Happy Birthday Tom Rush -For Bob Dylan *Once More Into The Time Capsule, Part Two- The New York Folk Revival Scene in the Early 1960’s-Eric Von Schmidt

Happy Birthday Tom Rush -For Bob Dylan *Once More Into The Time Capsule, Part Two- The New York Folk Revival Scene in the Early 1960’s-Eric Von Schmidt

A link to YouTube's film clip of Eric Von Schmidt performing "Joshua's Gone Barbados".

CD Review

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001

Except for the reference to the origins of the talent brought to the city the same comments apply for this CD. Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:

Disc Two: Dave Van Ronk on “He Was A Friend Of Mine” and You’se A Viper”, The Chad Mitchell Trio on “Last Night I Had The Strangest Dream”, Hedy West on “500 Miles”, Ian &Sylvia on “Four Strong Winds”, Tom Paxton on “I Can’t Help But Wonder Where I’m Bound”, Peter, Paul And Mary on “Blowin’ In The Wind”, Bob Dylan on “Boots Of Spanish Leather”, Jesse Colin Young on “Four In The Morning”, Joan Baez on “There But For Fortune”, Judy Roderick on “Brother, Can You Spare A Dime?”, Bonnie Dobson on “Morning Dew”, Buffy Sainte-Marie on “Cod’ine” and Eric Von Schmidt on “ Joshua Gone Barbados”.

Eric Von Schmidt on “Joshua Gone Barbados”. As a good historical materialism of the Marxist tradition I am very wedded to the idea that ideas, movements and the like do not just spring forth in pristine nature but are conditioned by a whole series of prior events. Figuring out the important ones that drive history has been a life-long occupation. What has required less time is the knowledge that certain folk personalities like Dave Van Ronk (and the members of New Lost City Ramblers) were waiting in Greenwich Village when the young aspiring folkies were heading to Mecca.

There were other “hot” folk spots as well, with their own local town-greeters. In the case of Cambridge by the banks of the old Charles River and adjacent to that citadel of folk wisdom, Harvard University, that task was done by, among others, Eric Von Schmidt. Bob Dylan makes reference to Eric in one of his early albums. How about that for cache? I have written elsewhere about Eric’s role I only need to note here that there are two other songs that could have been included here: his cover of “When That Great Ship When Down” (about the Titanic, naturally); and, his own “Light Rain” are good examples of the kind of energy that was around in those days.

******

Sunday, March 11, 2007
Joshua Gone Barbados. Eric Gone, Too.(v2)

JOSHUA GONE BARBADOS. ERIC GONE, TOO. (Version 2)

Eric von Schmidt, a painter and folksinger, died February 2, 2007 in Connecticut. Bob Dylan wrote of him that “He could sing the bird off the wire and the rubber off the tire, he can separate the men from the boys and the note from the noise". But why should that be of interest to people in St. Vincent? Because his most recorded and most famous song, "Joshua Gone Barbados", is about an incident that happened near Georgetown:

http://svgblog.blogspot.com/2007/03/joshua-gone-barbados-eric-gone-toov2.html

"Joshua Gone Barbados".


"Cane standing in the fields getting old and red
Lot of misery in Georgetown, three men lying dead
And Joshua, head of the government, he say strike for better pay
Cane cutters are striking, Joshua gone away.

Chorus: Joshua gone Barbados, staying in a big hotel
People on St. Vincent they got many sad tales to tell.

Sugar mill owner told the strikers, I don't need you to cut my cane
Bring in another bunch of fellows, strike be all in vain.
Get a bunch of tough fellows, bring 'em from Sion Hill
Bring 'em in a bus to Georgetown, know somebody get killed.

And Sonny Child the overseer, I swear he's an ignorant man
Walking through the canefield, pistol in his hand
But Joshua gone Barbados, just like he don't know
People on the Island, they got no place to go.

Police giving protection, new fellows cutting the cane
Strikers can't do nothing, strike be all in vain
And Sonny Child he curse the strikers, wave his pistol 'round
They're beating Sonny with a cutlass, beat him to the ground.

Chorus 2:There's a lot of misery in Georgetown,
you can hear the women bawl
Joshua gone Barbados, he don't care at all.

Cane standing in the fields getting old and red
Sonny Child in the hospital, pistol on his bed
I wish I could go to England, Trinidad or Curacao
People on the Island they got no place to go.

The Answer My Friend Is Blowing (No Clipped “G”) In The Wind-The Influence Of Bob Dylan’s “The Times They Are A-Changin’” On The “Generation of’68”-The Best Part Of That Cohort

Link to NPR Morning Edition 'The Times They Are A-Changin" Still Speaks To Our Changing Times  https://www.npr.org/2018/09/24/650548856/american-anthem-the-times-they-are-a-changin

By Seth Garth

No question this publication both in its former hard copy editions and now more so in the on-line editions as the, ouch, 50^th anniversary of many signature events for the “Generation of ‘68” have come and gone that the whole period of the 1950s and 1960s had gotten a full airing. Has been dissected, deflected, inspected, reflected and even rejected beyond compare. That is not to say that this trend won’t continue if for no other reason that the demographics and actual readership response indicate that people still have a desire to not forget their pasts, their youth.

(Under the new site manager Greg Green, despite what I consider all good sense having worked under taskmaster Allan Jackson, we are encouraged to give this blessed readership some inside dope, no, no that kind, about how things are run these days in an on-line publication. With that okay in mind there was a huge controversy that put the last sentence in the above paragraph in some perspective recently when Greg for whatever ill-begotten reason thought that he would try to draw in younger audiences by catering to their predilections-for comic book character movies, video games, graphic novels and trendy music and got nothing but serious blow-back from those who have supported this publication financially and otherwise both in hard copy times and now on-line. What that means as the target demographic fades is another question and maybe one for a future generation who might take over the operation. Or perhaps like many operations this one will not outlast its creators- and their purposes.)    

Today’s 1960s question, a question that I have asked over the years and so I drew the assignment to address the issue-who was the voice of the 1960s. Who or what. Was it the lunchroom sit-inners and Freedom Riders, what it the hippies, was it SDS, the various Weather configurations, acid, rock, folk rock, folk, Tom Hayden, Jane Fonda, Abbie Hoffman, Grace Slick, hell the Three Js-Joplin, Jimi, Jim as in Morrison and the like. Or maybe it was a mood, a mood of disenchantment about a world that seemed out of our control, which seemed to be running without any input from us, without us even being asked. My candidate, and not my only candidate but a recent NPR Morning Edition segment brought the question to mind (see above link), is a song, a song created by Bob Dylan in the early 1960s which was really a clarion call to action on our part, or the best part of our generation-The Times They Are A-Changin’.    

I am not sure if Bob Dylan started out with some oversized desire to be the “voice” of his generation. He certainly blew the whole thing off later after his motorcycle accident and still later when he became a recluse even if he did 200 shows a year, maybe sullen introvert is better, actually maybe his own press agent giving out dribbles is even better but that song, that “anthem” sticks in memory as a decisive summing up of what I was feeling at the time. (And apparently has found resonance with a new generation of activists via the March for Our Lives movement and other youth-driven movements.) As a kid I was antsy to do something, especially once I saw graphic footage on commercial television of young black kids being water-hosed, beaten and bitten by dogs down in the South simply for looking for some rough justice in this wicked old world. Those images, and those of the brave lunch-room sitters and Freedom bus riders were stark and compelling. They and my disquiet over nuclear bombs which were a lot scarier then when there were serious confrontations which put them in play and concern that what bothered me about having no say, about things not being addressed galvanized me.

The song “spoke to me” as it might not have earlier or later. It had the hopeful ring of a promise of a newer world. That didn’t happen or happen in ways that would have helped the mass of humanity but for that moment I flipped out every time I heard it played on the radio or on my old vinyl records record-player. Other songs, events, moods, later would overtake this song’s sentiment but I was there at the creation. Remember that, please.   

The Art Theft That Made The Isabella Stewart Gardner Museum Theft Look Like Child’s Play-Burt Lancaster’s “The Train” (1965)-A Film Review

The Theft That Made The Isabella Stewart Gardner Museum Theft Look Like Child’s Play-Burt Lancaster’s “The Train” (1965)-A Film Review

DVD Review

By Leslie Dumont

The Train, starring Burt Lancaster, Paul Scofield, Jeanne Moreau, 1965

The world, or at least the art world, those interested in art anyway is still in wonder, dismay, confusion about how the robbery of a bunch of extremely valuable paintings including work by Rembrandt and other masters from the Isabella Stewart Gardner Museum in Boston which after all these years still have not resurfaced in public. Wonder how what is something like a half a billion dollars’ worth of art has never seen the light of day. In some quarters, and not just among the street junkies and hipsters you can make serious money betting on who ordered the heist, who carried it out and who has kept the lid on this mystery for so long. Maybe Whitey Bulger went to his recent merciless grave with the secrets intact, maybe Myles Connors who I interviewed one night when he was in one of his short time out of jail moments in the role of President of Rock and Roll when I was a stringer at this publication although that night was about music not artworks, stolen or not, maybe Sid Larry, who is my personal chose if for no other reason that he was one of the great night crawlers of all time and never saw a jail cell. (In the interest of today’s necessary notice of transparency I have a one thousand dollar bet riding on him as the villain with his brother Ned, who I dated for a while after Josh Breslin and I split up.)   

(By the way every time patrons goes to the Gardner they are reminded of the theft by the empty framed spaces where the artwork had been prior to the theft. The interest in what happened that night and how is still high as a local Boston NPR continuing series has yet again explored what happened.) 

After viewing the film under review, The Train, which is based on a French non-fictional book which has documented the thefts by the German Army and other allied forces of major artworks from museums and private collections in France (needless to say and sadly from Jewish art collectors with a vengeance) as they roamed stealing everything not nailed down, and some stuff that was, throughout Europe, roamed particularly through Paris when that city was the epicenter of the art world before World War II that Gardner heist seems like small potatoes. Moreover, the Germans thought that their mere possession of the confiscated property meant that they were entitled to ship the entire looted works back to Germany as the Allies started their serious counter-offensive in 1944 to take back the night from the night-takers. This film details ficticously efforts by the French Resistance to stop the train from leaving the country playing off the real situation where a Free French officer Rosenberg actually did stop a train leaving for Germany with a lot of his art dealer and collector father’s artworks. The real story seems more intriguing in some ways especially since it has taken the equivalent of a legal civil war to get even some of the art works back to their rightful owners.

But the storyline here has its own intrigue and its own sense of logic at a time when the world had gone mad, a time not so very different than our times, or what could be our times if some social tinder gets stoked with the current madness afoot in the land. The whole expedition was planned by one German officer, Waldheim played by Paul Scofield, an art aficionado who apparently did not care that in Germany most works of modern art, meaning art by guys like Otto Dix, George Groz, Picasso, Matisse, damn, even innocuous guys like Degas and Cezanne were “degenerate.” Many a German smoke-filled night saw such works put to the torch. This mad man German officer was a walking bundle of contradictions since on the one hand he had something of a snobbish elitist concept of art and culture as being exclusively the domain of cultured gentlemen like him. On the other he had no problem killing every opponent who tried to stop the shipment’s passage to speak nothing of wasting everybody who got in the way of the German advances to the West, to blood stained Paris earlier in the war when the Germans seemed invincible. He was more than willing, thought it was clever, maybe even a brilliant advance for humankind to have civilian hostages on the locomotive of the train to avoid the damn thing being blown up. Shed not one tear when he ordered the hostages machine-gunned when he plans went awry, when he couldn’t get the art out of the country.    

Of course such a man needed an adversary, a worthy opponent to check his every move. A man or a group, here agents of the French Resistance, who while not having a refined sense of art, maybe even sense that with the world going to hell in a handbasket that some baubles were not worth the effort but who nevertheless made the call to arms when some who saw art, great art or small, an accrual in humankind’s struggle to emerge from the mud took matters into their own hands to stop the looting of French national treasures. That man, Lebite, played by ruggedly handsome Burt Lancaster last seen in this space according to Sam Lowell taking a few unaccounted for slugs over some wayward dame in the film adaptation of Ernest Hemingway’s The Killers, no man of culture, a man who could have given a damn about this load of art. Except somebody, some comrades, went back down into the mud on Waldheim’s watch for trying to stop, excuse my English, but my French heritage, my Quebecois heritage is showing, his fucking train full of loot.

So the chase was on between these two uneven forces. Naturally once the line-up was set up, and knowing the outcome of World War II, Waldheim would not be successful in his thefts, although it really was a close thing. In the end nobody could, or should have, shed tear number one when our French Resistance fighter took one glance at those machine-gunned civilians and wasted Waldheim without remorse, walked away. Yeah, that Gardner Museum heist was peanuts when you think about it-and that is the unvarnished truth.       

1957 HITS ARCHIVE: Dark Moon - Bonnie Guitar

The Harder They Fall, Indeed-Humphrey Bogart’s “The Harder They Fall” (1956)-A Film Review

The Harder They Fall, Indeed-Humphrey Bogart’s “The Harder They Fall” (1956)-A Film Review

DVD Review

By “Sports Columnist” Fritz Taylor 

The Harder They Fall, starring Humphrey Bogart, Rod Stieger, based on a story of the same name by Budd Schulberg, Columbia Pictures, 1956    

[The film under review Humphrey Bogart’s The Harder They Fall is one DVD in a five DVD package of his lesser films from his Columbia Pictures days mostly in the late 1940s and early 1950s. Not all of the films do credit to Bogie’s major talent and drawing power despite what one female character in Sirocco, another film in this Columbia collection, and I quote, being the ugliest man in town and the most handsome. That estimation seems about right. 

I drafted Frank Jackman, the political reporter in this space (and at the on-line Progressive America site) to do the review of Bogie’s Sirocco since it marginally had to do with the results of World War I and the division of the spoils by the victors a subject Frank has been writing on for a couple of years now as we commemorate the 100^th anniversary years of that bloody fruitless conflict. I have drafted Fritz Taylor, normally a guy who writes about music, veterans’ affairs, and culture to review the film under review here The Harder They Fail a fascinating look at the seamy side of the professional boxing game, circa the “golden age” in the 1950s when the sport hooked up with television to create a mass audience among the plebeians. A look that aside from details about money and the nature of the presentation is probably not far off the mark today as well.     

As I have mentioned earlier this year when Si Lannon talked me into letting him do a couple of pieces on an amateur golf tournament at his golf course in which his friends were competing the American Left History site very seldom treads on the major media of sports reporting or commentary so I had to “draft” Fritz Taylor to do this piece. His “credentials”? Well Fritz, a pretty tough guy in his youth down in Georgia from what I have heard and he has told us, while he was in Vietnam in the late 1960s before he got what he called “religion” on the question of war and peace had been a regimental boxing champion in his 4^th Division. His reason for getting involved in this business was strictly to get out of guard duty, KP, endless patrols and the like for what proved to be little effort on his part. It also however did not save him from a couple of purple heart wounds during his tour of duty. Pete Markin]               

***********

Although I never pursued the manly art of boxing, you know pugilism, hell, fighting and beating a guy’s brains out with your fists beyond teenage Golden Gloves work down in home country Georgia and a purely opportunistic time in the Army in Vietnam as regimental champ in the 4^th Division to get out of bullshit duty I think I know what makes a guy, makes certain guys jump at the change to get out from under. That “getting out from under,” a process still going on in the professional boxing ranks is something guys, tough guys mostly, have been doing in one way or another since Roman gladiator times if not before. You can trace in this country an almost perfect trail of what recent ethnic/racial group is down at the bottom of the heap by who is fighting other guys for a living to grab the brass ring, to avoid having to go down in the factories and sweatshops to earn their livelihood.      

But enough of the amateur sociology and on to the film here which gives a pretty good view of what the sport was like in the 1950s “golden age” of boxing in America. A time when with the advent of television guys like my father, Hugh Taylor, fresh from World War II service in the Pacific and bogged down in a job he did not like in a textile mill that had moved from Nashua, New Hampshire to Athens, Georgia for the cheaper labor costs they say, was able to sit at home on a Friday night and watch, beer in hand, maybe better beers in hand, and see serious fights from places like New York’s Madison Square Garden. I think he may have gone, with his work buddies, a few times to Atlanta to see the fights in person as well but don’t hold me to that. The main thing is that working class guys mainly, although there was a certain celebrity tinge as well when guys like Ernest Hemingway or Norman Mailer would attend such fisticuffs, formed the audience for these bouts.          

As the old-time film critic in this space, now emeritus, Sam Lowell, was fond of saying when he wanted to give a summary of a film here is the “skinny” on this one. Humphrey Bogart, Bogie, last seen in this space according to what Frank Jackman said in his review of another film in this Columbia Pictures package Sirocco as the leading character in Zack James’s commemoration series of the 75^th anniversary of the opening of the classic film Casablanca , plays Eddie Willis a has-been sports writer thrown on the scrap heap from a newspaper that had gone under in the shrinking newspaper wars world who “from hunger” takes a job as publicist from the long-pursuing shady boxing promoter and fixer man Nick Benko,  played a little over the top but with some credible flair by Rod Steiger. (Bogie seems to have alternated in his career between serious shoot ‘em up and ask questions later bad guys like Duke Mantee in Petrified Forest to tough nut Phillip Marlowe trying to save an old man’s dignity and keep his wild side daughters in check in The Big Sleep to under the rug rat Eddie here working for his dally wages anyway he could.)

Nick was well known in New York and elsewhere for having a stable of run of the mill boxers who kept him and his in clover, kept him and his organization in business by knocking other guys on the noggin and keeping him in high end suits, swank apartments, and easy party women on the side. Like a lot of guys who are stuck in the pile he wanted a champion, wanted to have a shot at the brass ring one of his guys could bring him. Nick’s play, his proposition to Eddie was simply, simply for the talented if balky Eddie, play up, Toro, this giant, this glass-jawed and fragile boxer from down in South America he had discovered to the hilt to draw crowds and draw a chance at the heavyweight championship of the world.  No mean task even for the adroit for Eddie with an ungainly giant on his hands who couldn’t bat a fly without knocking himself out. After balking at first Eddie buys into the deal though so he can keep himself and his fetching wife in clover. That first compromise leads to a million others and as the film progresses he goes down Nick’s slippery slope with only a few swallows. 

Of course Nick has no scruples, wouldn’t know what the word meant, didn’t give a fuck about whether this sunny senor could box or not it is all theater anyway, just entertainment for the sit on your ass masses and no skin off of his nose. Still to get to the top you have to get pass step one. That glass jaw and sissy punch would get him knocked out in minute one of round one except for one little handy trick. Get the opponent to take a dive, go in the tank, play dead fast for quick dough and no questions asked. And Eddie was there pushing the bullshit, rolling that stone up the hill. Making this guy the greatest thing since old Prometheus started his trek. Not without qualms, not without balking, but still going for the clover for him and the wife off this gaucho’s back.          

A big stretch of the film is the rise of this holy goof, as Seth Garth would call him reminding him of some junkie has-been out of Kerouac when he asked me what I was writing about, from nobody from nowhere to contender all courtesy of Nick   the friendly fixer man (and as with all such schemes with willing tank town managers, where do you think they got the expression from beyond that railroad watering spot origin, getting their nowhere boys to take the “tank’ for this monster). Finally as they head East to Chi town Senor Toro gets a crack at an over the hill, taken one or more too many punches, ex-champ which will pave the way to the big payoff championship fight in the Garden. (One too many hits which makes you wonder what their concussion brains looked like at the end of their careers now that professional football players have been found to have taken some horrible beatings over the head during their playing careers and suffered horrible damage and shortened lives because of it.) Except this ex-champ, this guy who took one too many punches couldn’t take one more, couldn’t take a Toro tap even while taking the dive. DOA.

In Nick’s scheming though this has-been boxer’s death would only made Toro a bigger draw when he hit the big time in New York against the champ. Nick tried to “negotiate” with the champ but the champ wouldn’t bite, wouldn’t make the dance of the ring go round. He wanted to murder this Toro, put him under, let him kiss the canvas floor for a while. No problem, no problem for Nick just bet against his glass-jaw sissy punch fighter and clean up. The kid took it on the chin, looked like holy hell when the champ went into overdrive, got his jaw busted up good and got less, much less than chump change for his efforts so he could finally get home and take care of his family.        

    

This bastard Nick though was a beau, had sold his contract on Toro to some tank town manager who after the kid proved to have no talent, none, would be fodder for the locals out in Podunk to begin their own career rises on. This is where Eddie finally balked, finally gets “religion” about how bad the fight game was just like I did with fucking war and got the kid the hell out of New York and home with, guess what, his, Eddie’s, share of the dough that Nick skimmed from the kid’s purses. Ugly. Of course that sets up Saint Eddie of the dreams for Nick’s hatchet. Or it seemed so but when as I can tell you a guy gets religion on something nobody can destroy him. Can’t buy, steal or put him under. Eddie in the last scene is ready to do battle to get the murderous sport of guys beating guys senseless for dough for fixers like Nick banned one way or another. Nice work if Eddie survives some back alley assault. 

[Fritz balked at saying anything about the author of the book The Harder They Fall by Hollywood “prince” Budd Schulberg (his father ran Paramount Studios) from which the screenplay of this film was taken but candor and a rather innocuous short statement in his bio in Wikipedia requires that I say something about this snitch. Snitch before the House Un-American Activities Committee (HUAC) when after he had been “outed” as an ex-Communist Party member by a fellow screenwriter he sang like a canary to save his own miserable ass by naming names of others he knew back in the day, back in the Popular Front and World War II days when such a thing as party membership was okay but in the dead of night, red scare Cold War 1950s could get you jail time witness the Hollywood Ten, witness Dashiell Hammett and others who didn’t know how to sing. Bogie for that matter telling the committee to go to hell. It must have been old home week when Schulberg, and fellow snitches Lee J. Cobb and Elia Kazan got together on the On The Waterfront film. They could have formed a singing trio. Jesus their names should live in infamy when the word cowards hits the page. Sorry Fritz it had to be said as an act of elementary hygiene. Frank Jackman]   

Happy Birthday Eric Andersen -Out In The 1960s Folk Revival Minute- The Music Of Eric Andersen- A CD Review

Happy Birthday Eric Andersen -Out In The 1960s Folk Revival Minute- The Music Of Eric Andersen- A CD Review

A link to a YouTube film clip of Eric Andersen performing one of his songs

Eric Andersen’s Greatest Hits, Eric Andersen, 1971

In the great swirl that was the folk music revival movement of the early 1960’s a number of new voices were heard that created their own folk expression and were not as dependent on the traditional works of collective political struggle or social commentary associated with the likes of The Weavers, Pete Seeger or Woody Guthrie. Although Eric Andersen was a product of the intense Cambridge folk scene and knew and played with many of the stars of that scene he had a distinctive niche in that he performed mainly his own his music and his subject matter tended toward the very personal. It was only political in the most general sense that he, like the others, was breaking away from Tin Pan Alley to express his sentiments.

That said, this greatest hits compilation is almost exclusively made up of songs that he wrote in the 1960’s- the most productive period of his career. I have seen some of his more recent performances and listened to his later work and nothing compares with the work of this period. Such tunes of personal sorrow and anger as Florentine and Sheila and well as the classic Violets of Dawn and Leaving You come from this period. In short, one has to listen to (and read) the lyrics of this singer/ song writer from this time to get a real feel for his work. But if you want to take a trip back to a time when a serious argument could, and was made, that the personal was political and that folk music was, above all, about expressing the seemingly eternal notions of the complexities of love and loss then this is a part of the archives.

On The 80th Anniversary Of The Founding Of The Leon Trotsky- Fourth International-We Need A Socialist International More Than Ever

On The 80^th Anniversary Of The Founding Of The Leon Trotsky- Fourth International-We Need A Socialist International More Than Ever 

By Harry Sims

Usually I am a behind the scenes guy dishing out anniversary dates and other facts and figures to site manager Greg Green and/or the recently created Editorial Board but I felt compelled to write a little something about the anniversary, the 80^th anniversary this month of September, of the Fourth International that will be forever linked to the name of the great Russian Bolshevik revolutionary Leon Trotsky. In accordance with the seemingly obligatory notice of transparency that accompanies anything today greater that what you had for breakfast at one time I was close to those who were carrying on the wilted tradition of the Fourth International after Trotsky was assassinated by a Stalinist agent down in Mexico in the summer of 1940. Aside from that though, as the headline to this introduction telegraphs, we are still in need of an international that will lead the way forward for humankind’s hopefully more equitable future. Such progress as we are now painfully aware does not happen automatically but must be planned and led by people committed to such aims. The same is true for those who want to revive the night of the long knives that was the hallmark of the 20^th century and now the first couple of decades of the 21^st century. So the die is cast.

Here is a short primer for those legions who do not have the foggiest notion of a what an International, Fourth or otherwise, is or was. These institutions are associated with various historical epochs of the socialist movement in all its struggles-victories and defeats. The first short-lived International was associated directly with the personages of the socialist revolutionaries Karl Marx and Friedrich Engels, the founders of the Marxist wing of socialism back in the middle of the 19^th century. The two important events beyond the fact of creating the first international devoted to the struggle for socialism were the support for the Northern side led by Abraham Lincoln in the American Civil War and the stalwart defense of the Paris Commune, the first workers republic, of 1871 which was drowned in blood by Thiers and his mercenaries. The Second International before it became a “mail drop,” before it dropped the ball in not opposing World War I on any side, an event we are commemorating the 100^th anniversary of the Armistice this year as well, was the first mass organization of international socialism toward the end of the 19^th century. With the rapid rise of industrialization under late capitalism working people swarmed to this organization to defend them. In 1914 with the aforementioned failure to oppose the bloody war which decimated the flower of the working classes of all European nations its historic important as a serious force for social change much less socialism was finished even if the shell lingered, still lingers on today.

The Third International, Communist International, Comintern, and the Fourth share not only the personage of Leon Trotsky but purported to have the same aims at various points up to World War II. The Comintern was created as a direct result of the Russian Bolshevik Revolution of October 1917 by leaders Vladimir Lenin and Trotsky among others for the direct purpose of leading the world socialist revolution. When that task was abandoned in practice under the Stalin regime in Russia Trotsky in exile and with not enough resources called for and established the Fourth International we are commemorating.

Traces of that Fourth International like the Second still exist but unlike the first three Internationals it was essentially still-born in a time of defeats, serious defeats for the working classes especially with the rise of Hitler in Germany. So why beside nostalgia for an old International associated with the name of an honest revolutionary do I write this short piece today. Like I said the headline has telegraphed what is needed, what I think is needed today-another International, a fifth International if you like to lead the fight against the one-sided class struggle that is being waged by the international capitalist classes. While Trotsky’s organization for many reasons including the decimation of its cadre in Europe during World War II never got off the ground some of its programmatic points in the key document that came out of the conference which established the organization-the Transitional Program- read like they could have been written today.

Beyond the program though cadre, new cadre are needed to continue the forlorn fight against the greedy vultures who control the means of production and finance and that is where Leon Trotsky’s desperate and usually lonely fight to bring the 4^th International to the light of day can still serve as a model going forward. He, Trotsky, a man who has led the Russian Revolution of 1905, has subsequently been exiled and escaped the Czarist prisons when that revolution was crushed, had been central to the seizure of power in the October Revolution in Russia in 1917, had been Commissar of War during the bloody civil war against the counter-revolutionary Whites and their international imperialist allies, and had led the fight to save the revolution when the dark hand of Stalin and his henchmen pulled the hammer down stated unequivocally at the time in 1938 that establishing a new international to fight the dark clouds coming over Europe was the most important task he had done in his life. In our own epoch we are looking for such men and women to continue the task. They will have to read about and look at these 1938 documents and that very uneven struggle along the way.

Workers Vanguard No. 1139	7 September 2018

TROTSKY

LENIN

Reforge the Fourth International!

(Quote of the Week)

Eighty years ago, on 3 September 1938, the Fourth International was established under the leadership of Leon Trotsky. In opposition to the reformism of the social-democratic Second International and the Stalinized Communist International (Comintern), its founding document, excerpted below, provided the framework for building a new world party of socialist revolution. It is the task of the International Communist League to reforge the Fourth International, which was destroyed by a revisionist current under Michel Pablo in the early 1950s that renounced the need to build Trotskyist parties.

It is necessary to help the masses in the process of the daily struggle to find the bridge between present demands and the socialist program of the revolution. This bridge should include a system of transitional demands, stemming from today’s conditions and from today’s consciousness of wide layers of the working class and unalterably leading to one final conclusion: the conquest of power by the proletariat.

Classical Social Democracy, functioning in an epoch of progressive capitalism, divided its program into two parts independent of each other: the minimum program, which limited itself to reforms within the framework of bourgeois society, and the maximum program, which promised substitution of socialism for capitalism in the indefinite future. Between the minimum and the maximum program no bridge existed. And indeed Social Democracy has no need of such a bridge, since the word socialism is used only for holiday speechifying. The Comintern has set out to follow the path of Social Democracy in an epoch of decaying capitalism: when, in general, there can be no discussion of systematic social reforms and the raising of the masses’ living standards; when every serious demand of the proletariat and even every serious demand of the petty bourgeoisie inevitably reaches beyond the limits of capitalist property relations and of the bourgeois state.

The strategical task of the Fourth International lies not in reforming capitalism but in its overthrow. Its political aim is the conquest of power by the proletariat for the purpose of expropriating the bourgeoisie.

—Leon Trotsky, “The Death Agony of Capitalism and the Tasks of the Fourth International,” commonly known as the Transitional Program (1938)

From The Living Archives Of Boston Veterans For Peace-They Ain't Your Grandfather's Veterans

From The Living Archives Of Boston Veterans For Peace-They Ain't Your Grandfather's Veterans

[Ralph Morris who has lived in Troy, New York most of his life, been raised there and raised his own family there, went to war, the bloody, horrendous Vietnam War which he has made plain many times he will never live down, never get over what he did, what he saw others do, and most importantly for the long haul, what his evil government did with no remorse to people in that benighted country with whom he had no quarrel never was much for organizations, joining organizations when he was young until he came up a group formed in the fire of the Vietnam War protests -Vietnam Veteran Against the War (VVAW) which he joined after watching a contingent of them pass by in silent march protesting the war in downtown Albany one fall afternoon. Somebody in that contingent with a microphone called out to any veterans observing the march who had had enough of war, had felt like that did to “fall in” (an old army term well if bitterly remembered). He did and has never looked back although for the past many years his affiliation has been with a subsequent anti-war veterans’ group Veterans for Peace.  

Sam Eaton, who has lived in Carver, Massachusetts, most of his life, been raised there and raised his own family there, and did not go to war. Did not go for the simple reason that due to a severe childhood accident which left him limping severely thereafter he was declared no fit for military duty, 4-F the term the local draft board used. He too had not been much for organizations, joining organizations when he was young. That is until his best friend from high school, Jeff Mullins, died in hell-hole Vietnam and before he had died asked Sam that if anything happened to him to let the world that he had done things, had seen others do things, and most importantly for the long haul, what his evil government did with no remorse to people in that benighted country with whom he had no quarrel. As part of honoring Jeff’s request after Sam found out about his death he was like a whirling dervish joining one anti-war action after another, joining one ad hoc group, each more radical than the previous one as the war until the fateful day when he met Ralph down in Washington, D.C.

That was when both in their respective collectives, Ralph in VVAW and Sam in Cambridge Red Front, were collectively attempting one last desperate effort to end the war by closing down the government if it would not shut down the war. All they got for their efforts were tear gas, police batons, and arrest bracelets and a trip to the bastinado which was the floor of Robert F. Kennedy stadium which is where they would meet after Sam noticed Ralph’s VVAW pin and told him about Jeff and his request. That experience would form a lasting friendship including several years ago Sam joining Ralph’s Veterans for Peace as a supporter, an active supporter still trying to honor his long gone friend’s request and memory.

No one least of all either of them would claim they were organizing geniuses, far from it but over the years they participated, maybe even helped organize many anti-war events. One day their friend, Josh Breslin, who writes a by-line at this publication, and who is also a veteran asked them to send some of events they had participated in here to form a sort of living archives of the few remaining activist grouping in this country, in America who are still waging the struggle for peace. So periodically, since we are something of a clearing house and historic memory for leftist activities, we will put their archival experiences into our archives.    

 

Report Back On Honk! Parade And Octoberfest In Harvard Square-Sunday October 7^th -Thanks To Smedley Honk! Marchers and Octoberfest Booth Volunteers

Special thanks to Dan H. and Jain R-H for bringing materials, etc. over from the wilds of Quincy to the Wild West of Harvard Square  

                                                                                          

Kudos to the Smedleys and supporters, carrying flags furling in the breeze, who marched to the music of our allies in the Leftist Marching Band in the Honk! Parade on Sunday October 7^th starting in Davis Square, Somerville, and wending (nice word, right) its way to Harvard Square, that is in the high rent district of Cambridge. We got, as usual in this “choir” parade, a good response along the way and a great response, again as always, in Harvard Square propah. The parade stepped off at noon or a little after and we got applause from the start. A special feature this year was a banner brought by leading Smedley Pat Scanlon from our “banner-maker” in North Andover (kudos to him)-captioned with our big Armistice Day push to get one and all to ring the bells at 11 on November 11^th. We also passed out VFP informational leaflets and our Armistice Day parade and program announcement. (We will be presenting more info on that event as we get closer to the day.)

Octoberfest in Harvard Square, still in the high rent district of Cambridge-about 10 AM to 5 PM          

Dan Higgins and Jain R-H brought our canopy and other materials sometime before 10 AM (8-10 is when vehicles were allowed to unload, etc.) and he and others helped set the booth up with literature and our new expanded inventory of clothing. As we go to press, oops, to cyberspace, I have no figures on the day’s take, how much moola we made, but we had steady business and conversations all afternoon. (I will amend this for the Minutes to reflect our “take,” how much moola we made, on the day minus the $135 graft to get the booth.)  

[We made $254,00 on the day-Scribe]

The divine Jain Rudivich (maybe sic)-Higgins staffed the booth early. Irrepressible Jon Niles committed himself to spending time at the booth as did Pat Scanlon-Doug Stuart Kebartas and John Robinson -and also helped after marching from the wilds of Somerville. At a little 5 PM before as the rains which seemed predestined to plague this event several people helped pack up after a long day. Thanks to all marchers and booth volunteers who made our work easier by their presence. 

Report Back On Black Lives Matter Stand-Out- Ashmont MBTA Station-September 27^th

Every 4^th Thursday from 5:30 -6:30 PM from April to October Dorchester People for Peace (DPP) sponsor a stand-out in support of Black Lives Matter at the Ashmont MBTA Redline Station. This month several members of the Smedley Butler Brigade stood out at the event carrying our VFP flags, wearing our VFP-issued “Black Lives Matter” t-shirts and carrying signs with messages of support. As always we received many honks and thanks-yous from passing cars and passers-by from the busy subway station (and an occasionally a nasty racially-tinged remark).

Smedley Butler Brigade has supported this stand-out from its beginnings in 2017 and we urge everybody, especially those with access to the Redline, to come to the last stand-out of the season on October 26^th at 5:30 PM.  

Report back on International Peace Day-September 23^rd -Boston Common

Don’t worry this bracketed introduction urging one and all to report on events and/or provide photos will only be a lead-in for the next twenty or thirty reports until everybody gets utterly sick and tired of ignoring the dicta.

[The Ex Comm has recommended as a way to keep everybody in the loop, informed as much as possible beyond those who attend GMs, that those who attend or organize events of interest, and not just Smedley events either, give a short report on the happening. And, working under the new tech principle that if you don’t have photos it didn’t happen, make sure that the report, photos get to us to be put on our various social media platforms.

AJ]

On a granite grey autumn afternoon, the first trees turning their fall-ish colors (I don’t need to give the fall color wheel to this readership already inured to the first frost signs), the squirrels preparing their long night stashes, and the chipmunks cavorting for favor with the meandering crowds passing by a band of hearty, grizzled Brigadas and their steadfast supporters (I don’t have to further identify the band as members in good standing of the Smedley Butler Brigade, Chapter 9, Veterans for Peace, do I?) braved the elements and much else to take part in the annual commemoration of International Peace Day. This year observing the 70^th anniversary of the Universal Declaration of Rights put forth by the United Nations.

The festivities, and that is the right word for the music, dance, and speeches done in an overall joyous mood, were held on the now sacred and legendary grounds, once removed, of the Boston Common near the Park Street MBTA station. (That “sacred and legendary” merely signifying that the ground used had been the ground under which the Smedley-led War Economy Week of the Poor Peoples Campaign had pitched their tents on Memorial Day weekend daring the authorities to evict the campers. The “once removed” part noted thanks to Dan Luker and the Standing Rock crowd who have made us aware that this is not our land, a land that belongs to the indigenous peoples here well before us).

All attendees held their own against the chipmunks, the food wagons, the “buddy, can you spare a dime” crowd, the street musicians, and whatever madness goes on at the Common. Several of our members either passed out leaflets or staffed the table where we had clothing and literature for sale. According to Dan Luker several hundred leaflets were passed out that afternoon.  

Many other well-known peace groups also like MAPA and AFSC sponsored the two- hour event and had representatives present either speaking or in the audience. Hope to see more people at this event next year.  

Report back on return of ”Midnight Voices,” September 20^th

On the night of September 20^th, a small but appreciative audience attended the return of ‘Midnight Voices” after the August break to Friends Meeting House in Cambridge. Usually I don’t moan and groan over light attendance but given the vast array of talent which performed that night I feel I have to say something before giving the event highlights. Several people have expressed their opinions about how important this type of event, this cultural event in acting as a release for them about their military service, etc. I have expressed agreement with that idea. This event is “outside the box” of our parade, stand-out, vigil, conference, meeting cycle. Our ex-Coordinator Pat Scanlon has expressed to me many times how seldom we have social events during the year. The event is a good place to do just that socializing. I urge everybody in the future to come to this event on the third Thursday of the month to hear and see a wide range of performances. If you can’t come, then promote the event among those in your network. If you have anything you want to present there are open mic as well as mini-feature slots open each month. Let me know.

Now to the real deal, to the “why” of why you should come. Frankly in the few years this thing has been running this was one of the most outstanding arrays of talent I have witnessed. For open mic we had our beloved Ralph Madsen doing a reading, long-time folksinger Dorothea doing one of her creations and a great cover of “Pistol-packing Mama,” Joe Kebartas doing his madcap stand-up comedy, and folksinger Dave Drexel covering a David Bowie and a Beatles tune.

We had four mini-feature performers starting with young up and coming nature poet, that is the best way I can describe his work, Blake Campbell mixing up some poems based on local ocean locales and from his rural Pennsylvania roots. After intermission folksinger/songwriter Cindy Primett backed up by Dave Drexel did four covers including tribunes to Merle Haggard, Steely Dan, and Chuck Berry all who have passed away in recent years highlighted by a cover of “Crazy” which made me think the ghost of Patsy Cline was hovering in the room. Smedley, and jack of all trades it seems, David Rothhauser graced us with spirited excerpts of a historical novel based on our martyred Sacco and Vanzetti that he is working on. Folksinger and political activist Susan McLucas finished up with three songs one the famous American Civil War song “Let the band play Dixie” based on words attributed to Abraham Lincoln. See what you missed.

Next “Midnight Voices” October 18^th at 7 at Friends Meeting House, Cambridge. Performers-TBA In November we have legendary golfer Pat Scanlon lined up to sing his wide variety of songs and stories that go with them along with his banjo channeling the ghost of Pete Seeger.

Report On “Pardon Whistle-blower Reality Leigh Winner” Stand-Out In Davis Square, Somerville -September 20^th

[The Ex Comm has recommended as a way to keep everybody in the loop, informed as much as possible beyond those who attend GMs, that those who attend or organize events of interest, and not just Smedley events either, give a short report on the happening. And, working under the new tech principle that if you don’t have photos it didn’t happen, make sure that the report, photos get to Juston to be put on our various social media platforms.

Since I am taking responsibility until, hopefully, we get a real Secretary come next election, for Minutes and reports, etc. if you want to send reports me to forward that is fine. If you don’t want to or have time to write up a report send me the info and I will work something up which will probably be nothing close to what you actually observed but that is the chance you take-AJ]

On September 20^th at the Davis Square MBTA stop in Somerville supporters of Russian military intelligence interference with the 2016 U.S. elections whistle-blower and veteran Reality Leigh Winner held a “Pardon Reality” stand-out. This was our first pardon effect since Ms. Winner was formally sentenced to five years three months in August by a federal judge down in Georgia. She had pled out in June on one count of violation of the Espionage Act of 1917 after having been blocked in her attempts to get important information about her case. (There is more to the story but you can go to the Stand With Reality website for that.)  

This five year plus sentence is the longest ever given to a civilian whistle-blower (Chelsea Manning drew 35 years but that was in a military court). That excessive sentence given the lack of prior criminal record, honorable military service, and other positive attributes has gotten many worried about the effect on future whistle-blower sentences and as importantly the chilling effect on future whistle-blowing and free speech has galvanized many organizations including VFP to support an on-line petition campaign.  At Davis Square with signs and banners and passing out leaflets we urged commuters to go online and sign the petition. (See attached leaflet and photos.) The response was significantly more positive than previous times we have stood out there on the days before Ms. Winner’s sentencing. We will be going each month to a different MBTA stop to spread the word about her case and what we can do about it given her current legal status.      

As of Wednesday, the 19^th Ms. Winner is no longer in the county jail down in Augusta, Georgia but in the hands of federal marshals awaiting transfer to a ye unknow federal facility for women. More later when we have an address that supporters can write letters of solidarity to Ms. Winner.

For now we are urging everybody to Goggle the “Stand with Reality” website and take a minute to sign the on-line pardon petition. Get your social networks to do so as well.

Next stand-out Central Square MBTA-date in October and time-TBA