The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-When Ike Turner Paid Court To The “Golden Age” Of The American Automobile-“Rocket 88”

The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-When Ike Turner Paid Court To The “Golden Age” Of The American Automobile-“Rocket 88”

Sketches From The Pen Of Frank Jackman

The Teen Scene In Between- With Ike Turner’s Rocket 88 In Mind 

…she hadn’t thought about the upcoming date all that much, hadn’t thought about how Art was going to squire her to the first dance of the school year, the decisive Fall Frolic. She had been slow, late 1950s bewildered young woman who had gotten her “friend” late slow in the boy department (her period but every girl called it anything but that and she had come  to rely on that designation as being as appropriate as any although it was anything but a friend more like a curse). Although given her total logged time on the girlfriend telephone, many times the midnight telephone when she was lonely, lonely more so of late as she had been more distracted, with Jenny who was more up-to-date on matters of the opposite sex. And sex although don’t let that so-called advanced knowledge of Jenny’s part throw you off since most of what Jenny knew was wrong, wrong gotten from an older brother, Ted, who like all young men, young Catholic men and maybe every other religious upbringing too, got what he knew of sex from the streets just like everybody else and thus not surprisingly mostly wrong which almost caught her flat-footed in the pregnancy department one time when Sal “protection” might not have protected.  She, despite Jenny’s badgering, was certainly interested in boys and at least theoretically sex, although that interest had a quality of being sealed with seven seals and tied up, tied up with a big bow as she clung to that prevalent mores of saving herself for marriage, or some such thing, saving that is.

This Fall Frolic by the way had a long track record in creating class “items” come senior year. While it was not a formal dance, not even semi-formal like the junior prom, every young woman who planned to attend planned to have a “fox” dress fitting for the occasion and expected that her date would put some extra effort into looking good for the dance. All classes at old North Adamsville at least since 1951 when the underclassmen put up a stink about being shut out were entitled (and encouraged) to attend but no question the event reeked of a senior project. Most of the dance committee were well-known seniors and the band selection and theme of the year’s dance were a senior monopoly. It would take several more years and something like a civil war to break the senior monopoly but by then nobody was committed to an all-out defense of the old traditions. That was the 1960s when everybody was ready for a jailbreak and there was even talk by school officials that the damn thing would be canceled if the drug use could not be controlled (it was out of control as everybody got stoned in cars or in back alleys before the dance and at intermission and there were so many “far outs” uttered that even the senile chaperones knew something was off). So this was the environment which she was approaching her task ahead, a task involving getting the best date possible for the big dance of the fall.              

She knew, knew from Jenny, and knew from about six other sources that the lead-up here was decisive in that one’s date, one’s successful date, at that event usually foretold who one would be going to the senior prom with. Since the end of junior year that choice had come more and more to seen to be Art Graham. Art who began to talk to her in World History class after ignoring her and about every other girl in class as far as she could gather when she, not much for history, started to get peppered by Mr. Nolan, the World History teacher, who thought girls were dumb when it came to history and would publicly try to humiliate as many as possible. Toward the end of the year he had aimed his barbs her way. Art, a history nut and sort of Mr. Nolan’s pet, took pity on her and tried to coach her a little. The coaching paid off and old Nolan backed off a bit. Then she found herself talking to Art about other subjects and he didn’t seem to mind that they were not about history so she started to dream a little about Art, but just a little as summer break kind of ended what had started. They met at the beach a few times during the summer, spent a few hours together but not what any self-respecting girl in 1958 would call a date. So she laid her plans.        

It wasn’t that she was crazy for Art, not in the way best friend, Jenny, was crazy over Sal, Sal with the wavy black hair and athletic build, crazy enough over Sal to let him do what he wanted with her, but she did see him as one part of her “item” for the senior year if only he showed a little spark her way. Although she knew exactly what Jenny let sexy Sal do with her since Jenny burned many a midnight telephone call describing what went down in the town’s lovers’ lane section of the beach she had no intention of letting Art have his way with her, she wasn’t like that. She began to think less of Jenny the more she told her about her sexual experiences but she wanted that dance date and was frustrated when Art kept her at arm’s length.

Damn, she almost had to force the issue and invite him to the dance herself after they had spent some time together in school talking once classes resumed in September and she relied on him to bail her out in Problems in Democracy class where she was more under water that in World History, if that was possible. Then he started walking her home after school, talking, talking about his big future plans, talking about maybe they could go to the movies or to the school football games together. Anything but that damn dance (her term so she, not given to swearing, was certainly frustrated). They spent their time together like that before the date of the dance was getting perilously until one afternoon she asked him if he liked to dance, he said he did although he cushioned the remark with “I’m not very good” and they kind of by osmosis made a date for the Fall Frolics.

And so we move forward to the big night and she was now up in her room (and darting to the bathroom as well) preening herself, fluffing her hair, tightening that damn girdle to make her more slender than she already was, applying yet another touch-up on the make-up, as expected of any girl going to the Frolics with a guy that might form part of an “item” for senior year. She just hoped, hoped to high heaven that he, not known for being a sharp dresser like Sal, would look okay and also not forget to bring her a corsage so she would not be the only girl without one, especially since she practically had to order the thing herself.

She wasn’t sure when she heard the rumble of the engine coming up the street, maybe just before the car stopped in front of her house, but she definitely heard it before Art knocked on the door downstairs as her mother welcomed him in while she was finishing her last preparations. As she came down the stairs she noticed that he looked especially handsome in his suit and with his hair parted just so. Things already looked up for the evening. She did not know the half of it though until he opened the front door for her as they were leaving and she spied that big old Cadillac sitting in front of her sidewalk. Seems that old Art, once he got the message from the time they had danced around the dance invitation, started his own version of the courting ritual and convinced his friend, Spider Mack, to let him borrow his souped-up Caddy. Spider was well known around town, notorious to many parents, especially girl parents for getting the back seat of that vehicle messed up around midnight or maybe later after so two o’clock “chicken run” victory and he collected the spoils of war, some wet girl thrilled by the prospect of that backseat with the king of the North Adamsville muscle car night.

So she knew that if Art had such an automobile and moreover that Spider trusted Art with his most precious possession that the night might be interesting, and she might make it interesting for Art once she thought about that possibility. And off they went, first to pick up Jenny and Sal, she proud to be seem in the company of a man who knew how to bring a girl to the dance in style, and she too thinking how envious Jenny was that she was sitting in the front seat of Spider’s car just like she belonged there.

But that was only the beginning of it once they got to the school gym when the Frolics were held annually. She could hardly believe the transformation of the old smelly medicine ball gym into something that looked like a downtown hotel setting (even if only a hokey North Adamsville setting) with flowers festooned all over, tables covered with school colors white and blue tablecloths, the walls filled with various rock posters to hide the creepy cinderblocks, and the entrance with a trestle also garlanded with flowers. Yes, special. But more special Art seemed a man transformed as the cover band hired for the evening by the Fall Frolic senior committee (like I said before it was always a senior-sponsored affair back then, a kind of last gift to their fellow schoolmates leaving or to be left behind), the Ready Riders, kissed off the old classics, you know Patti Page, Frank, Dean, those guys, that had guided previous dances and kicked out the jams. Kicked out the ones guaranteed parent approved and hence boring, or something like that. She noticed that Art, a guy who said he had two left feet and maybe he did but he looked, well, sexy, had become almost a whirling dervish as he rocked by himself in her direction, that was no other way to put it since previously everybody did a waltz or a variation at school dances also parent approved, to some older rhythm and blues stuff and then laid out the full program when the band tore into a big riffing dose of Ike Turner’s Rocket 88.

That was the tune that everybody at Doc’s Drugstore over on Main was dropping endless nickels and dimes in the juke-box to hear over and over. Although it was actually an older song, maybe the early 1950s, Doc had refused to place it on his jukebox (or rather he was pressured to not put it on his jukebox by those meddlesome parents) since it was considered a “colored” record, you know a race record, back then. Jesus. But the kids, late 1950s kids including apparently Art, flipped out over it. And so the night went as she got more in tune with Art’s new form of dancing and mimicked his moves to his delight. As the dance ended, ended with a slow one by the Dubs’ Could This Be Magic, she, they ran into Jenny and Sal, and she, she who had so often secretly scorned the stuff Jenny told her that she and Sal did down at Adamsville Beach, suggested that the foursome take Spider’s car and go down to that very beach to, well, she said “cool off” after the dance. But you know what she meant just in case her parents might be around, or some girlfriend who would have plenty to say come Monday morning before school girls’ lav talk about how she had come of age, had come into the time of her time. So, yes, if anybody was interested she and Art were an “item” that year …              

             

*********

Rocket 88        

You woman have heard of jalopies
You heard the noise they make
Let me introduce you to my Rocket '88
Yes, it's great, just won't wait
Everybody likes my Rocket '88
Baby, we'll will ride in style movin' all along

V-8 motor and this modern design
Black convertible top and the girls don't mind
Sportin' with me, ridin' all around town for joy
Blow your horn, rocket, blow your horn

Step in my rocket and don't be late
We're pullin' out about a half past eight
Goin' on the corner and havin' some fun
Takin' my rocket on a long, hot run
Ooh, goin' out, oozin' and cruisin' and havin' fun

Now that you've ridden in my Rocket '88
I'll be around every night about eight
You know it's great, don't be late
Everybody likes my Rocket '88
Girls will ride in style movin' all along

When The Capitalist World Was On The Rise-The 16th and 17th Dutch And Flemish Paintings at the Harvard Art Museums-A reply to a reply

When The Capitalist World Was On The Rise-The 16th and 17th Dutch And Flemish Paintings at the Harvard Art Museums-A reply to a reply

By Frank Jackman

The minute American government shut-down, DACA, North Korea and Iran war clouds, the demise of civility, the heating up of the decades long cold civil war in that same America and what do I wind up having to do today. Jesus, once again respond to this madness about Dutch, and oh no, don’t forget the Flemish art that is always paired with it in the days when that tiny section of the world was the real thing, had the trade routes covered six way to Sunday, and had the general wherewithal to support artists and buy a ton of paintings some good, some pedestrian but all showing very good draftsmanship and fidelity to the subject the hallmark of pre-Impressionist painting no matter the genre. This time to note once more that this young writer William Bradley should give it up. Move on. Since he won’t here I go again and I hope and pray that Greg Green will hear my cry for mercy.    

Apparently there is something like a “fire sale” going on in the 16^th and 17^th Dutch/Flemish painting world. People, well-to-do people as they say, are tossing their various collections to the nearest museums apparently for tax purposes, or to take the stuff as lost-leaders in their more expansive collectives. That bit of news via now “expert” William Bradley’s sail through the Museum of Fine Arts in Boston and finding out that a couple of couples, a wealthy couple of couples of course is promising that august  institution their beat up and broken down collections. Now I have to report that a quick swing through the Harvard Art Museums (formerly three separate museums in three spots now all in one but if you haven’t been there for a while it’s the old Fogg Museum section I am referring to) the other day really made me think I should get a few people together and buy a few lesser Dutch pieces at auction where the house is probably almost ready to give the stuff away. Another couple, another wealthy couple it goes without saying, has promised that already richer than Midas institution their collection. You heard it here so grab up every piece you can because soon buying private pieces will be like trying to buy Greek statuary.     

Let’s go by the numbers on this Dutch/Flemish private market painting scare which in the biggest thing to hit that genre since the Tulip mania bubble bust in the 16^th century. Young Bradley already told a candid world despite his lack of knowledge, probably his inability to find the Netherland and Belgium on the map, that the National Gallery down in Washington had a Vermeer and pals exhibit. Fine. Except he went out of his way to cite an article I had done several years ago here (actually in Art Today magazine and then posted here since they were paying the freight on that piece) given the story on why these self-satisfied burghers were crazy to decorate their homes and heaths with high quality art when other countries were trying to figure out what the hell to do with a spoon-and why.      

This is the way young Bradley told it, told it pretty true once I gave him the lead and will do as the end piece for this latest news out of Cambridge about the halcyon days of this type of art:

“After having been given an assignment to view the Vermeer and friends exhibit down at the National Gallery in Washington since I was in that town on another matter I was looking at the archives here to find out if anybody had written about the high tide of Dutch and Flemish Art (you know the time of Rembrandt, Hals, Reubens, Van Dyck and their respective schools, workshops and progeny) and out popped an article by Frank Jackman then the senior political commentator under the old regime. Truly knowing nothing about the subject of Dutch and Flemish art other than liking some of it and being bored by the endless paintings of fruit and killed animals hanging on a kitchen wall perfectly detailed, I figured that I would ask Frank about his take. As it turned out I didn’t know much either about his so-called Marxist perspective combining art and the productive system in a way that seemed odd to me.

I wrote an article about the Vermeer crowd basically on the like/don’t like aspects mentioned a minute ago since it had escaped me about putting the fight by capitalism against feudalism and art together except the Dutch and Flemish painters unlike the Italians weren’t hung up on Christian piety themes and Old Testament sagas. Frank responded that I had a lot to learn about milieu and its effect on artists which he explained in another way when I mentioned in that first article that I liked abstract expressionism and he mentioned back that you could not understand that milieu without knowing about the effect of the 20^th century wars and alienation produced by late capitalism which he called imperialism on the artists.

Greg Green recently asked me since I was going to be in Boston for the holidays to visit my sister to go check out the latest Dutch and Flemish exhibit at the Museum of Fine Arts which some collectors had promised to the Museum and which they were going to display. Lance Lawrence when he heard about the assignment dubbed me “Leonard De Bois” whom I did not know by name but who is a big wheel in the Dutch and Flemish academic art field. My only comment was that it seemed in my experience that these museums seem to run into common exhibitionism. Washington and now Boston (and New York I think) are on a Dutch-Flemish jag. Last year half the world seemed to be featuring various stages of Matisse’s career. Japanese art seems to be the new up and coming thing. In any case now that I am an “expert” I can rehash my stuff about Vermeer and his crowd with the stuff in Boston. An honored academic tradition:            

“Frank did a whole series of articles under the title When The Capitalist World Was Young to be found in the archives making the connection between the artistic sensibilities of the rising bourgeoisie and their clamoring for paintings which showed that they were on the rise, that they were the new sheriffs in town and could afford like the nobles and high clergy in the ancient regime to show their new-found prosperity by paying for portraits, collective and singular, and displays of their domestic prosperity. Of course Frank, an old radical from the 1960s … was coming at his view from something that he called a Marxist prospective. A prospective which not knowing much about it except it had a lot to do with the demise of the old Soviet Union now Putin’s Russia and why it had failed I asked him about since I was clueless about how that artwork had anything to do with politics. What he told me, and I don’t want to get into a big discussion about it is that Marxism, Marx saw capitalism as a progressive force against the feudal society and that would get reflected in lots of things like art and social arrangements.      

“Under that set of ideas Frank was able to give a positive spin on a lot of the art from the 16^th and 17^th century, especially Dutch and Flemish art in the days when those grouping were leading the capitalist charge via their position in the shipping, transport and the emerging banking world. In one part of that above mentioned series Frank highlighted the connection between art and economics by referring to a famous painting in the National Gallery down in Washington, D.C. where some very self-satisfied burghers and civil officials were feasting and showing off their new found emergence as trend-setters. I took his point once I saw the painting he was referring to and noted that these guys and it was all guys except the hard-pressed wait staff really were self-satisfied even though I am still not sure that you can draw that close a connection between art and economics.    

“That discussion with Frank was in the back of my mind when I was assigned by Greg Green, since I was down in Washington for another reason, to check out the Vermeer and friend retrospective at the National Gallery (that Frank referred painting of the burghers was nowhere in sight and I wound up viewing it on-line while we were discussing it). I took a different view of what I saw there since I am not very political and certainly would not draw the same line as Frank did. What struck me, and I am willing to bet many others who viewed the exhibit as well, was the extreme attention to detail in almost all the paintings observed. The sense that the artists had to whether it was portraiture, domestic scenes, or landscape, including those famous frozen lakes and canal winter activity scenes, show in extreme detail and shadowing exactly what they were observing. I admit I am more interested in let’s say abstract expressionism that this kind of  imagery but my hat is off to those who were able to do such detailed and exact work. Whether or not they were rising with the high tide of capitalist expansion.”      

  

Frank left me with a few political ideas to think about which I can apply as well to the Boston clot. He told me to look at that self-satisfied burgher business, look at the pot-bellies of the men and the rounded face of the young women which indicated how well-fed they were, look at the very neat way they arranged their domestic lives. Most importantly look at those unadorned halls and churches which a very far away from the medieval overkill of the huge centuries to build cathedrals that kept everybody tied down to looking inward. Like he said these guys were the “elect,” knew they were the elect and they could push forward come hell or high water.”

Let’s hope this end it and maybe we discuss Pop Art or something.  

The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-Billie’s Fifteen Minutes of Fame-With Bill Haley And The Comet’s Rock Around The Clock In Mind

The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-Billie’s Fifteen Minutes of Fame-With Bill Haley And The Comet’s Rock Around The Clock In Mind

Rock Around The Clock
recorded by Bill Haley
written by Jimmy DeKnight and Max Freedman

G
One two three o'clock four o'clock rock

Five six seven o'clock eight o'clock rock

Nine ten eleven o'clock twelve o'clock rock
                 
We're gonna rock around the clock tonight


Put your glad rags on and join me hon
           G7
We'll have fun when the clock strikes one
            C
We're gonna rock around the clock tonight
            G
We're gonna rock rock rock 'til broad daylight
            D7                               G
We're gonna rock gonna rock around the clock tonight


When the clock strikes two three and four
If the band slows down we'll yell for more
We're gonna rock around the clock tonight
We're gonna rock rock rock 'til broad daylight
We're gonna rock gonna rock around the clock tonight

When the chimes ring five six and seven
We'll be right in seventh heaven
We're gonna rock around the clock tonight
We're gonna rock rock rock 'til broad daylight
We're gonna rock gonna rock around the clock tonight

When it's eight nine ten eleven too
I'll be going strong and so will you
We're gonna rock around the clock tonight
We're gonna rock rock rock 'til broad daylight
We're gonna rock gonna rock around the clock tonight

When the clock strikes twelve we'll cool off then
Start a rocking round the clock again
We're gonna rock around the clock tonight
We're gonna rock rock rock 'til broad daylight
We're gonna rock gonna rock around the clock tonight

I, seemingly, had endlessly gone back to my early musical roots in reviewing a commercially- produced classic rock series over the past few years. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.

And we, we small time punk in the old-fashioned sense of that word, we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kids’ stuff, but still stuff like a friend of mine, not Billie who I will talk about later, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.

Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Yeah right, Ma, like Patti Page or Bob Crosby and The Bobcats (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) were supposed to satisfy our jail break cravings.

In many ways 1956 was the key year, at least to my recollection. And here is why. Elvis may have been burning up the stages, making all the teenage girls down South sweat, making slightly older women sweat and throw undergarments too, and every guy over about eight years old start growing sideburns before then but that was the year that I actually saw him on television and started be-bopping off his records. Whoa. And the same with Bill Haley and the Comets, even though in the rock pantheon they were old, almost has-been guys, by then. And Chuck Berry. And for the purposes of this particular flash back, James Brown, ah, sweet, please, please, please James Brown (and the Flames, of course) with that different black, black as the night, beat that my mother (and others too) would not even let in the house, and maybe not even in our whole white working- class neighborhood. But remember that transistor radio and remember when rock rocked.

Of course all of this remembrance is just so much lead up to a Billie story. You know Billie, Billie from “the projects” hills. William James Bradley to be exact. I told you about him once when I was reviewing a 30th anniversary of rock film concert segment by Bo Diddley. I told the story of how he, and we, learned first-hand down at the base, the nasty face of white racism in this society. No even music, and maybe particularly not even music, was exempted then from that dead of night racial divide, North or South if you really want to know. Yes, that Billie, who also happened to be my best friend, or maybe almost best friend we never did get it straight, in elementary school. Billie was crazy for the music, crazy to impress the tender young girls that he was very aware of, much more aware of than I was and earlier, with his knowledge, his love, and his respect for the music (which is where the innocent Bo Diddley imitation thing just mentioned came from although that story was later than the story I want to tell you now).

But see we were “projects kids,” and that meant, and meant seriously, no dough kids. No dough to make one look, a little anyway, like one of the hot male teen rock stars such as Elvis or Jerry Lee Lewis. Now this “projects” idea started out okay, I guess, the idea being that returning veterans from World War II, at least some vets like my father, needed a leg up in order to provide for their families. And low-rent public housing was the answer. Even if that answer was four-family unit apartment buildings really fit for one family, one growing three boy family anyway, and no space, no space at all for private, quiet dreams. Of course by 1955, ‘56 during the “golden age” of working- class getting ahead (or at least to many it must seem so now) there was a certain separation between those who had moved on to the great suburban ranch house dream land and those who were seemingly fated to end up as “the projects” fixtures, and who developed along the way a very identifiable projects ethos, a dog-eat-dog ethos if you want to know the truth. It ain’t pretty down at the base, down at the place where the thugs, drifters, grifters, and midnight sifters feed off the rough-edged working poor.

That didn’t stop Billie, or me for that matter, from having our like everybody else dreams, quiet spaced or not. In fact, Billie had during his long time there probably developed the finest honed-edge of “projects” ethos of anyone I knew, but that came later. For now, for the rock minute I want to speak of, Billie was distractedly, no beyond distraction as you will see, trying to make his big break through as a rock performer. See Billie knew, probably knew in his soul, but anyway from some fan magazine that he was forever reading that old Elvis and Jerry Lee (and many of the rockers of the day, black and white alike) were dirt poor just like us. Rough dirt poor too. Farm land, country, rural, shack, white trash, dirt poor which we with our “high style” city ways could barely comprehend.

And there was Elvis, for one, up in big lights. With all the cars, and not junkie old fin-tailed Plymouths or chromed Fords but Cadillacs, and half the girls in the world, and all of them “hot” (although we did not use that word then), or so it seemed. Billie was hooked and hooked hard on that rock star performer fantasy. It consumed his young passions. And for what purpose? If you answered to impress the girls, “the projects” girls right in front of him, hey, now you are starting to get it. And this is what this little story is about.

This was late 1956, maybe early 1957, anyway it’s winter, a cold hard winter in the projects, meaning all extra dough was needed for heat, or some serious stuff like that. But see here old Billie and I (as his assistant, or manager, it was never clear which but I was to be riding his star, no question) had no time for cold, for snow or for the no dough to get those things because what was inflaming our minds was that a teen caravan was coming to town in a few weeks. No, not to the projects, Christ no, but downtown at the high school auditorium. And what this teen caravan thing was (even though we were not officially teens and would not be so for a while) was a talent show, a big time talent show, like a junior American Bandstand television show, looking for guys and girls who could be the next teen heartthrobs. There were a lot of them in those days, those kinds of backwater talent shows and maybe now too.

This news is where two Billie things came into play so you get an idea of the kind of guy he was back then. First, one night, one dark, snowy night Billie had the bright idea than he and I should go around town and take down all the teen caravan announcement advertisements from the telephone poles and other spots where they were posted. We did, and I need say no more on the matter. Oh, except that a couple of days later, and for a week or so after that, there was a big full-page ad in the local newspaper and ads on the local radio. That’s one Billie thing and the other, well, let me back up.

When Billie got wind of the contest he went into one of his rants, a don’t mess with Billie or his idea of the moment rant and usually it was better if you didn’t, and that rant was directed first to no one else but his mother. He needed dough to get an outfit worthy of a “prince of rock” so that he could stand out for the judges. Moreover the song he was going to do was Bill Haley and The Comet’s Rock Around The Clock. I will say he knew that song cold, and the way I could tell was that at school one day he sang it and the girls went crazy. And some of the guys too. Hell, girls started following old Billie around. He was in heaven (honest, I on the other hand, was indifferent to them, or their charms just then). So the thought that he might win the contest was driving him mad (that same energy would be used later with less purpose but that story is for another day)

Hell, denim jeans, sneakers, and some old hand-down ragamuffin shirt from an older brother ain’t going to get anyone noticed, except maybe to be laughed at. Now, like I said, we were no dough projects boys. And in 1956 that meant serious problems, serious problems even without a damn cold winter. See, like I said before the projects were for those who were on the down escalator in the golden age of post-World War II affluence. In short, as much as he begged, bothered and bewildered his mother there was no dough, no dough at all for the kind of sparkly suit (or at least jacket) that Billie was desperate for. Hell, he even badgered his dad, old Billie, Senior, and if you badgered old Billie then you had better be ready for some hard knocks and learn how to pick yourself up off the ground, sometimes more than once. Except this time, this time something hit Old Billie, something more than that bottle of booze or six, hard stinky-smelling booze, that he used to keep his courage and television-watching up. He told Mrs. Billie (real name, Iris) that he would spring for the cloth if she would make the suit. Whoopee! We are saved and even Billie, my Billie, had a kind word for his father on this one.

I won’t bore you with the details of Mrs. Billie’s (there you have me calling her that, I always called her Mrs. Bradley, or ma’am) efforts on behalf of Billie’s career. Of course the material for the suit came from the Bargain Center located downtown near the bus terminal. You don’t know the Bargain Center? Sure you do, except it had a different name where you lived maybe and it has names like Wal-Mart and K-Mart, etc. now. Haven’t you been paying attention? Where do you think the material came from? Brooks Brothers? Please. Now this Bargain Center was the early low- rent place where I, and about half the project kids got their first day of school and Easter outfits (the mandatory twice yearly periods for new outfits in those days). You know the white shirts with odd-colored pin-stripes, a size or two too large, the black chinos with cuffs, christ with cuffs like some hayseed, and other items that nobody wanted someplace else and got a second life at the “Bargie.” At least you didn’t have to worry about hand-me-downs because most of the time the stuff didn’t wear that long.

I will say that Mrs. B. did pretty good with what she had to work with and that when the coat was ready it looked good, even if it was done only an hour before the show. Christ, Billie almost flipped me out with his ranting that day. And I had seen some bad scenes before. In any case it was ready. Billie went to change clothes upstairs and when he came down everybody, even me, hell, even Old Billie was ooh-ing and ah-ing. Now Billie, to be truthful, didn’t look anything like Bill Haley. I think he actually looked more like Jerry Lee. Kind of thin and wiry, lanky maybe, with brown hair and blue eyes and a pretty good chin and face. I would say now a face that girls would go for; although I am not sure they would all swoon over him, except maybe the giggly ones.

So off we go on the never on time bus, a bus worthy of its own stories, to downtown and the auditorium, even my mother and father who thought Billie was the cat’s meow when I brought him around. Billie’s father, Old Billie of the small dreams, took a pass on going. He had a Friday night boxing match that he couldn’t miss and the couch beckoned (an argument could be made that Old Billie was a man before his time in the couch potato department). However all is forgiven him this night for his big idea, and his savior dough. We got to the school auditorium okay and Billie left us for stardom as we got in our rooting section seats. A few minutes later Billie ran up to us to tell us that he was fifth on the list so don’t go anywhere, like out for a cigarette or something.

We sat through the first four acts, a couple of guys doing Elvis stuff (so-so) and a couple of girls (or rather trios of girls) who did some serious be-bop stuff and had great harmonies. Billie, I sensed, was going to have his work cut out for him this night. Finally Billie came out, prompted the four-piece backup band to his song, and he started for the mike. He started out pretty good, in good voice and a couple of nice juke moves, but then about half way through; as he was wiggling and swiggling through his Rock Around The Clock all of a sudden one of the arms of his jacket fell off and landed in the front row. Billie didn’t miss a beat. This guy was a showman. Then the other jacket arm fell off and also went into the first row. Except this time a couple of swoony girls, girls from our school were tussling, seriously tussling, each other for it. See, they thought it was part of Billie’s act. And what they didn’t know as Billie finished up was that Mrs. Billie (I will be kind to her and not call her what Billie called her) in her rush to finish up didn’t sew the arms onto the body of the jacket securely so they were just held together by some temporary stitches.

Well, needless to say Billie didn’t win (one of those girl trios did, and rightly so, although I didn’t tell Billie that). But next day, and many next days after that, Billie had more girls hanging off his arms than he could shake a stick at. And you know maybe Billie was on to something after all because I started to notice those used-to-been scrawny, spindly-legged, pigeon-toed giggling girls, their new found bumps and curves, and their previously unremarkable winsome girlish charms, especially when Billie would give me his “castoffs.” So his losing was for the best. My “for the best.”

*****John Brown’s Body Lies A Moldering In The Grave-With The Massachusetts 54th Black Volunteer Regiment In Mind.

*****John Brown’s Body Lies A Moldering In The Grave-With The Massachusetts 54^th Black Volunteer Regiment In Mind.

Every time I pass the frieze honoring the heroic Massachusetts 54^th Black Volunteer Regiment across from the State House on Beacon Street in Boston, a unit that fought in the American Civil War, a war which we have just finished commemorating the 150^th anniversary of its formal ending (April 1865) I am struck by one figure who I will discuss in a minute. For those who do not know the 54^th Regiment the unit had been recruited and made up of all volunteers, former slaves, freedmen, maybe a current fugitive slave snuck in there, those were such times for such unheralded personal valor, the recruitment a task that the great abolitionist Frederick Douglass, himself an ex-slave had been central in promoting (including two of his sons). All knew, or soon became aware that if they did not fight to the finish they would not be treated as prisoners of war but captured chattel subject to re-enslavement or death.  The regiment fought with ferocious valor before Fort Wagner down in South Carolina and other hot spots where an armed black man, in uniform or out, brought red flashes of deep venom, if venom is red, but hellfire hatred in any case to the Southern plantation owners and their hangers-on (that armed black men acting in self-defense of themselves and theirs still bringing hellfire hatred among some whites to this day, no question).

I almost automatically focus in on that old hard-bitten grizzled erect bearded soldier who is just beneath the head of the horse being ridden by Colonel Robert Gould Shaw, the white commander of the regiment who from a family of ardent abolitionists fell with his men before Fort Wagner and was buried with them, an honor. (See above) I do not know the details of the model Saint-Gauden’s used when he worked that section (I am sure that specific information can be found although it is not necessary to this sketch) but as I grow older I appreciate that old man soldier even more, as old men are supposed to leave the arduous duty of fighting for just causes, arms in hand, to the young.

I like to think that that old grizzled brother who aside from color looks like me when he heard the call from Massachusetts wherever he was, maybe had read about the plea in some abolitionist newspaper, had maybe even gotten the message from Frederick Douglass himself through his newspaper, The North Star, calling Sable Brother to Arms or on out the stump once Lincoln unleashed him to recruit his black brothers for whatever reason although depleting Union ranks reduced by bloody fight after bloody fight as is the nature of civil war when the societal norms are broken  as was at least one cause, he picked up stakes leaving some small farm or trade and family behind and volunteered forthwith. Maybe he had been born, like Douglass, in slavery and somehow, manumission, flight, something, following the Northern Star, got to the North. Maybe learned a skill, a useful skill, got a little education to be able to read and write and advance himself and had in his own way prospered.

But something was gnawing at him, something about the times, something about tow-headed white farm boys, all awkward and ignorant from the heartland of the Midwest, sullen Irish and other ethnic immigrants from the cities where it turned out the streets were not paved with gold and so took the bounty for Army duty, took some draft-dodger’s place for pay, hell, even high-blown Harvard boys were being armed to defend the Union (and the endless names of the fallen and endless battles sites on Memorial Hall at Harvard a graphic testament to that solemn sense of duty then). And more frequently as the days and months passed about the increasing number of white folk who hated, hated with a red-hot passion, slavery and if that passion meant anything what was he a strong black man going to do about it, do about breaking the hundreds of years chains. Maybe he still had kindred under the yolk down South in some sweated plantation, poorly fed, ill-treated, left to fester and die when not productive anymore, the women, young and old subject to Mister’s lustful appetites and he had to do something.

Then the call came, Governor Andrews of Massachusetts was raising a “sable” armed regiment (Douglass’ word) to be headed by a volunteer Harvard boy urged on by his high abolitionist parents, Colonel Shaw, the question of black military leadership of their own to be left to another day, another day long in the future as it turned out but what was he to know of that, and he shut down his small shop or farm, said good-bye to kin and neighbors and went to Boston to join freedom’s fight. I wonder if my old bearded soldier fell before Fort Wagner fight down in heated rebel country, or maybe fell in some other engagement less famous but just as important to the concept of disciplined armed black men fighting freedom’s fight. I like to think though that the grizzled old man used every bit of wit and skill he had and survived to march into Charleston, South Carolina, the fire-breathing heart of the Confederacy, then subdued at the end of war with his fellows in the 54^th stepping off to the tune of John Brown’s Body Lies A-Moldering In The Grave. A fitting tribute to Captain Brown and his band of brother, black and white, at Harper’s Ferry fight and to an old grizzled bearded soldier’s honor.             

A Mea Culpa… Of Sorts-Down With The Trump Government!- Build The Resistance

A Mea Culpa… Of Sorts-Down With The Trump Government!- Build The Resistance      

A while back, last year, during the American presidential election campaign of 2016 at a point where the two major contenders, now President Donald Trump and now failed contender Hillary Clinton had been nominated by their respective organizations, I was under constant and hard-core pressure from personal friends and political associates to let up on my opposition of support to the candidate of either of the major parties. I had planned, and had made my stance clear early on to one and all, that I planned to cast a protest vote for Green Party candidate once socialist Vermont Senator Bernie Sanders’ campaign went down in disgraceful flames (disgraceful because of the horrible way he was treated by the Democratic Party establishment which went out of its way, way out of its way, to favor weak-kneed leading candidate Clinton). On November 8^th I did just that here in Massachusetts whose Electoral College votes were overwhelming won by Mrs. Clinton. 

The gist of my opposition to the two major party candidates was that I could discern no qualitative difference between war-hawk Clinton and war-hawk Trump, the issues around war and peace being the central reason that I have steadfastly opposed both major parties since my military service during the Vietnam War. A war whose long duration like the wars in Afghanistan and Iraq were started by one party’s president (Johnson in the case of Vietnam and avidly pursued by another before the fall of Saigon, Nixon/Ford). While I was not, and have not been, agnostic on my differences on other social and personal liberty issues that war and peace issue has always anchored my politic perspectives since the old days. And those personal friends and political associates have known that as well. Yet as the general election campaign progressed, if that is the right word for the down and dirty slug-fest between both candidates which nobody could rightly accept as reasonable political discourse, they continued their drumbeat. Something in that hard sell twisted me to become more adamant in my opposition-in my seeing that there was as the late great American novelist Gore Vidal no stranger to mainstream politics only “one ruling party in America with two branches-Democratic and Republican.”

I wrote a number of blogs and other commentaries as a result all along this line which not only included my opposition to the two parties but my fervent desire to get on with the real business of people with my brand of politics-organize against the endless wars and home and abroad. Here is a sample of my thinking at the time:

“Now several years ago, maybe late 2007, early 2008 when one Barack Obama made his presence felt on the American national political stage and sought to slay the dragon, to slay what we would come to find out was the dragon lady but who just then was in the first blush of her endless drive to win the Oval Office I noted that the Hillary-Obama race for the Democratic Party nomination looked like a breath of fresh air and although I would not have voted for either for love nor money I decided to try to chronicle the beginning storms of the campaign that year. (In the interest of full disclosure I voted for Congresswoman Cynthia McKinney of the Green Party that year a natural choice as a black and woman with a political past which she need not be ashamed of and who had at least a passing acquaintance with the truth-a big plus that year after all the bullshit was cleared away)   

“Early on though somewhere around the aftermath of the New Hampshire primary (which Hillary had won late by a hair and kept her campaign alive) in 2008 I gave up the enterprise as so much blather and as so much hot air and realized that the “promise” of 2007 had turned to ashes as neither candidate could give the approximate location of the truth in a time when all hell was breaking loose in the economy and working people, the working poor were being beaten down mercilessly by what would be called the Great Recession of 2008. And as we witness in 2016 working people, hard-working working people of all ethnic, racial and gender identifications have been taking it on the chin lo these many years. Taken it on the chin so they have in some cases fervently listened as one Dump the Trump (sorry I could not resist that slam, not the worst thing that will ever happen to that ill-bred bastard) lulls them to sleep with his balderdash, with his contempt for those who have so fervently supported him despite any good sense. We will find no truth coming from anywhere in that precinct. Worse this year milady Hillary has lost all her slight girlish charms from 2008 and is frothing at the mouth in anticipation of next week’s coronation as war-monger-in-chief.      

“Here is the hard truth, the truth neither billionaire Donald nor Wall Street Hillary have a clue about. For working people, for the hard-working people of this country who have been put up against the wall and blindfolded for a while now there is no salvation this side of capitalism, this side of that  defunct system that has had its day and had long ago lost any progressive content that it had in its golden age. “Speak the truth no matter how bitter” and that is the bitter truth as we will, once again learn over the next dreary four years. Yeah, Leon Trotsky, one of his books the place where I first read the truth of that “bitter” phrase, would have said it himself if he was not beyond the pale. You heard it here-think about it okay.”    

I was almost as surprised as everybody else come the morning of November 9^th to find one Donald “Dump The Trump” (no apology for that now) had been an upset winner of the 2016 American election. Although maybe not as surprised as most as I kept hearing a small drumbeat from working class guys and gals too whom I would meet in my work, or somebody would tell me about that there something underground in the political world, something down at the base was happening for Trump. Hell I even heard stuff when I played golf with guys on public golf courses (not Donald’s private ones) in places like Ohio, Pennsylvania and New Hampshire that Trump was their guy for jobs, for keeping black and Latinos down, keeping the fucking immigrants out and making America an armed fortress. 

Then as the transition began its awful cycle on the turnover Trump daily almost shocked me, and everybody else like me, with his choices for who would aid him in his government. This is where the “mea culpa” of the title of this piece comes in. I now am ready to concede that there is some qualitative difference between a Trump government and what Hillary’s would have looked like- if only because she would leave us alone. I still stand by my vote of “no confidence” and am still glad, very glad, that I cast my protest vote for Jill Stein but we are in a mess for the next four years no question. Practically speaking though I was down in Washington on January 20^th to express my opposition, no, my resistance to the Trump government on day one.

Down with the Trump government!-Build The Resistance   

Those Who Fought For Our Communist Futre Are Kindred Spirits- Honor French Revolutionary Maximilien Robespierre

Click on the title to link to an "American Left History" blog entry reviewing a biography of Maximilien Robespierre.

Every January, as readers of this blog are now, hopefully, familiar with the international communist movement honors the 3 Ls-Lenin, Luxemburg and Leibknecht, fallen leaders of the early 20th century communist movement who died in this month (and whose untimely deaths left a huge, irreplaceable gap in the international leadership of that time). January is thus a time for us to reflect on the roots of our movement and those who brought us along this far. In order to give a fuller measure of honor to our fallen forbears this January, and in future Januarys, this space will honor others who have contributed in some way to the struggle for our communist future. That future classless society, however, will be the true memorial to their sacrifices.

Note on inclusion: As in other series on this site (“Labor’s Untold Story”, “Leaders Of The Bolshevik Revolution”, etc.) this year’s honorees do not exhaust the list of every possible communist worthy of the name. Nor, in fact, is the list limited to Bolshevik-style communists. There will be names included from other traditions (like anarchism, social democracy, the Diggers, Levellers, Jacobins, etc.) whose efforts contributed to the international struggle. Also, as was true of previous series this year’s efforts are no more than an introduction to these heroes of the class struggle. Future years will see more detailed information on each entry, particularly about many of the lesser known figures. Better yet, the reader can pick up the ball and run with it if he or she has more knowledge about the particular exploits of some communist militant, or to include a missing one.

On the 50th Anniversary of the Vietnamese Tet Offensive -TET- A Book Review

On the 50th Anniversary of the Vietnamese Tet Offensive -TET- A Book Review

Book Review

By Sam Lowell
TET!, Don Ordorfer, Putnam, New York, 1971

A new edition of this book was published in 2001 with, I believe, a new introduction by the author. I am using the old edition for my own political purposes. 

Recently I was listening to Talk of the Nation on National Public Radio and the subject concerned formation of political consciousness. One of the callers identified himself as an ardent 1960’s anti-Vietnam War protester and self-styled ‘hippie’ who in 1984 ‘got religion’ and saw the error of his ways. The formative point of this new found wisdom was a documentary on the Public Broadcast System (PBS) that indicated to him that the Tet Offensive of 1968 has not been a military victory for the North Vietnamese/South Vietnamese Liberation Front forces (hereafter NVA/NLF). Somehow along the way he had assumed, based, he said, on information from Walter Cronkite that it was a military victory. Well, this writer then as now, as we celebrate the 40th Anniversary of that event, can confirm for that caller that, indeed, Tet was not a NVA/NLF military victory. Here is the point, however, military victory or not, it was certainly a political victory for those NVA/NLF forces. In modern conditions, sometimes, political victories are more important that military ones. The book under review, whatever else it shortcomings might be, confirms this view.

Is this book the best one on the history of the Tet offensive? Probably not. However it has the virtue of having been written a short time after this major political event. Thus, although it is not the "first draft of history" it is close enough for our purposes. The drawback here is that it was written while the war was still going on so that the relationship between Tet 1968, Tet 1972 and then the final military victory in 1975 does not give the event its full impact in the overall scheme of NVA/NLF strategy and American/South Vietnamese counter-strategy.

The author hits all the high points of this decisive several month period from about the summer of 1967 when the NVA/NLF decided to make a major push against the South to Tet itself and its immediate aftermath. The author starts off his book with a description of the famous NLF raid on the American embassy, goes on to the discuss the strategic aims of the North Vietnamese and the American response to it, the personal saga of one Lyndon Baines Johnson, and the in-fighting in the old Cold war national security establishment about the proper American response and then the results and aftermath of the offensive.

Reading history with a purpose, in short, to learn some lessons is sometimes a chancy thing. Here that purpose can be encapsulated in the following few words- to draw the lessons of history of the Vietnam War in order to apply them to the opposition struggle against the Iraq war. Yes, the differences between Vietnam and Iraq, in the final analysis are probably greater than the similarities however the American hubris that led Lyndon Johnson to escalation in Vietnam and George W. Bush to occupation in Iraq is still in operation. In the end the author draws the conclusion that history will eventually draw on Tet 1968, and that today's American leaders seem to be willfully ignoring- in modern military warfare the political question is the question. From the NVA/NLF side that entailed heavy and dramatic losses but I would argue that their decision to probe American military and political resolve was essentially correct. Read on.

Invitation to a State Wide Meeting of Massachusetts Peace and Justice Groups Saturday, February 3, 2018 10am - 3pm Worcester, MA - Location TBA

Invitation to a State Wide Meeting of Massachusetts Peace and Justice Groups

Saturday, February 3, 2018

10am - 3pm

Worcester, MA - Location TBA

The peace and justice movement faces new and difficult conditions in the Trump presidency.  Sharply increased military spending, escalated wars in the Middle East and Afghanistan, and threats against North Korea, Iran, Venezuela, and Cuba, are coupled with increased anti-immigrant, anti-Arab, and anti-Muslim rhetoric and racism, and attacks on labor, working people, and the climate.  The far right controls the national and most state governments and is on the offensive on every front.

Fortunately, a new progressive movement has risen to resist Trumpism, exemplified by Black Lives Matter, Bernie Sanders campaign of 2016, the Women's March, the wide response to Charlottesville, and the general concern about economic inequality.  But too often, progressive groups do not see peace as part of their agenda.  In the Trump presidency, even though militarism and war is central to Trumpism, peace is on the sidelines of the progressive movement.

We propose that to respond to this situation, we need a new focus on peace issues as part of the movement for social, economic, and climate justice.  We call on Massachusetts organizations committed to peace and justice to come together for a meeting to strengthen our collaboration.  

We envision that organizations attending would be limited to those that already share substantial unity on an understanding of the issues, and that the meeting would be devoted to exchanging ideas about campaigning and coordination. We hope that each group will offer its own ideas and that we can come up with a combined agenda. One outcome of a meeting could be formation of a network to keep our organizations in touch as we move forward.

To keep the discussion manageable, we suggest each organization send two representatives, though we won’t turn anyone away if more people want to come.  Please let us know if you can make it!

Signed

Cole Harrison, Shelagh Foreman, and Jonathan King:  Massachusetts Peace Action

Joseph Gerson: American Friends Service Committee and Campaign for Peace, Disarmament and Common Security

Paul Shannon: United for Justice with Peace

Jeff Napolitano: The Resistance Center for Peace and Justice

State Wide Peace Meeting

February 3, 2018

10am-3pm

Worcester - Location TBA

Draft Agenda

Welcome & Goals

Who else is doing what work?

Connect groups to work together

Go - Around - 1 min each

Name and Group Name

What issues is your group working on

Chart paper with dots

Overview panel - 5 min each

US wars and interventions

Nuclear disarmament

Peace economy / War economy

Discussion

Regroup and Evaluate

Who else is doing what work?

Connect groups to work together

Form a Network?

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"Not one step back"

Cole Harrison

Executive Director

Massachusetts Peace Action - the Commonwealth's largest grassroots peace organization

11 Garden St., Cambridge, MA 02138

617-354-2169 w

617-466-9274 m

www.masspeaceaction.org

Facebook: facebook.com/masspeaceaction

Twitter: masspeaceaction

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