Tuesday, October 09, 2018

On Armistice Day, Let’s Celebrate Peace by Kathy Kelly November 10, 2017

On Armistice Day, Let’s Celebrate Peace



November 10, 2017

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U.S. National Archives

Thousands massed on all sides of the replica of the Statue of Liberty on Broad Street in Philadelphia, cheered unceasingly, upon the announcement of the armistice on November 11, 1918.

Wilfred Owen, an English poet who was killed in action exactly one week before the Armistice that finally ended World War I was signed, wrote about the horrors of living in trenches and enduring gas warfare.


Wikimedia

In “The Parable of the Old Man and the Young,” he revises the Biblical narrative about Abraham’s willingness to sacrifice his son, Isaac. Believing God willed the slaughter, Abraham prepared to bind Isaac and slay him. Owen transforms Abraham into the European powers who were willing to slaughter youthful generations in the trenches of World War I.

Only in this telling, Abraham refuses to heed the angel who urges that the son be spared. The old man “slew the son, and half the seed of Europe, one by one.”

Thirty million soldiers were killed or wounded and another seven million taken captive during World War I. Some 50 to 100 million perished from a flu epidemic created by the war. “Never before,” writes author and activist David Swanson, “had people witnessed such industrialized slaughter, with tens of thousands falling in a day to machine guns and poison gas.”

A stunned and exhausted West greeted November 11, 1918, the day the war came to an end, as its delivery from horror.

In 1938, Congress declared Armistice Day a legal holiday dedicated to the cause of world peace. In 1954 the holiday was renamed Veterans Day and morphed into an occasion for flag waving and military parades.

Veterans for Peace are working to recover the original purpose of Armistice Day—calling for adequate psychological and material support for veterans, and above all to abolish wars.

Now, members of the group Veterans for Peace are working across the U.S. to recover the original purpose of Armistice Day. They are using it to call for adequate psychological and material support for veterans, to help them cope with the terrors they have been forced to endure. Above all, they work to abolish wars.



This year on Nov. 11, at 11 a.m., Veterans for Peace chapters across the United States will ring bells, recalling that minute in 1918 when, as Kurt Vonnegut wrote, “millions upon millions of human beings stopped butchering one another.”

“This event is more than just a historical remembrance,” says Ed Flaherty, a member of the Iowa City Chapter of Veterans for Peace. “It is about today, about our pressing need to reverse the war-momentum and to take up the sweet burden of creating lasting peace.”

This year on Nov. 11, at 11 a.m., Veterans for Peace chapters will ring bells, recalling that minute in 1918 when, as Kurt Vonnegut wrote, “millions upon millions of human beings stopped butchering one another.”

Writing on behalf of the group’s Tom Paine chapter in Albany, New York, John Amidon explains that the veterans will be “purposefully walking” in the local Veterans day parade because “we ain’t marching anymore.”

The tragically stubborn “old man” in Owen’s poem rejected the angel’s intervention urging him to choose life over death. We do not have to keep making that same mistake.


Armistice Day gives us an opportunity to acknowledge the brutal futility of armed conflict, the wastefulness of our military spending, and the responsibility we share to abolish all wars.

Kathy Kelly   co-coordinates the group   Voices for Creative Nonviolence.

On The 55th Anniversary-Never Forget Birmingham Sunday 1963







On The 50th Anniversary-Never Forget Birmingham Sunday 1963

Joan Baez - Birmingham Sunday Lyrics

Lyrics as reprinted in Guy and Candie Carawan, Sing for Freedom: The Story of
the Civil Rights Movement through its songs, Bethlehem, PA, 1990, pp. 122-123.


Come round by my side and I'll sing you a song.
I'll sing it so softly, it'll do no one wrong.
On Birmingham Sunday the blood ran like wine,
And the choir kept singing of Freedom.
That cold autumn morning no eyes saw the sun,
And Addie Mae Collins, her number was one.
In an old Baptist church there was no need to run.
And the choir kept singing of Freedom,
The clouds they were dark and the autumn wind blew,
And Denise McNair brought the number to two.
The falcon of death was a creature they knew,
And the choir kept singing of Freedom,
The church it was crowded, and no one could see
That Cynthia Wesley's dark number was three.
Her prayers and her feelings would shame you and me.
And the choir kept singing of Freedom.
Young Carol Robertson entered the door
And the number her killers had given was four.
She asked for a blessing but asked for no more,
And the choir kept singing of Freedom.
On Birmingham Sunday a noise shook the ground.
And people all over the earth turned around.
For no one recalled a more cowardly sound.
And the choir kept singing of Freedom.
The men in the forest they once asked of me,
How many black berries grow in the Blue Sea.
I asked them right back with a tear in my eye.
How many dark ships in the forest?
A Sunday has come a Sunday has gone.
And I can't do much more than to sing you a song.
I'll sing it so softly, it'll do no one wrong.
And the choir keeps singing of Freedom.



On The 55th Anniversary-Never Forget Birmingham Sunday 1963




On The 55th Anniversary-Never Forget Birmingham Sunday 1963

February Is Black History Month

Joan Baez - Birmingham Sunday Lyrics
Lyrics as reprinted in Guy and Candie Carawan, Sing for Freedom: The Story of
the Civil Rights Movement through its songs, Bethlehem, PA, 1990, pp. 122-123.

Come round by my side and I'll sing you a song.
I'll sing it so softly, it'll do no one wrong.
On Birmingham Sunday the blood ran like wine,
And the choir kept singing of Freedom.
That cold autumn morning no eyes saw the sun,
And Addie Mae Collins, her number was one.
In an old Baptist church there was no need to run.
And the choir kept singing of Freedom,
The clouds they were dark and the autumn wind blew,
And Denise McNair brought the number to two.
The falcon of death was a creature they knew,
And the choir kept singing of Freedom,
The church it was crowded, and no one could see
That Cynthia Wesley's dark number was three.
Her prayers and her feelings would shame you and me.
And the choir kept singing of Freedom.
Young Carol Robertson entered the door
And the number her killers had given was four.
She asked for a blessing but asked for no more,
And the choir kept singing of Freedom.
On Birmingham Sunday a noise shook the ground.
And people all over the earth turned around.
For no one recalled a more cowardly sound.
And the choir kept singing of Freedom.
The men in the forest they once asked of me,
How many black berries grow in the Blue Sea.
I asked them right back with a tear in my eye.
How many dark ships in the forest?
A Sunday has come a Sunday has gone.
And I can't do much more than to sing you a song.
I'll sing it so softly, it'll do no one wrong.
And the choir keeps singing of Freedom.



*A Song Of The 1960's Civil Rights Struggle- Richard Farina's "Birmingham Sunday"

Click on the title to link to a "YouTube" film clip of Joan Baez performing Richard Farina's "Birmingham Sunday".

Markin comment:

Here is a song for Black History Month- a Civil Rights song made famous by Joan Baez and written by Richard Farina (her brother-in-law, married to her sister Mimi although I am not sure if he was at the time the song was written). It concerns the tragic and obscenely racist bombing of a black church killing four young, innocent black girls. Yes, one can still weep over that one today.

Birmingham Sunday

Come round by my side and I'll sing you a song.
I'll sing it so softly, it'll do no one wrong.
On Birmingham Sunday the blood ran like wine,
And the choirs kept singing of Freedom.

That cold autumn morning no eyes saw the sun,
And Addie Mae Collins, her number was one.
At an old Baptist church there was no need to run.
And the choirs kept singing of Freedom,

The clouds they were grey and the autumn winds blew,
And Denise McNair brought the number to two.
The falcon of death was a creature they knew,
And the choirs kept singing of Freedom,

The church it was crowded, but no one could see
That Cynthia Wesley's dark number was three.
Her prayers and her feelings would shame you and me.
And the choirs kept singing of Freedom.

Young Carol Robertson entered the door
And the number her killers had given was four.
She asked for a blessing but asked for no more,
And the choirs kept singing of Freedom.

On Birmingham Sunday a noise shook the ground.
And people all over the earth turned around.
For no one recalled a more cowardly sound.
And the choirs kept singing of Freedom.

The men in the forest they once asked of me,
How many black berries grew in the Blue Sea.
And I asked them right with a tear in my eye.
How many dark ships in the forest?

The Sunday has come and the Sunday has gone.
And I can't do much more than to sing you a song.
I'll sing it so softly, it'll do no one wrong.
And the choirs keep singing of Freedom.

Monday, October 08, 2018

In The Thick Of The Great Depression-Daydreams Of Social Mobility-The Film Adaptation Of Booth Tarkington’s “Alice Adams” (1935)- A Review


In The Thick Of The Great Depression-Daydreams Of Social Mobility-The Film Adaptation Of Booth Tarkington’s “Alice Adams” (1935)- A Review    



DVD Review

Si Lannon

Alice Adams, starring Katharine Hepburn, Fred MacMurray, from a novel by Booth Tarkington, 1935   



Growing up poor is a tough dollar no doubt about it. Maybe that is why I was assigned this film Alice Adams (based on the Booth Tarkington novel) by site manager Greg Green although a number of other writers here have also grown up under those conditions. Perhaps Greg chose me because my family circumstances kind of mirror those of the main character Alice, played by Katharine Hepburn. I grew up in the working-class poor Acre neighborhood in North Adamsville south of Boston where we were kind of the “middle class” meaning nothing other than we had our own house, small and dingy but our own as my mother was always fond of saying until her dying breathe (to distinguish us from those who rented apartments in the array of triple-decker buildings that were peppered around the neighborhood). Which also meant that my father, Norman, always had steady if not well-paid work at the North Adamsville Gear Works which was a sub-contracting outfit for the shipbuilding operations which dominated the town’s economy and kept us going until that shipbuilding pulled out to off-shore locations well after I came of age in the 1950s. That steady work was an important difference in the area since many, mainly men in those days of male breadwinners and female housewives, like Peter Paul Markin’s father for one, were always last hired, first fired in the up and down shipbuilding economy. There was always a tension between those who looked like they had made and those who were going to be left behind-always left behind.

That though is where the similarities between Alice, once again played by severely beautiful Katharine Hepburn, in the film and I differ significantly. Alice was always “putting on airs,” always lying to herself and others about her class situation. Always doe-eyed daydreaming that she was someplace above her station only to be crushed more times than not-for a while. I, on the other hand unknowingly accepted that we were working poor and that I should stay with guys like Markin and some of the guys who work here who grew up in the same town or small circumstances. Maybe it was because the rich and poor classes in my town never mixed much, except maybe a little in school and that only in passing.  (The very rich or the strivers sent their kids to private schools to “escape” having to deal with the raucous public schoolers and gain some resume credentials-some sent their kids to Catholic parochial schools but they were poor as church mice too and just wanted their kids away from the heathens like me and my crowd.)      

It was almost painful to see Alice and her upward social mobility strivings at the cost of her dignity and her intelligence kowtowing to others in town who flouted their good fortune fortunes. Of course some of this is just the myth of the American dream come to small-town America via a small town American girl who maybe read too many romantic novels, Cinderella stuff, when young. Abetted by a social striving mother who harpooned her father into giving a up a steady if underpaid and underutilized his skills job in order to rise economically for Alice’s benefit. Jesus, no wonder Alice was ready to debase herself at every moment in her quest for a rich man who would carry her off.  

Maybe I better set the story and you can figure out whether she was a holy goof or had more sense than I did in trying to get out from under that small- town girl rock. Alice, via her father, lives in an old-fashioned working- class house which befitted an employee, a clerk working for somebody else. Alice though had dreams and maybe some small connections to the upper classes via a tenuous friendship with one of the town debutantes. In order to “fit in” or believe she did she developed a whole persona who denied reality and lived in cloud cuckoo land. Except at one key dance she “met” Arthur, a rich young man played by Fred MacMurray last seen in this space bleeding like a sieve after Barbara Stanwyck threw a few off-hand slugs into him after the pair plotted the murder of her husband for dough and freedom in Double Indemnity, who somehow despite her wanderlust was attracted to her. Attracted despite being in some kind of relationship with that debutante who threw the party where they met.

Despite Alice’s antics, despite her slavish devotion to her dreams of upward mobility and her willfully false consciousness about her family’s financial condition Arthur stays the course. Stays the course even when she invites him to what turns out to be a disastrous dinner. Stays the course despite her brother’s getting into legal trouble and her father too in attempting to move up in class for her sake. Ms. Hepburn in the early days had a certain refreshing rose-cheeked charm and beauty but I will be damned unless Arthur was an airhead how she snagged that guy. But she did.

As The 100th Anniversary Of The Armistice Day 11/11/1918 at 11 AM Commences-Some Creative Artists Who Fought/Died/Lived Through The Nightmare That Destroyed The Flower Of European And American Youth –Wyndam Lewis

As The 100th Anniversary Of The Armistice Day 11/11/1918 at 11 AM Commences-Some Creative Artists Who Fought/Died/Lived Through The Nightmare That Destroyed The Flower Of European And American Youth –Wyndam Lewis 



By Seth Garth


A few years ago, starting in August 2014 the 100th anniversary of what would become World War I, I started a series about the cultural effects, some of them anyway, of the slaughter which mowed down the flower of the European youth including an amazing number of artists, poets, writers and other cultural figures. Those culturati left behind, those who survived the shellings, the trenches, the diseases, and what was then called “shell shock,” now more commonly Post-Traumatic Stress Disorder (PTSD) which is duly recognized, and compensated for at least in the United States by the Veterans Administration in proven cases reacted in many different ways. Mainly, the best of them, like the ordinary dog soldiers could not go back to the same old, same old, could not revive the certitudes of the pre-war Western world with it distorted sense of decorum and went to what even today seem quirky with moderns like Dada, Minimalism, the literary sparseness of Hemingway, and so on. I had my say there in a general sense but now as we are only a few months away from the 100th anniversary of, mercifully, the armistice which effectively ended that bloodbath I want to do a retrospective of creative artistic works by those who survived the war and how those war visions got translated into their works with some commentary if the spirit moves me but this is their show-no question they earned a retrospective.

On The Cultural Front of The 1960s Uprising-The 50th Anniversary Of The Musical “Hair”-A Few Thoughts

On The Cultural Front of The 1960s Uprising-The 50th Anniversary Of The Musical “Hair”-A Few Thoughts 



A link to an National Public Radio On Point program featuring the 50th anniversary of the musical and it meaning then, and now:

http://www.wbur.org/onpoint/2018/05/04/fifty-years-of-hair  



By Si Lannon


The first time I heard that Seth Garth was going to preempt political aficionado Frank Jackman and do the 200th anniversary of the birth of Communist Manifesto writer Karl Marx was upon publication under the former’s name. Which pisses me off since I have been squeezed out apparently of getting any assignments around the incredible number of 1968 events which are having their 50th anniversary commemorations. (The Marx 200th anniversary thing intersects 1968 via a then growing interest in his theories among students and young radicals once the old tactics and strategy around Democratic Party takeover politics went asunder.) Upon privately complaining to site manager Greg Green he gave me this assignment to make a few comments of the 50th anniversary of the musical Hair, on Broadway at least although it had been off-Broadway the year before, one of the few musicals that could have possibly captured some of the pathos, bathos and essence of what was going on in all its messy splendor in that year.

Hair represented that trend away from goodie two shoes formula entertainment like song and dance musicals and thinly pitched family dramatic productions. That represented what the audiences of the 1950s were interested in and still had, have a place in the Great White Way scheme of things. But the unacknowledged (at the time not so now once the cultural critics took their long look at the subject) effect of the vanguard work that was being done in little theaters for little money for little audiences finally took root. Artaud’s Theater of the Absurd, Brecht’s didactic efforts and the like finally found a more receptive general audience. So Hair in 1967-68 did not raise as many hairs among the theater going public as it might have earlier in the decade when it would have been treated as an end of run “beat” saga. That is no to say the subject of intense profanity, vivid sexual reference, an interracial cast and endless paeans to drugs of all sorts didn’t raise hackles, didn’t have members of the audience walking out shaking their heads but as word got out that this was a generational sage for the agents of Aquarius the thing couldn’t be stopped. And as one voice in the above mentioned link noted she was still playing in, albeit in Vermont, one of the last real refuses of the survivors of the Generation of ’68 is still being produced someplace in this wild wicked old land.         




An Encore- Coming Of Age, Political Age, In The 1960s Night- A Baptism Of Fire-Making War On The War-Makers

An Encore- Coming Of Age, Political Age, In The 1960s Night- A Baptism Of Fire-Making War On The War-Makers

 

From The Pen Of Frank Jackman 



He was scared. All of fourteen year old Peter Paul Markin’s body was scared. Of course he knew, knew just as well as anybody else, if anybody thought to ask, that he was really afraid not scared, but Peter Paul was scared anyway. No, not scared (or afraid for the literary correct types), not Frannie De Angelo demon neighborhood tough boy, schoolboy nemesis scared, scared that he would be kicked in the groin, bent over to the ground in pain for no reason, no reason except Frannie deep psycho hard boy reasons known only to himself. Markin was used to that kind of scared, not liking it, not liking getting used to it but he was not tough, not even close although he was wiry, but not Franny heavyweight tough, but used to it. And this certainly was not his usual girl scared-ness on the off chance that one, one girl that is, might say something to him and he would have no “cool” rejoinder. (Yes, girls scared him, not Franny scared but no social graces scared, except in the comfortable confines of a classroom where he could show off with his knowledge of two thousand arcane facts that he thought would impress them but no avail then, later he would be swarmed, well, maybe not swarmed but he didn’t have to spend many lonely weekend nights studying to get to three thousand arcane facts) This was different. This, and his handkerchief-dabbed wet palms and forehead did not lie, was an unknown scared. 

See, Peter Paul had taken a bet, a “put your money where your mouth is" bet, from best freshman high school friend Frankie, Francis Xavier Riley, if you want to know the full name. Now these guys had previously bet on everything under the sun since middle school, practically, from sports game spreads, you know Ohio State by ten over Michigan stuff like that, to how high the master pizza man and owner at Salducci’s Pizza Parlor, Tonio, would throw his pizza dough one strange night when Frankie needed dough (money dough that is) for his hot date with girlfriend Joanne. So no bet was too strange for this pair, although this proposition was probably way too solemn to be bet on. 

 

What got it started, the need for a bet started, this time, really had to do with school, or maybe better, the world situation in 1960. Peter Paul, a bundle of two thousand facts that he guarded like a king’s ransom, went off the deep end in 9th grade Civics class when he, during a current events discussion, exploded upon his fellow classmates with the observation that there were too many missiles, too many nuclear bomb-loaded guided missiles, in the world and that both sides in the Cold War (The United States and the Soviet Union and their respective hangers-on) should “ban the bomb.” But you have not heard the most provocative part yet, Peter Paul then argued that, as a good-will gesture and having more of them, the United States should destroy a few of its own. Unilaterally. 

 

Pandemonium ensued as smarts guys and gals, simps and stups also, even those who never uttered a word in class, took aim at Peter Paul’s head. The least of it was that he was called a “commie” and a "dupe" and the discussion degenerated from there. Mr. Merck was barely able to contain the class, and nobody usually stepped out line in his class, or else. Somehow order was restored by the end of class and within a few days the class was back to normal, smart guys and girls chirping away with all kinds of flutter answers and the simps and stups, well the simp and stups did their simp and stup thing, as always. 

 

Frankie always maintained that that particular day was one of the few that he wasn’t, and he really wasn’t, glad that Peter Paul was his friend. And during that class discussion he made a point, a big point, of not entering the fray in defense of his misbegotten friend. He thought Peter Paul was off the wall, way off the wall, on this one and let him know it after class. Of course, Peter Paul could not leave well enough alone and started badgering friend Frankie about it some more. But this was stone wall time because Frankie, irreverent, most of the time irreligious, and usually just happy to be girl-smitten in the world, and doing stuff about that, and not worried about its larger problems really believed, like the hard Roman Catholic-bred boy that he was underneath, that the evil Soviet Union should be nuclear fizzled-that very day. 

 

But Peter Paul kept egging the situation on. And here is the problem with a purist, a fourteen year old purist, a wet behind the ears fourteen year old purist when you think about it. Peter Paul was as Roman Catholic-bred underneath as Frankie but with this not so slight difference. Peter Paul’s grandmother, Anna, was, and everybody who came in contact with her agreed, a saint. A saint in the true-believer catholic social gospel sense and who was a fervent admirer of Dorothy Day’s Catholic Worker for social justice movement started in the 1930s. So frequently The Catholic Worker, the movement newspaper, would be lying around her house. And just as frequently Peter Paul, taking grandmother refuge from the hell-bend storms at his own house, would read the articles. And in almost every issue there would be an article bemoaning the incredible increase in nuclear weapons by both sides, the cold war freeze-out that escalated that spiral and the hard fact that the tipping point beyond no return was right around the corner. And something had to be done about it, and fast, by rational people who did not want the world blown up by someone’s ill-tempered whim. Yah, heady stuff, no question, but just the kind of thing that a certain fourteen year old boy could add to his collection of now two thousand plus facts. 

Heady stuff, yah, but also stuff that carried some contradictions. Not in grandmother Anna, not in Dorothy Day so much as in Peter Paul and through him Frankie. See, the Catholic Worker movement had no truck, not known truck, anyway with “commies" and "dupes”, although that movement too, more than once, and by fellow Catholics too, was tarred with that brush. They were as fervent in their denunciation of the atheistic Soviet Union as any 1950s red-baiter. But they also saw that that stance alone was not going to make the world safer for believers, or anybody else. And that tension between the two strands is where Frankie and Peter Paul kind of got mixed up in the world’s affairs. Especially when Peter Paul said that the Catholic Worker had an announcement in their last issue that in October (1960) they were going to help sponsor an anti-nuclear proliferation rally on the Boston Common as part of a group called SANE two weeks before the presidential elections. 

Frankie took that information as manna from heaven. See, Frankie was just as interested in knowing two thousand facts in this world as Peter Paul. Except Frankie didn’t guard them like a king’s ransom but rather used them, and then discarded them like a tissue. And old Frankie, even then, even in 1960 starting to spread his wings as the corner boy king of the North Adamsville high school class of 1964, knew how to use his stockpile of facts better than Peter Paul ever could. So one night, one fiercely debated night, when Frankie could take no more, he said “bet.” And he bet that Peter Paul would not have the courage to travel from North Adamsville to Park Street Station in Boston to attend that SANE rally by himself (who else would go from old working- class, patriotic, red-scare scared, North Adamsville anyway). And as is the nature of fourteen year old boy relationships, or was, failure to take the bet, whatever bet was social suicide. “Bet,” said Peter Paul quickly before too much thinking time would elapse and destroy the fact of the bet marred by the hint of hesitation. 

But nothing is ever just one thing in this wicked old world. Peter Paul believed, believed fervently, in the social message of the Catholic Worker movement especially on this nuclear war issue. But this was also 1960 and Irish Jack Kennedy was running, and running hard, to be President of the United States against bad man Richard Milhous Nixon and Peter Paul was crazy for Jack (really for younger brother, Bobby, the ruthless organizer behind the throne which is the way he saw his own future as a political operative). And, of course, October in election year presidential politics is crunch time, a time to be out hustling votes, out on Saturday hustling votes, especially every Irish vote, every Catholic vote, hell, every youth vote for your man. 

 

On top of that Jack, old Irish Jack Kennedy, war hero, good-looking guy with a good-looking wife (not Irish though not as far as anyone could tell), rich as hell, was trying to out-Cold War Nixon, a Cold War warrior of the first degree. And the way he was trying to outgun Nixon was by haranguing everyone who would listen that there was a “missile gap,” and the United was falling behind. And when one talked about a missile gap in 1960 that only meant one thing, only brooked only one solution- order up more, many more, nuclear-bomb loaded guided missiles. So there it was, one of the little quirks of life, of political life. So, Peter Paul, all fourteen year old scared Peter Paul has to make good on his bet with Frankie but in the process put a crimp into his hoped-for political career. And just for that one moment, although with some hesitation, he decided to be on the side of the “angels” and to go. 

That Saturday, that October Saturday, was a brisk, clear autumn day and so Peter Paul decided to walk the few miles from his house in North Adamsville over the Neponset Bridge to the first MTA subway station at Fields Corner rather than take the forever Eastern Mass. bus that came by his street erratically. After crossing the bridge he passed through one of the many sections of Boston that could pass for the streets of Dublin. Except on those streets he saw many young Peter Pauls holding signs at street corners for Jack Kennedy, other passing out literature, and others talking up Jack’s name. Even as he approached the subway station he saw signs everywhere proclaiming Jack’s virtues. Hell, the nearby political hang-out Eire Pub looked like a campaign headquarters. What this whole scene did not look like to Peter Paul was a stronghold place to talk to people about an anti-nuclear weapons rally. Peter Paul got even more scared as he thought about the reception likely at the Boston Commons. He pushed on, not without a certain tentative regret, but he pushed on through the turnstile, waited for the on-coming subway to stop, got on, and had an uneventful ride to the Park Street Station, the nearest stop to the Common. 

Now Park Street on any given Saturday, especially in October after the college student hordes have descended on Boston, is a madhouse of activity. College student strolling around downtown looking for goods at the shops, other are just rubber-necking, other are sunning themselves on the grass or park benches in the last late sun days before winter arrives with a fury. Beyond the mainly civilized college students (civilized on the streets in the daytime anyway) there are the perennial street people who populate any big city and who when not looking for handouts, a stray cigarette, or a stray drink are talking a mile a minute among themselves about some supposed injustice that has marred their lives and caused their unhappy decline. Lastly, and old town Boston, historic old town Boston, scene of many political battles for every cause from temperance to liberty, is defined by this, there are a motley crew of speakers, soap-box speakers whether on a real soap-box or not, who are holding forth on many subjects, although none that drew Peter Paul’s attention this day. After running that gauntlet, as he heads for the Francis Parkman Bandstand where the SANE rally was to take place he was amused by all that surrounds him putting him in a better mood, although still apprehensive of what the day will bring forth. 

Arriving at the bandstand he saw about twenty people milling around with signs, hand-made signs that showed some spunk, the most prominent being a large poster-painted sign that stated boldly, “Ban The Bomb.” He is in the right place, no question. Although he is surprised that there are not more people present he is happy, secretly happy, that those twenty are there, because, frankly, he thought there might be just about two. And among that crowd he spotted a clot of people who were wearing Catholic Worker buttons so he is now more fully at ease, and was starting to be glad that he came here on this day. He went over to the clot and introduced himself and tells them how he came to be there. He also noted that one CWer wore the collar of a priest; a surprise because at Sacred Heart, his parish church, it was nothing but “fire and brimstone” from the pulpit against the heathen communist menace. 

Get this-he also met a little old lady in tennis sneakers. For real. Now Frankie, devil’s advocate Frankie, baited Peter Paul in their arguments about nuclear disarmament by stating that the “peaceniks” were mainly little old ladies in tennis shoes-meaning, of course, batty and of no account, no main chance political account, no manly Jack Kennedy stand up to the Russians account. Peter Paul thought to himself wait until I see Frankie and tell him that this little old lady knew more about politics, and history, than even his two thousand facts. And was funny too boot. Moreover, and this was something that he had privately noticed, as the youngest person by far at the rally she, and later others, would make a fuss over him for that very reason talking about young bravery and courage and stuff like that. 

Over the course of the two hours or so of the rally the crowd may have swelled to about fifty, especially when a dynamic black speaker from the W.E.B. Dubois club at Harvard University linked up the struggle against nuclear weapons with the black struggle down South for voting rights that those in the North had been hearing more about lately. It was not until later, much later, that Peter Paul found out that this Dubois club business was really the name of the youth group of the American Communist Party (CP) at the time but by that time he was knowledgeable enough to say “so what.” And it was not until later that he found out that the little old lady with the tennis sneakers was a CPer, although she had said at the time he talked to her she was with some committee, some women’s peace committee, within the Democratic Party. Oh, well. But then he would also be able to say “so what” to that accusation in proper “family of the left” fashion. 

 

But forget all that later stuff, and what he knew or did not know later. See, that day, that October 1960 autumn day, Peter Paul learned something about serious politics. If you are on the right side of the angels on an issue, a central issue of the day, you are kindred. And although there were more than a few catcalls from the passers-by about “commies”, “dupes”, and “go back to Russia” he was glad, glad as hell that he came over. Although nothing turned inside him, noticeably turned inside him that day, about his politics and his determination to see Jack Kennedy and the Democrats take the White House he thought about those brave people at the bandstand and what they were standing for a lot for a long time after the event faded from memory. Oh yah, it was good to be on the side of the angels. And it didn’t hurt that he won that Frankie bet, either.

On The 60th Anniversary Of Jack Kerouac's "On The Road" (1957-Films To While Away The Class Struggle By- One More Time On The "Beats" -"The Source"

On The 60th Anniversary Of Jack Kerouac's "On The Road" (1957-Films To While Away The Class Struggle By- One More Time On The "Beats" -"The Source"


A "YouTube" film clip of "beat" fixtures, Allen Ginsberg and Neal Cassady.




DVD Review

The Source, Allen Ginsberg, William S. Burroughs, Jack Kerouac, Neal Cassady, Gregory Corso, and a gang of other poets, pranksters, and preachers of the beat in the 1950, 1999


Over the past several months I have, seemingly, grabbed every film documentary about the “beat” literary movement of the 1950s that I could get my hands on. This film, “The Source”, continues that quest. And why am I interested in this movement, essentially a literary movement and not particularly, at least overtly, a consciously political movement that would not seem to fit in with other literary movements that I have given space to here? Well the short answer is that I just like the free verse spontaneous literary styles of Jack Kerouac, Allen Ginsberg, William S. Burroughs and company. More to the point I have been trying, as this documentary and others reviewed in this space have attempted as well, to link the liberating effects of that 1950s scene as forbears of my own generation, the Generation of ’68, a much less literary-inclined generation.

That idea sets one of the parameters of my interest. Another is the question of what of this collective wealth of archival footage, interviews and readings that virtually all the films reviewed have presented gives the best idea of what was going on then for those of us who were really too young (or were not born yet)to appreciate this breathe of fresh air. This effort is one the better ones for two reasons. First, the producers have established clearly who they believe are (as I do) the central players in this drama, the above-mentioned Kerouac, Ginsberg and Burroughs. Of course, the “beat’ scene is not complete without recognizing the role that madman-for-all seasons Neal Cassady, Zen-master poet Gary Snyder, street poet Gregory Corso, Michael McClure, Lawrence Ferlinghetti (if for no other reason that the establishment of the City Lights Bookstore, a central hangout) , and host of other minor poets, hangers-on and crazies played. They are given space here, as well. But without the core literary/philosophical leadership of the three there make not have been such a phenomenon.

Secondly, and more importantly, in recognition of that centrality the producers have given over a fair amount of time for a rather short documentary (about an hour and a half) to extensive readings of Kerouac’s work (by Johnny Depp) , Allen Ginsberg’s ground-breaking and defining “Howl”, and Burroughs “Naked Lunch” (by Dennis Hopper, who else, right?). These readings are important. “Beat” was driven by the sounds of jazz and the blues, among other aural influences so the sounds (and nuances) of the works are more critical than more cerebral efforts. Although to our current ears much of this may sound self-indulgent this was the breakout sound of the “beats”, and to paraphrase Kerouac’s ending to “On The Road”, the sound of the fathers, the fathers that we never knew, Kerouac/Ginsberg/Burroughs.

Songs To While Away The Class Struggle By-Buffy-Sainte Marie’s “Universal Soldier”

Songs To While Away The Class Struggle By-Buffy-Sainte Marie’s “Universal Soldier”



In this series, presented under the headline “Songs To While Away The Class Struggle By”, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here.
********
Markin comment on the lyric here:
While I have always considered this a very good anti-war song the tone of the lyrics leave me a little off-put these days. There are, in this wicked old world, some just wars, the Northern side in the American Civil War, The American side in the struggle for independence, The Irish side in the struggle against the British on Easter, 1916 and so on. Thus, until we take the guns away from those cruel oppressors of the mass of humanity we had best keep our own guns at the ready-and our class struggle soldiers prepared. Then someday this song will be an interesting relic for archeologists to uncover and laugh about the follies of primitive humankind.


Universal Soldier-Buffy Sainte-Marie
He's five feet two and he's six feet four
He fights with missiles and with spears
He's all of 31 and he's only 17
He's been a soldier for a thousand years

He's a Catholic, a Hindu, an atheist, a Jain,
a Buddhist and a Baptist and a Jew
and he knows he shouldn't kill
and he knows he always will
kill you for me my friend and me for you

And he's fighting for Canada,
he's fighting for France,
he's fighting for the USA,
and he's fighting for the Russians
and he's fighting for Japan,
and he thinks we'll put an end to war this way

And he's fighting for Democracy
and fighting for the Reds
He says it's for the peace of all
He's the one who must decide
who's to live and who's to die
and he never sees the writing on the walls

But without him how would Hitler have
condemned him at Dachau
Without him Caesar would have stood alone
He's the one who gives his body
as a weapon to a war
and without him all this killing can't go on

He's the universal soldier and he
really is to blame
His orders come from far away no more
They come from him, and you, and me
and brothers can't you see
this is not the way we put an end to war.