, to the serious advantage of the United States.
Josh, and his fellows at table, all politicos, mostly left of the Democratic Party leftists, not so much independents which in the current coin of political usage means independent but subject to selecting between those two non-choices, elephants (no relations to China, an elephant in the room of a different sort) and donkeys (not asses, which are a different animal no matter how appropriate a mascot they might rightly be) but the kind who might support Ralph Nader in his various candidacies, Cindy Sheehan, Bernie Sanders if he ran as an independent socialist had spent plenty of hours opposing previous international big-business rip-offs. Rip-offs like super-rip off of the Mexican peasant NAFTA, CAFTA and Frank’s favorite, LAFTA (who being born and raised in Carver about thirty miles south of Boston made everybody chuckle when he said it-LAFTAH, like a response to a joke, a poor joke on the peasants and urban poor of South America).
They had not taken up their opposition to these accords so much as pro-working class opponents like a lot of national and international labor organizations who saw, correctly saw good jobs going out of their countries of origin, to lower wage areas without benefit to those new employees and the lowering of the standard of living of those left behind-the now much vaunted and talked about increasing international standard of living gaps between rich and poor. Although not much done about that situation, much done about smashing the gap by a radical redistribution of wealth, for all the talk, plenty of parlor talk.
But let’s get back to Josh and Lenny’s and that statement that he made about not being a Luddite, not being a “back to primeval nature guy,” not being a material objects-collector which raised a few eyes in the room since they had all, all the men had met in San Francisco in the late 1960s when they were all interested in turning the world upside down. Breaking for the lust for a ton of dough and all that brought with it. Still were but with a more measured if less passionate thrust. (Josh had met Melinda after his second painful and costly divorce in the late 1980s and he ever after wished that he had met her back in the 1960s when it would have changed lots of things for the better-if nothing else saving costly alimonies, child support and college tuitions).
Jimmy, who had been the last to go west to California and the last to meet Josh, to be introduced to him by Jimmy’s hometown friend along with Frank and Zack from Carver High School the late, long lamented Pete Markin got the ball rolling he let out, “Hey Josh weren’t you the guy who after a couple of years on Captain Crunch’s yellow-brick road bus wanted to settle down in New Mexico or one of those square states and set up a communal farm, did so for a couple of months before scurrying back to San Francisco. Didn’t you also say another time that living on that primitive yellow-brick road bus was too “bourgeois” and that you were talking off with Butterfly Swirl to live in a cave in Todo el Mundo just south of Big Sur and abandon the decadent world to commune with nature (and commune with foxy Butterfly Swirl who knew how to “play the flute” for you which is a whole other story for another day). And weren’t you the guy who said that the down-pressed of the world had the right idea about keeping things simple, and that you “renounced” all worldly possessions, except what you could carry in your rucksack-and that damn typewriter of yours.
Everybody chuckled at Jimmy’s remarks, Jimmy whose sharp wit kept the Carver guys laughing in front of Tonio’s Pizza Parlor all through high school had hit the nail on the head. (Melinda didn’t chuckle not having heard the story before but who would get filled in later that night by Josh, except about Butterfly Swirl and her charms, leaving her wishing that she had known him back then as well.) Everybody expected that Josh would say something back but he just kept what he called (according to Melinda) his own counsel and let it pass. Let Frank go back to that time and tell one and all that they all had, under Markin’s cryto-mysto- Catholic-etched “from hunger” influence, been willing to break with their youthful dreams, become one with the fellahin as Markin called them before finding out the world-historic reality that every farm boy, maybe every farm girl, their stuck-on-the-land mothers and fathers too, wanted to get the fuck off the land at just the time that a big portion of 1960s youth nation was ready to go “live off the land.”
Frank continued in that same vein, “Hell even those of us from the “from hunger” Atlantic neighborhood, the neighborhood where most of the “boggers,” the guys who worked in the cranberry bogs which employed half the town were ready to forsake our “bourgeois” dreams, our mothers’ dreams that we get nice civil service jobs and move up the ladder one step above them to live more simply, to live in some intentional communes where all would be shared out among all those who put in their fair share to make the thing work.”
With that remark Josh said he had agreed with Markin back then since he had grown up in the same kind of town, except the big deal was textiles which had when he was a kid left first to head south in America and then overseas leaving guys like his unskilled labor father with not much left to dignify his life except hustling for every job he could land to keep four hungry growing boys, him and his three brothers, from the county farm. That in the end, after the fall, after he, they and their kindred had been defeated by the greed-heads in the early 1970s was why he had opposed all those unequal trade pacts, why he to belatedly honor his father and his desperate attempts to gain dignified employment, fought tooth and nail against their ratifications.
That was the serious part of the evening, the righteous political part but when Melinda left the table to go to the Women’s Room Josh signaled to the assembled men, now a bit “in their cups” after a night of wines and seafood to come closer and admit that he had left Todo el Mundo when Butterfly Swirl decided to go back to “civilization” down in Carlsbad where she haled from, decided to go back to be a surfer boy’s girl he made a swift shift in his plans. Josh flushed when he wistfully murmured to the assembled that Butterfly Swirl sure knew how to “play the flute.” Some things never change about guys, even serious guys.
Howling At The Moon-When Howlin’ Wolf Held Forth
Howling At The Moon-When Howlin’ Wolf Held Forth
From The Pen Of Bart Webber
One night when Sam Eaton and Ralph Morris were sitting in Johnny D’s over in Somerville [this night was several years before the recent 2015 announcement that that central spot for the blues tradition and up and coming newer musical genre was closing after a forty year run], over near the Davis Square monster Redline MBTA stop sipping a couple of Anchor Steam beers, a taste acquired by Sam out in Frisco town in the old days on hot nights like that one waiting for the show to begin and picked up by Ralph along the way when drinking his life-time scotch whiskey became verboten after a bad medical check-up about ten years before Ralph mentioned that some music you acquired kind of naturally. A lot of their conversations of late, the last few years as they slid into retirement Ralph giving the day to day operations of his specialty electrical shop over to his youngest son and Sam giving the day to day management of his high volume printing business to his longtime employee, Jimmy Jones, who held the place together at the beginning while Sam headed West with a gang of other Carver corner boys in search of the great blue-pink American West night that animated much of the late 1960s had centered on their lifetime of common musical interests (except folk music which Sam came of age with, caught the drift as it came through Harvard Square where he would hang out to get out of the house when tensions boiled o to some extent but which mostly even with Bob Dylan anti-war protest songs made him grind his teeth.
By naturally Ralph meant, you know like kids’ songs learned in school. Songs like The Farmer in the Dell, which forced you a city kid like Ralph born and raised in Troy, New York a strictly working class town then, and now, although you might not have designated yourself as such at that age to learn a little about the dying profession of family farmer and about farm machinery; Old MacDonald, ditto on the family farmer stuff and as a bonus all the animals of the farm kingdom and their distinctive noises that still rattled Ralph’s head on hard drinking night if he got melancholy for his tortured childhood; Humpty Dumpty, a silly grossly overweight holy goof of the rankest order, an egghead to boot and that didn’t mean intellectual, far from it, who couldn’t maintain his balance come hell or high water although you might not have thought of that expression, that hell or high water expression, or used it in the high Roman Catholic Saturday-go-to-confession-to confess those damns, hells, and fucks that had entered you vocabulary through osmosis and Sunday-go-to-communion-to-absolve-all-sins Morris household out in Troy where Ralph still lives; and, Jack and Jill and their ill-fated hill adventure looking for water like they couldn’t have gone to the family kitchen sink tap for their needs but thinking about it later what were they really doing up there. All this total recall, or mostly total recall showing indeed whether you designated yourself as a city kid or not you were one of the brethren, etc. you have embraced that music as a child in case you have forgotten. Music embedded in the back of your mind, coming forth sometimes out of the blue even fifty years later (and maybe relating to other memory difficulties among the AARP-worthy but we shall skip over that since this sketch is about the blues, the musical blues and not the day to day getting old blues).
Sam nodded his head in agreement then chimed in with his opinion the music of junior high school as he thought, looking behind the bartender’s head to the selection of hard liquors displayed with the twinkle of an eye, about switching over to a high-shelf scotch whiskey, Haig &Haig, his natural drink of late, despite the hot night and hot room beginning to fill up with blues aficionados who have come to listen to the “second coming,” the blues of James Montgomery and his back-up blues band. (Sam unlike Ralph suffering no medical warning about the dire consequences to his system about throwing down a few shots since his health was in better shape than Ralph, Ralph having taken a beating in that department with whatever hellious chemical his government, or rather the American government for which he refused to take any credit or blame, was throwing on the ground of Vietnam from the nightmare skies during that long, bloody lost war).
That “second coming” referring to guys, now greying guys, who picked up the blues, especially the citified electric blues after discovering the likes of Muddy Waters, Howlin’ Wolf, Magic Slim and James Cotton back in their 1960s youth, made a decent living out of it and were still playing small clubs and other venues to keep the tradition alive and to pass it on to the kids who were not even born when the first wave guys came out of the hell-hole Delta South of Mister James Crow sometime around or after World War II and plugged their guitars into the next gin mill electric outlet in places off of Maxwell Street in Chicago, nursing their acts, honing their skills.
Yeah, getting back to junior high, Sam thinking about that hormonal bust out junior high weekly music class with Mr. Dasher which made Sam chuckle a bit, maybe that third bottle of beer sipping had gotten him tipsy a little, as he thought about the old refrain, “Don’t be a masher, Mister Dasher” which all the kids hung on the poor, benighted man that time when the rhyming simon craze was going through the nation’s schools. Thinking just then that today if some teacher or school administrator was astute enough to bother to listen to what teenage kids said amongst themselves, an admittedly hard task for an adult in any era, in an excess of caution old Mister Dasher might be in a peck of trouble if anyone wanted to be nasty about the implication of that innocent rhyme. Yeah, Mr. Dasher, the mad monk music teacher (who on the side in those days, not unlike these days, when teachers couldn’t live on their teaching incomes led an old-time, old time to Sam and his classmates Benny Goodman-style swing and sway big band at special occasions and as a regular at the Surf Ballroom over in Plymouth on Friday nights), who wanted his charges to have a well-versed knowledge of the American and world songbooks. Thus you were forced to remember such songs as The Mexican Hat Dance, God Bless America, and Home On The Range under penalty of being sent up to the front of the room songbook in hand and sing the damn things. Yes, you will remember such songs unto death.
Sam and his corner boys at Doc’s Drugstore found out later that the Dasher was motivated by a desperate rear-guard action to wean his charges away from rock and roll, away from the devil’s music although he would not have called it that because he was too cool to say stuff like that, a struggle in which he was both woefully overmatched by Elvis, Jerry Lee, Chuck, Bo, and the crowd and wasting his breathe as they all lived for rock and roll at Doc’s Drugstore after school where he had a jukebox at his soda fountain. And they were not putting their three selections for a quarter to hear hokey Home on the Range.
Ralph agreed running through his own junior high school litany with Miss Hunt (although a few years older than Sam he had not run through the rhyming simon craze so had no moniker for the old witch although now he wished he had as he chuckled to himself and turned a little confession red although he not been into that stifling confession box on his gamy knees in many years, and it would not be nice either). Ralph added that some of the remembered music reflected the time period when you were growing up but were too young to call the music your own like the music that ran around in the background of your growing up house on the mother housewife radio or evening record player which in Ralph’s case was the music that got his parents through his father’s soldierly slogging on unpronounceable Pacific islands kicking ass against the Nips (his father’s term for the dirty bastard Japanese) and mother anxiously waiting at home for the other shoe to fall or the dreaded military officer coming up to her door telling her the bad news World War II.
You know, guys like Frank (Sinatra, the chairman of the board, that all the bobbysoxer girls, the future mothers of Sam’s and Ralph’s generation swooned over), The Andrew Sisters and their rums and coca colas, Peggy Lee fronting for Benny Goodman and looking, looking hard for some Johnny to do right, finally do right by her, etc. Other music, the music of their own generation, classic rock and rock came more naturally since that is what they wanted to hear when they had their transistor radios to their ear up in their bedrooms or could hardly wait to hear when the jukebox guy came into Doc’s to put the latest selections in (and to have his hand greased by Doc for “allowing” those desperately desired songs onto his jukebox to fill his pockets with many quarters, see he was “connected” and so along with the jukebox hand over fist money-maker cam the hand).
That mention of transistor radios got Ralph and Sam yakking about that old instrument which got them through many a hard teenage angst and alienation night. That yakking reflecting their both getting mellow on the sweet beer and thinking that they had best switch to Tennessee sipping whisky when the wait person came by again since they had moved from the bar to a table near the stage to get a better view of the band if they were to make it through both sets that night (and Ralph thinking, just this once, just for this bluesy night he would “cheat” a little on that scotch whiskey ban). This transistor thing by the way for the young who might wonder what these old geezers were talking about since it was clearly not iPods was small enough to put in your pocket and put up to your ear like an iPod or MP3 except you couldn’t download or anything like that.
Primitive technology okay but life-saving nevertheless. Just flip the dial although the only station that mattered was WJDA, the local rock station (which had previously strictly only played the music that got all of our parents through their war before the rock break-out made somebody at the station realize that you could made more advertising revenue selling ads for stuff like records, drive-in movies, drive-in restaurants, and cool clothes and accessories than refrigerators and stoves to adults).
Oh yeah, and the beauty of the transistor you could take it up to your bedroom and shut out that aforementioned parents’ music without hassles. Nice, right. So yeah, they could hear Elvis sounding all sexy, her word whether she knew the exact meaning or not, meaning all hot and bothered, according to one girl Sam knew even over the radio and who drove all the girls crazy once they got a look at him on television. Chuck Berry telling our parents’ world that Mr. Beethoven and his crowd, Frank’s too, all had to move over because there was a new sheriff in town. Bo Diddley asking a very candid question about who put the rock in rock and roll and offering himself up as a candidate. Buddy Holly crooning against all hope for his Peggy Sue (or was it Betty Lou), Jerry Lee inflaming all with his raucous High School Confidential from the back of a flatbed truck, etc. again.
The blues though, the rarified country and electric urban blues of the likes of Son House, Robert Johnson, Muddy Waters, James Cotton, and Howlin’ Wolf was an acquired taste. Acquired by Sam through listening to folk music programs on that very same transistor radio in the early 1960s after flipping the dial one Sunday night once he got tired of what they claimed was rock music on WJDA and caught a Boston station, WBZ and later WCAS. The main focus was on other types of roots music but when the show would take a break from down home mountain music, western swing ballads, and urban protest music the DJ would play some cuts of country or electric blues. See all the big folkies, Dylan, Tom Rush, Dave Van Ronk, people like that were wild to cover the blues in the search for serious roots music from the American songbook. So somebody, Sam didn’t know who, figured if everybody who was anybody was covering the blues in that folk minute then it made sense to play the real stuff. (Sam later carried Ralph along on the genre after they had met down in Washington, D.C. in 1971, had been arrested and held in detention at RFK Stadium for trying to shut down the government if it did not shut the Vietnam War, had become life-long friends and Ralph began to dig the blues when he came to Cambridge to visit Sam although he would shutter his ears if Sam played some folk stuff).
The real stuff having been around for a while, having been produced by the likes of Muddy and Howlin’ Wolf going back to the 1940s big time black migration to the industrial plants of the Midwest during World War II when there were plenty of jobs just waiting (and plenty taken away when the soldiers and sailors, white soldiers and sailors came home on the overcrowded troop transports looking to start life over again and raise those families they dreamed about in the muds of Europe and the salty brine of the atoll Pacific). But also having been pushed to the background, way to the background with the rise of rock and roll (although parts of rock make no sense, don’t work at all without kudos to blues chords, think about Ike Turner’s Rocket 88 and Big Joe Turner’s Shake, Rattle and Roll, check it out). So it took that combination of folk minute and that well-hidden from view electric blues some time to filter through Sam’s brain.
What did not take a long time to do once Sam got “religion” was going crazy over Howlin’ Wolf when he saw him perform down in Newport when everybody who was anybody that high school and college kids wanted to hear in that folk minute showed up there. Once Sam had seen him practically eat that harmonica when he was playing that instrument on How Many More Years. There the Wolf was all sweating, running to high form and serious professionalism (just ask the Stones about that polished professionalism when he showed them how to really play Little Red Rooster which they had covered early on in their career as they had covered many other Chess Records blues numbers, as had in an ironic twist a whole generation English rockers in the 1960s while American rockers were basically clueless until the Brits told them about their own roots music) and moving that big body to and fro to beat the band. Playing like god’s own avenging angel, if those angels played the harmonica, and if they could play as well as he did.
They both hoped that greying James Montgomery, master harmonica player in his own right, blew the roof off of the house as they spied the wait person coming their way and James moving onto the stage getting ready to burn up the microphone. And he and his band did just that. Yes, that blues calling from somewhere deep in the muds is an acquired taste and a lasting one. Ending the Many Wars in Syria: Phyllis Bennis
Ending the Many Wars in Syria: Phyllis Bennis
Talks by Phyllis Bennis October 11-14
Is the war in Syria a civil war? Is it a proxy war between the US and Russia ? Is it also a proxy war between Saudi Arabia, Iran, and Turkey? Can ISIS be reined in? Should Assad go? Or stay? Should the US "do more"? Or is it already doing too much by arming and training rebel groups? What will be the likely outcome of the current cease fire negotiations?How can such a complex set of wars be settled by diplomacy? What solutions should the US peace movement support?
The following talks are open to the public:
Tuesday, October 11, 7:00 pm ~ Boston College, Gasson Hall, room 305.
Wednesday, October 12, noon ~ Tufts University, Meyer Campus Center room 112. Lunch and Learn sponsored by Peace & Justice Studies
Wednesday, October 12, 4:00 pm ~ Salem State University, Marsh Hall 210 (Petrowski Room). Sponsored by History Dept & Center for Community Engagement and North Shore Coalition for Peace & Justice.
Wednesday, October 12, 7:00 pm ~ Gordon College, Jenks 237, Gregory Auditorium. Sponsored by the Gordon Initiative for the Study and Practice of Peace, the Social Justice Initiative, and NSCPJ. Refreshments served at 6:30.
Thursday, October 13, 12:15 pm ~ Emmanuel College, ADM 155. Sponsored by Emmanuel Peace Action
Thursday, October 13, 7:00 pm ~ Brandeis University, Mandel G12. Sponsored by Peace, Conflict & Coexistence Studies program; Brandeis Peace Action, Graduate Program in Conflict Resolution and Coexistence, Schusterman Center, Social Justice and Social Policy, and Sociology
Friday, October 14, 11:00 am ~ Bristol Community College, 800 Purchase St., New Bedford. Sponsored by the BCC Multicultural Committee
Phyllis Bennis, director of the New Internationalism Project at the Institute for Policy Studies, has been a writer, analyst, and activist on Middle East and UN issues for many years. She co-founded United for Peace and Justice and the U.S. Campaign to End Israeli Occupation and co-chairs the UN-based International Coordinating Network on Palestine.She is the author of Understanding ISIS and the New Global War on Terror: A Primer. Phyllis Bennis gave a detail-packed teleconference briefing on the Syrian civil war on September 14. Listen to the recording.
This tour is sponsored by Massachusetts Peace Action's Middle East Working Group. Contact the working group to organize for action on US Syria policy.
Upcoming Events:
| Music for Peace: An Evening of French Music | Saturday, October 15, 2016 - 7:30pm | Harvard-Epworth Methodist Church | Cambridge |  |
| Noam Chomsky: Extinction or Internationalism | Wednesday, October 19, 2016 - 7:00pm | Old South Church | Boston |  |
| Kingdom of the Unjust: Medea Benjamin speaks on Saudi Arabia | Friday, October 21, 2016 - 7:00pm | First Church, Cambridge | Cambridge |  |
| The Right to Boycott: Defending BDS | Saturday, October 29, 2016 - 10:00am | Central Square Library | Cambridge |  |
| Iyad Burnat: Bil'in and the Nonviolent Resistance | Tuesday, November 1, 2016 - 7:00pm | Encuentro 5 | Boston |  |
| The Next Four Years: Building Our Movements in Dangerous Times | Saturday, December 3, 2016 - 9:00am | Simmons College, Paresky Conference Center | Boston |  |
Newsletter:
*Songs To While Away The Class Struggle By-Starving to Death on My Government Claim (Lane County Bachelor)
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. Sadly though, hard communist musicians have historically been scarce on the ground and have rather more often than not been fellow-travelers. 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. Markin.
*********
Starving to Death on My Government Claim (Lane County Bachelor)
My name is Frank Bolar, an old bach'lor I am
I'm keeping old batch on an elegant plan,
You'll find me out west in the County of Lane
Starving to death on my government claim.
My house it is built of the national soil
The walls are erected according to Hoyle,
The roof has no pitch, but is level and plane
And I never get wet till it happens to rain.
Then hurrah for Lane County, the land of the free
The home of the bedbug, mosquito and flea,
I'll sing loud her praises and never complain
While starving to death on my government claim.
My clothes they are ragged, my language is rough,
My bread is case-hardened, both solid and tough;
The dough it is scattered all over the room
And the floor would take fright at the sight of a broom.
My dishes are dirty, and some in the bed
Are covered with sorghum and government bread;
But I have a good time and I live at my ease
On common-sop sorghum, old bacon and grease.
Then hurrah for Lane County, the land of the West
Where the farmers and laborers are always at rest;
Where you've nothing to do but sweetly remain
And starve like a man on your government claim.
How happy am I when I crawl into bed
And a rattlesnake rattles a tune at my head;
And the gay little centipede, void of all fear
Crawls over my pillow ind into my ear.
And the nice little bedbug, so cheerful and bright
Keeps me a-scratching full half of the night,
And the gay little flea with toes sharp as a tack
Plays "why don't you catch me?" all over my back.
But hurrah for Lane County, where blizzards arise
Where the winds never cease and the flea never dies;
Where the sun is so hot if in it you remain,
'Twill burn you quite black on your government claim.
How happy am I on my government claim,
Where I've nothing to lose and nothing to gain;
Nothing to eat and nothing to wear,
Nothing from nothing is honest and square.
But here I am stuck, and here I must stay
My money's all gone, and I can't get away;
There's nothing to make a man hard and profane
Like starving to death on a government claim.
Then come to Lane County, there's room for you all
Where the winds never cease and the rains never fall.
Come join in the chorus, and boast of her fame
While starving to death on your government claim.
Now don't get discouraged, you poor hungry men,
We're all here as free as a pig in a pen;
Just stick to your homestead and battle your fleas
And pray to your Maker to send you a breeze.
Now a word to claim holders who are bound for to stay
You may chew on your hardtack till you're toothless and gray;
But as for me, I'll no longer remain
And starve like a dog on my government claim.
Then farewell to Lane County, farewell to the West
I'll travel back East to the girl I love best;
I'll stop in Missouri and get me a wife
And live on corn dodgers the rest of my life.
recorded by Ives
RG
*********
Starving to Death on My Government Claim (Lane County Bachelor)
My name is Frank Bolar, an old bach'lor I am
I'm keeping old batch on an elegant plan,
You'll find me out west in the County of Lane
Starving to death on my government claim.
My house it is built of the national soil
The walls are erected according to Hoyle,
The roof has no pitch, but is level and plane
And I never get wet till it happens to rain.
Then hurrah for Lane County, the land of the free
The home of the bedbug, mosquito and flea,
I'll sing loud her praises and never complain
While starving to death on my government claim.
My clothes they are ragged, my language is rough,
My bread is case-hardened, both solid and tough;
The dough it is scattered all over the room
And the floor would take fright at the sight of a broom.
My dishes are dirty, and some in the bed
Are covered with sorghum and government bread;
But I have a good time and I live at my ease
On common-sop sorghum, old bacon and grease.
Then hurrah for Lane County, the land of the West
Where the farmers and laborers are always at rest;
Where you've nothing to do but sweetly remain
And starve like a man on your government claim.
How happy am I when I crawl into bed
And a rattlesnake rattles a tune at my head;
And the gay little centipede, void of all fear
Crawls over my pillow ind into my ear.
And the nice little bedbug, so cheerful and bright
Keeps me a-scratching full half of the night,
And the gay little flea with toes sharp as a tack
Plays "why don't you catch me?" all over my back.
But hurrah for Lane County, where blizzards arise
Where the winds never cease and the flea never dies;
Where the sun is so hot if in it you remain,
'Twill burn you quite black on your government claim.
How happy am I on my government claim,
Where I've nothing to lose and nothing to gain;
Nothing to eat and nothing to wear,
Nothing from nothing is honest and square.
But here I am stuck, and here I must stay
My money's all gone, and I can't get away;
There's nothing to make a man hard and profane
Like starving to death on a government claim.
Then come to Lane County, there's room for you all
Where the winds never cease and the rains never fall.
Come join in the chorus, and boast of her fame
While starving to death on your government claim.
Now don't get discouraged, you poor hungry men,
We're all here as free as a pig in a pen;
Just stick to your homestead and battle your fleas
And pray to your Maker to send you a breeze.
Now a word to claim holders who are bound for to stay
You may chew on your hardtack till you're toothless and gray;
But as for me, I'll no longer remain
And starve like a dog on my government claim.
Then farewell to Lane County, farewell to the West
I'll travel back East to the girl I love best;
I'll stop in Missouri and get me a wife
And live on corn dodgers the rest of my life.
recorded by Ives
RG
*Songs To While Away The Class Struggle By-All in and Down and Out Blues-Uncle Dave Macon
Click on the title to link a YouTube film clip from
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. Sadly though, hard communist musicians have historically been scarce on the ground and have rather more often than not been fellow-travelers. 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. Markin.
*********
All in and Down and Out Blues
(Uncle Dave Macon)
cho: It's hippity hop to the bucket shop
I've lost all my mnoney and now I have flopped,
It's hard times, pity poor boy,
It's hard times when you're down and out.
(Repeat after each verse)
Now this is the truth and it certainly exposes
That Wall Street's proposition is not all roses,
I put up my money to win some more
I lost all I had and it left me so sore.
I thought I would drink to wear it off,
Bootleg's so high that it left me worse off.
If they catch you with whiskey in your car,
You're handicapped, and there you are.
They'll take you to jail and if you can't make bond,
Content yourself there, why you're certainly at home.
I've got no silver and I've got no gold,
I'm almost naked and it's done turned cold.
You ask that judge to treat you well,
You offer a hundred dollars he'll send you to Atlanta.
Note: a 1930's update of Durant Jail
Recorded by Uncle Dave Macon, Bluebird 7350-B
Copyright State Street Music Publishing Co.
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. Sadly though, hard communist musicians have historically been scarce on the ground and have rather more often than not been fellow-travelers. 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. Markin.
*********
All in and Down and Out Blues
(Uncle Dave Macon)
cho: It's hippity hop to the bucket shop
I've lost all my mnoney and now I have flopped,
It's hard times, pity poor boy,
It's hard times when you're down and out.
(Repeat after each verse)
Now this is the truth and it certainly exposes
That Wall Street's proposition is not all roses,
I put up my money to win some more
I lost all I had and it left me so sore.
I thought I would drink to wear it off,
Bootleg's so high that it left me worse off.
If they catch you with whiskey in your car,
You're handicapped, and there you are.
They'll take you to jail and if you can't make bond,
Content yourself there, why you're certainly at home.
I've got no silver and I've got no gold,
I'm almost naked and it's done turned cold.
You ask that judge to treat you well,
You offer a hundred dollars he'll send you to Atlanta.
Note: a 1930's update of Durant Jail
Recorded by Uncle Dave Macon, Bluebird 7350-B
Copyright State Street Music Publishing Co.
*Songs To While Away The Class Struggle By-Richmond Blues
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. Sadly though, hard communist musicians have historically been scarce on the ground and have rather more often than not been fellow-travelers. 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. Markin.
*******
Richmond Blues
Chorus
Honey, all night long
baby all night long
Got the Richmond blues
baby all night long
I'm going to the depot
look upon the board
If the train ain't here
it's somewhere on the road
If I'd a-minded
what mama said
I could-a been sleeping
in mama's bed
Me being young
and foolish too
I left my home
on account of you
I'd rather be dead
and in my grave
Than be in this town
treated this a-way
Ain't got no woman
ain't got no kin
Ain't got nobody
to be bothered with
So if I live
and don't get killed
Gonna make my home
in Louisville
.Listen to this song
This Song Clip was recorded in the key of C. (Click below to play.)
Get it in print
222 traditional songs, including Richmond Blues, in large print. Chords, historical info, jamming hints, and more.
Read more & look inside .
A song from the Mountain Music for Everyone Song Collection from the ToneWay Project. Our website has lyrics to nearly 400 traditional songs common in bluegrass and old-time circles. Most songs also include a free MP3 recording that you can listen to. The ToneWay Project also offers songbooks, CDs, and resources for learning to play music by ear. http://ToneWay.com
Read more: http://toneway.com/songs/richmond-blues#ixzz12e67EVok
*******
Richmond Blues
Chorus
Honey, all night long
baby all night long
Got the Richmond blues
baby all night long
I'm going to the depot
look upon the board
If the train ain't here
it's somewhere on the road
If I'd a-minded
what mama said
I could-a been sleeping
in mama's bed
Me being young
and foolish too
I left my home
on account of you
I'd rather be dead
and in my grave
Than be in this town
treated this a-way
Ain't got no woman
ain't got no kin
Ain't got nobody
to be bothered with
So if I live
and don't get killed
Gonna make my home
in Louisville
.Listen to this song
This Song Clip was recorded in the key of C. (Click below to play.)
Get it in print
222 traditional songs, including Richmond Blues, in large print. Chords, historical info, jamming hints, and more.
Read more & look inside .
A song from the Mountain Music for Everyone Song Collection from the ToneWay Project. Our website has lyrics to nearly 400 traditional songs common in bluegrass and old-time circles. Most songs also include a free MP3 recording that you can listen to. The ToneWay Project also offers songbooks, CDs, and resources for learning to play music by ear. http://ToneWay.com
Read more: http://toneway.com/songs/richmond-blues#ixzz12e67EVok
Out In The Corner Boy Night- With S.E. Hinton’s The Outsiders In Mind
Out In The Corner Boy Night- With S.E. Hinton’s The Outsiders In Mind
DVD Review
From The Pen Of Frank Jackman
The Outsiders, starring Matt Dillon, Rob Lowe, Patrick Swayze, Tom Cruise and a billion brat pack guys, from the novel of the same by S.E. Hinton, directed by Francis Ford Coppola, 1983
Jack Callahan was not much into films, never had been, had always done the movie bit when he was dating Chrissie McNamara in high school because she had insisted before he had gotten his driver’s license that they could not always go to the seawall at the far end of Adamsville Beach to “make out” and needed the “privacy” of the balcony at the Strand Theater up on Beale Street once in a while (that Chrissie initial match-up whom he eventually married and is still married to is a story in its own right but for another time). Had insisted as well that they occasionally go to the drive-in theater, usually as a double date, to save her, their, reputations by not always being seen at that far end of Adamsville Beach, the local lovers’ lane with the fogged up car windshields and the discarded condoms on the ground, every freaking night. So he might have seen a bunch of films but he really did not pay attention all that much to plot or nuance. So it was odd that recently when Chrissie ordered the DVD of Francis Ford Coppola’s film adaptation of S.E. Hinton’s classic tale of teen alienation and angst, corner boy version, The Outsiders, through Netflix for them to watch one Saturday night when they were not minding the grandkids after she had read the blurb of what the film was about that he was totally mesmerized by what he saw from frame number one.
The reason Jack was fascinated was obvious, obvious if you knew Jack, or rather knew Jack back in his coming of age days in the early 1960s when despite his hard-fought status as a wild man running back for the championship Red Raiders high school football team and thus a hero on those lovely granite grey autumn Saturday afternoons at Veterans’ Stadium he was nothing but an in-your-face corner boy under the command of corner boy leader Frankie Riley, a true wild boy in his own right. While today Jack Callahan is Mister Toyota of Eastern Massachusetts (and Chrissie Mrs. Toyota) with his busy car dealership down in Hingham and a respectable and doting grandfather (don’t use that word with his children though they would laugh in your face) back then he was as likely to be doing a midnight creep to burgle some Mayfair swell home as to be running over awestruck on the field football defenders. After they had watched the film Jack, a drink of white wine in his hand (in the old days nothing by low-rent rotgut whiskies when he was poor and high-end Chivas when he started making money), he surprised Chrissie by wanting to unburden himself of what he saw. Chrissie, knowing this was important to Jack as she always did when on those rare occasions he felt like expanding on some subject sat there in smiling silence (and also was ready in listen in silence already knowing of Jack’s corner boy exploits with that damn Frankie Riley whom she never told Jack had made a million passes at her, a couple of those times when she almost took the ride, took Frankie’s ride, before she reined him in Senior year when that State U football scholarship was on the line).
Jack started off waxing philosophical something he was organically incapable of in the old days by saying, “Hey, even corner boys need their fun, need an outlet for all that fury that they have inside them since they came into a world that they had no say in creating. Of course we all come into the world that way with no say but the difference is these guys, my guys if you want to know, came in with the short end of the stick, came in with small voices getting dimmer like that guy you made me read one time because you thought I would like what he had to say, Algren right [Chrissie: right], and that made all the difference. Take Pony Boy, a good looking kid, young, too young to be a corner boy just like I was at twelve when Frankie Riley first took me under his wing but what are you going to do when the deck is stacked against you and everything around you is divided into corner boys and the others. Pony Boy was trying to break out and the only way he had to do that was to write his brains out, putting it down on paper. You know me I could never do that writing stuff so before as you always say “took me in hand” I was putty in Frankie’s hands. No, I really wanted to do what I did because my wanting habits would have filled a stadium, maybe more.”
“Karl Marx was nothing but a creep and a damn red like that mad man Lenin and crazy Trotsky back then now too if anybody still pays the slightest attention to what those guys had to say and I hope they don’t but he was a great guy for throwing class-based terms around when you think about it called Pony’s people, my people, my poor father going from pillar to post taking any job he could find to keep me and my four younger sisters from the poor house and my mother filling donuts, Jesus, filling donuts at Java Joe’s Coffee Shop to help out, the workers and the others, the capitalists, or their legion of hangers-on like your damn father, the damn bank executive, who hated me from day one because he felt I didn’t have any “prospects” before I rolled over opposing football teams, really the proletariat and the bourgeoisie if you wanted to get pretty about it.”
“This S.E. Hinton who wrote the book and I think I will go to the library and take it out when I take little Johnny and Jasmine there next week or whoever wrote the screenplay really cut it another way, the “greasers” coming hard out of hot rod cars and oil- stained gas stations all slicked up just like we were although they really did wear their hair way too long out in the sticks so maybe they didn’t have barber shops there where they lived and the “socs,” your people really you know from Beech Street like you. The guys with the expensive sweaters and slacks not from Robert Hall or Walmart and the gals with their cashmere sweaters, starched white collar shirts, you know what I mean, and flouncy skirts just like you [Chrissie laughed.], oh yeah, and their no touch church books in hand just when thing got interesting on Friday night. [Chrissie laughs again then silently blushed thinking about that first time she let Jack “do the do,” have sex with her, as they used to call it in North Adamsville under the influence of a Howlin’ Wolf song when it was not clear who was jumping who or whom.] Call it greaser and soc but it was all the same as Marx called it just a younger version waiting to take over. And there the lines still stand whether in our growing up hometown of North Adamsville, down in Carver with Sam Eaton, New York City, Chicago, Baton Rouge or Podunk, Oklahoma where Pony Boy and crowd were trying to breathe.”
“You saw how it played out in Oklahoma but you know as well as I do it really could have been all of the other places mentioned in the hard-ass young and lost early 1960s when the whole world, or at least the whole American world, make that the whole American up-ward mobile middle class world was worried that their sons would wind up as corner boys and, more importantly that their virtuous daughters, you, would wind up in some back seat or down at some forlorn lovers’ lane with one of the refugees.” [Chrissie silently blushed again remembering that scene in Salducci’s Pizza Parlor where Frankie, Jack and the boys hung out on dough-less, girl-less Friday nights when she came clamoring in “no holds barred” and plopped herself on Jack’s lap daring him to kick her off after she got tired of him not responding to her come hither pleas.]
“Yeah, it played out every which way but here is where the whole thing tumbles. Do you remember the first scenes that take place in that nicely democratic Drive-In movie theater? [Chrissie nods.] They aren’t around much anymore except out in Podunk places like Olde Saco, Maine where my old friend Josh Breslin, an old corner boy himself hanging around with working class French-Canadian mill guys where he grew up recently checked out the remnants of that scene in that still operating venue up there although he said a lot like who was there, mostly families with kids, and the fact you had to tune into a radio station to hear the sound rather than the loudspeaker that you put on the side window of your car half the time especially if you were drunk or sleepy you would rip out when you went to drive off had changed, but back in the early 1960s as you know they along with drive-in restaurants were magnets for teens, all teens, earlier really but that was toddler time and I only want to talk about teenage coming of age time now since I am talking about corner boys.”
“Jesus, whoever figured it out either knew the scene personally or had it checked out pretty nicely, had the whole scene pegged, pegged right. Pony Boy, hey we all had monikers, all the guys, back then right, mine if you remember for a while was Running Bear after the song not because of my football prowess, Buzz, the Frankie Riley of the gang, and the ill-fated runt of the litter Johnny snuck under the fence in the back of the drive-in. Automatically that tells you if the “greaser” hair-dos and cut-off tee-shirts don’t that these guys are “from hunger” even if they had the dough for admission. One of the “perks” of being poor is that you don’t worry about the niceties of paying except when John Law is on your back because you figure the world owes you. I know I did when I first started doing the “clip” and later when we were hitting those Mayfair swell houses.
“So they walk in like they own the place, smoking cigarettes anxiously a mile a minute like we used to do. I remember that first time you smoked that Camel I offered you and you choked and almost turned blue. Although that didn’t stop us from lighting up a blade for years after and it took a civil war practically to get you, then me, to quit, quit for good. They go sit in the public seats that every drive-in had back then when the cars got too hot or your date wasn’t. [Chrissie smiles no blush this time.] Along the way a classic drive-in scene developed remember when a bunch of kids popped out of the trunk of a big ass old car like they made back then. Some Ford or Chevy. Every group of kids pulled that trick at least once. You never let me do it when we double-dated though. Remember we used to pay separate admissions until the management got wise so everybody would pile kids in trunks and back seat wells and pay maybe two admissions then split everything later. Frankie Riley one time, this is before you landed on my lap in Salducci’s, drove into the freaking drive-in like he was by himself one time, the drive-in alone if you can believe that. The guy had balls, no question. [Chrissie: severe look.] Paid one admission and the taker didn’t blink. We had five guys and two girls in back that night. Beautiful. [Chrissie puts on her classic scorn look which after forty some years told Jack to move on quickly from that subject.] That was great until the balloon burst and you paid by the carload.”
“So naturally Buzz the leader of the pack just like Frankie started hitting on a couple of “soc” girls, you know the ones with the starched shirts like you then and not the ones with the form-fitting cashmere sweaters who are helping fog up some back seat windows far away from the open air seat crowd. [Chrissie silently blushed again thinking about that night when Jack was away at a college tour and she took up Frankie’s good friend offer to go to the Drive-In, the back end fogged up area, and after a couple of drinks she almost let him have his way with her but jumped out just like Scarlett or whatever her name was in the movie. Frankie could be very smooth when he wanted to be, when he wanted something especially when he knew she and Jack had already been “doing the do.”]
“No go, no go between greaser and soc even in the democratic Drive-In. Why? Because the social order in school would not permit such an outlandish arrangement. Even when Pony Boy, who played it cool, took that good-looking redheaded soc to the inevitable intermission stand with its stale popcorn, fizz-less sodas, cardboard hamburgers and sullen hot dogs [Chrissie laughed a knowing laugh.] he felt uncomfortable staying too long because people might talk, meaning the inevitable teenage “grapevine” would be hot off the wire. You know from just that scene they there are two different worlds working to a bad end.” [Chrissie knew because she had had to endure not only the “no prospects” noise from her parents which was bad enough but also from her soc girlfriends for a while, especially sophomore year when all social relationships are cemented for the life of the class until graduation. Only when Jack started ripping defenses apart on Saturday afternoons and a couple of those girlfriends wondered out loud what he would be like in bed did that noise die down, did Jack get some acceptance from her crowd but she always had to watch her step, watch out that they did not find out about the midnight creeps and the other stuff that let Jack have dough to take her out without snide comment.]
“After that scene you can tell no matter what somebody, some greaser is going to take a fall. That is the screen-writer part to make the story interesting so they build up the tensions between the soc and greaser guys, build it up into a war practically. Along the way ill-fated Johnny trying to save Pony Boy does in a soc, kills him and that part leads away from my experiences but back on the corner we heard about one gang doing in another, having rumbles and stuff but it was corner against corner, greaser against greaser okay, not one class against the other, it just didn’t happen. You know the soc guys at school were creampuffs, were afraid of their own shadows, would walk, hell, run across the street if they saw two corner boys walking their way. I had to laugh at that part. If you hadn’t landed on my lap that night I probably would have found some sexy cashmere sweater greaser girl famous for blowjobs and bitchiness, and that would have been that. I wasn’t looking for soc girls although you know I was looking for you all the times we talked in class and everything.” [Chrissie thought just then or Ellen or Marie, a couple of her more adventurous soc girlfriends, the wonderers, would have jumped on his lap no question.]
“You know though despite the differences in the story line from what you know was happening to me before you stepped in that lead character, that Buzz, really reminded me of Frankie Riley, reminded me of how that bloody son of bitch Irishman’s son tempted the fates, tempted his fates. [Chrissie turned pale. This is the moment she has dreaded all evening since very early on she could tell Jack was working in his mind the very real similarities between Buzz, played by Matt Dillon who looked very much like Frankie, too much.] Frankie early on, hell, in junior high started out to be the king hell corner boy, was the guy who started half the guys in school smoking because it was “cool,” started the “clip,” and was the mastermind behind the Mayfair swells midnight creeps although Peter Markin was the guy who carried the plans out because Frankie was usually too drunk to lead the expeditions.”
“You know how persuasive Frankie could be, how much of a cutting edge charmer he could be if he put his mind to it and it was in his interest. I know he was after you, or thought about it, thought about it for a second until I told him I would cut his heart out and hand it to him on a platter if he did so after that night you landed on my lap.” [Chrissie blushed her seventh blush thinking again about that Drive-In episode senior year when Frankie had half her clothes off and his hand moving up her thigh toward her vagina and if he had made it before she bailed out who knows what would have happened for she believed Jack really would have done murder and mayhem to Frankie no matter what binds tied them together.]
“Yeah, the Buzzes and Frankies of the world always try to go way outside their comfort zones, try to go outside the small pond they rule. Buzz pulled some hare-brained half thought out robbery and wound up very dead in the sullen stinking oil-soaked streets of Podunk, Oklahoma. Frankie, rest his soul, wound up face down in North Carolina, Ashville, after getting a serious cocaine habit a few years out of high school and after pulling a couple of small armed robberies when he “high as a kite” tried to rob a White Hen convenience store unarmed. [Chrissie sighed, yes, rest in peace, Frankie, rest in peace.]
*Songs To While Away The Class Struggle By-
Click on the title to link a YouTube film clip.
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. Sadly though, hard communist musicians have historically been scarce on the ground and have rather more often than not been fellow-travelers. 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. Markin.
*********
HOW CAN A POOR MAN STAND SUCH TIMES AND LIVE? (BLIND ALFRED REED) (1929)
Any copyrighted material on these pages is used in "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s).
This song was recorded by Blind Alfred Reed in New York, NY, 4 Dec 1929 and released as RCA VICTOR Vi V-40236.
Manfred Helfert
Lyrics as reprinted in liner notes for "How Can A Poor Man Stand Such Times And Live?" Rounder 1001, 1972
There once was a time when everything was cheap,
But now prices nearly puts a man to sleep.
When we pay our grocery bill,
We just feel like making our will --
I remember when dry goods were cheap as dirt,
We could take two bits and buy a dandy shirt.
Now we pay three bucks or more,
Maybe get a shirt that another man wore --
Tell me how can a poor man stand such times and live?
Well, I used to trade with a man by the name of Gray,
Flour was fifty cents for a twenty-four pound bag.
Now it's a dollar and a half beside,
Just like a-skinning off a flea for the hide --
Tell me how can a poor man stand such times and live?
Oh, the schools we have today ain't worth a cent,
But they see to it that every child is sent.
If we don't send everyday,
We have a heavy fine to pay --
Tell me how can a poor man stand such times and live?
Prohibition's good if 'tis conducted right,
There's no sense in shooting a man 'til he shows flight.
Officers kill without a cause,
They complain about funny laws --
Tell me how can a poor man stand such times and live?
Most all preachers preach for gold and not for souls,
That's what keeps a poor man always in a hole.
We can hardly get our breath,
Taxed and schooled and preached to death --
Tell me how can a poor man stand such times and live?
Oh, it's time for every man to be awake,
We pay fifty cents a pound when we ask for steak.
When we get our package home,
A little wad of paper with gristle and a bone --
Tell me how can a poor man stand such times and live?
Well, the doctor comes around with a face all bright,
And he says in a little while you'll be all right.
All he gives is a humbug pill,
A dose of dope and a great big bill --
Tell me how can a poor man stand such times and live?
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. Sadly though, hard communist musicians have historically been scarce on the ground and have rather more often than not been fellow-travelers. 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. Markin.
*********
HOW CAN A POOR MAN STAND SUCH TIMES AND LIVE? (BLIND ALFRED REED) (1929)
Any copyrighted material on these pages is used in "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s).
This song was recorded by Blind Alfred Reed in New York, NY, 4 Dec 1929 and released as RCA VICTOR Vi V-40236.
Manfred Helfert
Lyrics as reprinted in liner notes for "How Can A Poor Man Stand Such Times And Live?" Rounder 1001, 1972
There once was a time when everything was cheap,
But now prices nearly puts a man to sleep.
When we pay our grocery bill,
We just feel like making our will --
I remember when dry goods were cheap as dirt,
We could take two bits and buy a dandy shirt.
Now we pay three bucks or more,
Maybe get a shirt that another man wore --
Tell me how can a poor man stand such times and live?
Well, I used to trade with a man by the name of Gray,
Flour was fifty cents for a twenty-four pound bag.
Now it's a dollar and a half beside,
Just like a-skinning off a flea for the hide --
Tell me how can a poor man stand such times and live?
Oh, the schools we have today ain't worth a cent,
But they see to it that every child is sent.
If we don't send everyday,
We have a heavy fine to pay --
Tell me how can a poor man stand such times and live?
Prohibition's good if 'tis conducted right,
There's no sense in shooting a man 'til he shows flight.
Officers kill without a cause,
They complain about funny laws --
Tell me how can a poor man stand such times and live?
Most all preachers preach for gold and not for souls,
That's what keeps a poor man always in a hole.
We can hardly get our breath,
Taxed and schooled and preached to death --
Tell me how can a poor man stand such times and live?
Oh, it's time for every man to be awake,
We pay fifty cents a pound when we ask for steak.
When we get our package home,
A little wad of paper with gristle and a bone --
Tell me how can a poor man stand such times and live?
Well, the doctor comes around with a face all bright,
And he says in a little while you'll be all right.
All he gives is a humbug pill,
A dose of dope and a great big bill --
Tell me how can a poor man stand such times and live?
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