*****I Hear The Voice Of My Arky Angel-Once Again-With Angel Iris Dement In Mind

*****I Hear The Voice Of My Arky Angel-Once Again-With Angel Iris Dement In Mind

 

 

 

From The Pen Of Frank Jackman  

SWEET FORGIVENESS (Iris DeMent)

(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

Sweet forgiveness, that's what you give to me

when you hold me close and you say "That's all over"

You don't go looking back,

you don't hold the cards to stack,

you mean what you say.

Sweet forgiveness, you help me see

I'm not near as bad as I sometimes appear to be

When you hold me close and say

"That's all over, and I still love you"

There's no way that I could make up for those angry words I said

Sometimes it gets to hurting and the pain goes to my head

Sweet forgiveness, dear God above

I say we all deserve a taste of this kind of love

Someone who'll hold our hand,

and whisper "I understand, and I still love you"

AFTER YOU'RE GONE (Iris DeMent)

(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

There'll be laughter even after you're gone

I'll find reasons to face that empty dawn

'cause I've memorized each line in your face

and not even death can ever erase the story they tell to me

I'll miss you, oh how I'll miss you

I'll dream of you and I'll cry a million tears

but the sorrow will pass and the one thing that will last

is the love that you've given to me

There'll be laughter even after you're gone

I'll find reason and I'll face that empty dawn

'cause I've memorized each line in your face

and not even death could ever erase the story they tell to me

Every once in a while I have to tussle, go one on one with the angels, or a single angel is maybe a better way to put it. No, not the heavenly ones or the ones who burden your shoulders when you have a troubled heart but every once in a while I need a shot of my Arky angel, Iris Dement. Now while I don’t want to get into a dissertation about the thing, you know, that old medieval Thomist argument about how many angels can fit on the end of a needle. Or, Jesus,  or get into playing sides in the struggle between pliant wimpy god-like angels and defiant hellion devil-like angels in the battles in the heavens over who would rule the universe that the great revolutionary English poet from the time of the 17^th century  English revolution of blessed memory, you know old Jehovah fearing Oliver Cromwell time, John Milton, when he got seriously exercised over that notion in Paradise Lost.  However  I do believe we our faced, vocally faced with someone who could go mano y mano with whoever wants to enter into the lists against her.

Yes, and I know too that that “angel,” earthly material five feet plus of flesh and bone angel thing has been played out much too much in the world music scene, the popular music scene, you know rock and roll in the old days and now mainly hip-hop. You could hardly live a 1950s childhood extending into a 1960 coming of age teenage-hood  without being bombarded by every kind of angel every time you put your quarter in the jukebox especially if the other hand attached to that quarter, as it usually was had been your everlovin’ dreamy date who just had to hear you compare her to the Earth Angel of the then currently popular song.

On a more sober note when some poor by the midnight telephone (now cellphone, okay, Smartphone) girl was beside herself when her Johnny did not call at nine like he said he would and she wanted to deny reality, a reality pointed out to her by her best friend one Monday morning before school talkfest that her Johnny Angel just couldn’t keep one girl happy but had to play the field (including an almost successful run at that best girlfriend). Going to the distaff side (nice old-fashioned word, right) some Honky-Tonk Angel who was lured into the night life, who went back to the wild side of life where the wine and liquor flowed and she was just waiting there to be anybody’s darling who would eventually be done in by her own her own hubris, Hank’s morbid angel of death that seemed to hover over his every move until the big crash out, until the lights flickered out.

There’s my favorite, no question, though showing just how recklessly secular the angel angle could spin on a platter, no question, Teen Angel. And this will put paid to the notion that the teens in those days were any smarter in going about the business of being a teenager than today’s crop. Let me give few details and if you don’t believe me then just go God Google the lyrics and be done with it. Some, I don’t know how else to say it although I will give advanced apologies to the rest of women-kind, some maybe sixteen year old bimbo of unknown intelligence but you decide for yourselves once you hear the story line  and of unknown looks whose boyfriend’s car got stuck on a railroad track one Friday date night after a full course of heavy breathing, you can figure the doing what part, down at the local beach, the boyfriend got her out safely and yet she went running back, running back to get his two-bit class ring, a ring that he had probably given to half the girls in school before her, and did not come out alive. Of course the guy was broken up about it, probably personally wrote the words to the song for the guy who sang the song for all I know but let’s leave it at this since I don’t like to speak unkindly of the dead, even the reckless dead, RIP, sister, RIP.

So that's off my chest.  No, that fleet of angle-tipped songs are strictly from nowhere, I will take my sensible Arky angel, take her with a little sinning on the side if you can believe there is any autobiographical edge to some of the songs she sings, take her with a little forlorn lilt in her voice, take her since she has seen the seedy side of life. Seen “from hunger” days and heart hurts. Yeah, that is how I like my angels. Alive as hell and well.                 

Every once in a while when I am blue, not a Billie Holiday blue, the blues down in the depths when you have to just hear her, flower in hair, maybe junked up, maybe clean, hell, it did not matter, when she hit her stride, and she “spoke” you out of your miseries, but maybe just a passing blue I needed to hear a voice that if there was an angel heaven voice Iris would be the one I would want to hear.    

I first heard Iris DeMent doing a cover of a folksinger-songwriter Greg Brown’s tribute to Jimmy Rodgers, the old time Texas yodeler discovered around same time as the original Carter Family in the late 1920s out in some Podunk town in Tennessee when the new-fangled radio and the upstart small independent record companies were desperate for roots music to feed their various clienteles whatever soap, flour, detergent, deodorant their hungry advertisers had to sell, on his tribute album, Driftless. I then looked for her solo albums and for the most part was blown away by the power of Iris’ voice, her piano accompaniment and her lyrics (which are contained in the liner notes of her various albums, read them, please). It is hard to type her style. Is it folk? Is it Country Pop? Is it semi-torch songstress? Well, whatever it maybe that Arky angel is a listening treat, especially if you are in a sentimental mood.

Naturally when I find some talent that “speaks” to me I grab everything they sing, write, paint, or act I can find. In Iris’ case there is not a lot of recorded work, with the recent addition of Sing The Delta just four albums although she had done many back-ups or harmonies with other artists most notably John Prine. Still what has been recorded blew me away (and will blow you away), especially as an old Vietnam War era veteran her There is a Wall in Washington about the guys who found themselves on the Vietnam Memorial without asking for the privilege or knowing what the hell they were fighting for in that hellish war, probably one of the best anti-war songs you will ever hear. That memorial containing names very close to me, to my heart and I shed a tear each time I even go near the memorial when I am in D.C. It is fairly easy to write a Give Peace a Chance or Where Have All the Flowers Gone? sings-song type of anti-war song. It is another to capture the pathos of what happened to too many families when we were unable to stop that war.

The streets of my old-time growing up neighborhood are filled with memories of guys I knew, guys who didn’t make it back, guys who couldn’t adjust coming back to the “real world” and wound up in flop houses, half-way houses, and along railroad “jungle” camps and also strangely enough these days given my own experiences guys who could not get over their not going into the service, in retrospect, to experience the decisive event of our generation, the generation of ‘68.

Other songs that have drawn my attention like When My Morning Comes hit home with all the baggage working class kids have about their inferiority when they screw up in this world. Walking Home Alone evokes all the humor, bathos, pathos and sheer exhilaration of saying one was able to survive, and not badly, after growing up poor, Arky poor amid the riches of America. (That may be the “connection” as I grew up through my father coal country Hazard, Kentucky poor.)  

Frankly, and I admit this publicly in this space, I love Ms. Iris Dement. Not personally, of course, but through her voice, her lyrics and her musical presence. This “confession” may seem rather startling coming from a guy who in this space is as likely to go on and on about Bolsheviks, ‘Che’, Leon Trotsky, high communist theory and the like. Especially, as well given Iris’ seemingly simple quasi- religious themes and commitment to paying homage to her rural background in song. All such discrepancies though go out the window here. Why?

Well, for one, this old radical got a lump in his throat the first time he heard her voice. Okay, that happens sometimes-once- but why did he have the same reaction on the fifth and twelfth hearings? Explain that. I can easily enough. If, on the very, very remotest chance, there is a heaven then I know one of the choir members. Enough said. By the way give a listen to Out Of The Fire and Mornin’ Glory. Then you too will be in love with Ms. Iris Dement.

Iris, here is my proposal, once again. (I have made the offer in other spaces reviewing her work more seriously.) If you get tired of fishing up in the U.P., or wherever, with Mr. Greg Brown, get bored with his endless twaddle about old Iowa farms and buxom aunts, about the trials and tribulations of Billy from the hills, or going on and on about Grandma's fruit cellar just whistle. Better yet just yodel like you did on Jimmie Rodgers Going Home on that Driftless CD. Okay.

  

******The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

******The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

 

The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

Laura Perkins was talking to her daughter, Emily Andrews one afternoon in April when she went to visit her and the grandkids up in Londonderry that is in New Hampshire, after returning from Florida, down Naples way. Laura had spent the winter there, a pilgrimage she had been doing the past five years or so since she, New England born and bred had tired, wearily tired of the winters provided by that section of the country and joined the “snow bird” trek south. Been doing more of the winter since she retired as a computer whizz free-lance consultant a couple of years ago. Emily the first born girl from the first of her three marriages who now had a couple of kids of her own although she has retained as is the “new style,” post-‘60s new style anyway, of women retaining their maiden name, or went hyphenated, kept Andrews in the bargain although Laura had given that name up minute one after the divorce which was messy and still a source of hatred when Emily’s father’s name is mentioned and thereafter kept her maiden name through the subsequent two marriages and divorces. During the conversation Laura commented to Emily, having not seen her for a while, on how long and straight she was keeping her hair these days which reminded her of the old days back in the romantic early 1960s when she used to hang around the Village in New York at the coffeehouses and folk clubs listening to lots of women folksingers like Carolyn Hester, Jean Redpath, Thelma Gordon, Joan Baez, Sissy Dubois and a bunch of others whose names she could just then not remember but whose hair was done in the same style including her own hair then.

Laura looked wistfully away just then touching her own now much shortened hair and colored a gentle brown with highlights, how much and for how long only her hairdresser knew and she, the well-tipped hair-dresser, was sworn to a secret Omerta oath even the CIA and Mafia could admire in the interest of not giving into age too much, especially once the computer whizz kids started showing up younger and younger either looking for work or as competitors. Meanwhile Emily explained how she came to let her hair grow longer and straighter (and her own efforts to keep it straighter) against all good reason what with two kids, a part-time accounting job and six thousand other young motherhood things demanded of her that would dictate that one needed a hair-do that one could just run a comb through, run through quickly.       

“Ma, you know how when you get all misty-eyed for your lost youth as you call it you are always talking about the old folk days, about the days in the Village and later in Harvard Square after you moved up here to go to graduate school at BU, minus Dad’s part in that time which I know you don’t like to talk about for obvious reasons. You also know, and we damn made it plain enough although you two never took it seriously, back when we were kids all of us, Melinda and Peter too, hated the very sound of folk music, stuff that sounded like something out of the Middle Ages and would run to our rooms when you guys played the stuff in you constant nostalgia moments. [That Middle Ages heritage, some of it, at least the rudiments, actually was on the mark if you look at the genesis of say half of the Child ballads which a folk enthusiast by that name in the 1850s over on Brattle Street in Cambridge collected, a number of ballads which ironically got picked up by the likes of Joan Baez in the late 1950s and played at the coffeehouses like the Club 47 and Café Nana just down from that Brahmin haven street. Or if you look to the more modern musicologists like the Seegers and Lomaxes who went down South, down Appalachia way, looking for roots music you will find some forbears brought over from the old country, the British Isles, that can be traced back to those times without doing injury to the truth.]

“Well one day I was in Whole Foods and I hear this song over their PA system or whatever they call it, you know those CDs they play to get you through the hard-ass shopping you need to do to keep the renegade kids from starvation’s door. The song seemed slightly familiar, folkie familiar, so I asked at the customer service desk who was singing the song and its name which I couldn’t quite remember. Of course the young clerk knew from nothing but a grey-haired guy, an old Cambridge radical type, a professor-type now that I think about what he looked like probably teaching English Lit, a guy you see in droves when you are in Harvard Square these days doddering along looking down at the ground like they have been doing for fifty years, standing in the same line as me, probably to return something that he bought by mistake and his wife probably ran his ass ragged until he returned the damn thing and got what she wanted, said it was Judy Collins doing Both Sides Now.  

That information from the professor, and that tune stuck in my head, got me thinking about checking out the song on YouTube which I did after I got home, unpacked the groceries, unpacked the kids and gave them their lunches. The version I caught was one of her on a Pete Seeger’s Rainbow Quest series from the 1960s in black and white that was on television back then which I am sure you and Dad knew about and she had this great looking long straight hair. I was envious. Then I kind of got the bug, wanted to check out some other folkie women whose names I know by heart, thank you, and noticed that Joan Baez in one clip taken at the Newport Folk Festival along with Bob Dylan singing With God On Our Side, God-awful if you remember me saying that every time you put it on the record-player, had even longer and straighter hair than Judy Collins.

“There she was all young, beautiful and dark-skinned Spanish exotic, something out of a Cervantes dream with that great hair. So I let mine grow and unlike what I heard Joan Baez, and about six zillion other young women did, including I think you, to keep it straight using an iron I went to Delores over at Flip Cuts in the mall and she does this thing to it every couple of months. And no I don’t want you to give me your folk albums, as valuable as they are, and as likely as I am to get them as family heirlooms when as you say you pass to the great beyond, please, to complete the picture because the stuff still sounds like it was from the Middle Ages although Dylan sounded better then than I remember, better than that croaking voice he has now that I heard you play one time on your car radio when we were heading up to Maine with you to go to Kittery to get the kids some back to school clothes.”        

Laura laughed a little at that remark as Emily went out the door to do some inevitable pressing shopping. After dutifully playing with Nick and Nana for a couple of hours while Emily went to get some chores done at the mall sans the kids who really are a drag on those kinds of tasks and after having stayed for supper when Sean got home from work she headed to her own home down in Cambridge (a condo really shared with her partner, Sam Lowell, whom she knew in college, lost track of and then reunited with after many years and three husbands at a college class reunion).

When she got home Sam, making her chuckle about what Emily said about that guy in the line at Whole Foods looked like and tarring Sam with that same brush, working on some paper of his, something about once again saving the world from the endless wars of the American government (other governments too but since as he said, quoting “Che” Guevara, always Che, about living in the heart of the beast the American government), the climate, nuclear disarmament, social inequality at home and in the world, or the plight of forgotten political prisoners, which was his holy mantra these days now that he was semi-retired from his law practice was waiting, waiting to hear the latest Nick and Nana stories instead she told him Emily’s story. Then they started talking about those old days in the 1960s when both she and he (he in Harvard Square having grown up in Carver about thirty miles south of Boston and her in the hotbed Village growing up in Manhattan and later at NYU where they went to school as undergraduates) imbibed in that now historic folk minute which promised, along with a few other things, to change the world a bit.

Laura, as Sam was talking, walked to a closet and brought out a black and white photograph from some folk festival in 1963 which featured Joan Baez, whom the clueless media always looking for a single hook to hang an idea on dubbed her the “queen of folk (and Dylan the king),” her sister Mimi Farina, who had married Richard Farina, the folk-singer/song-writer most poignantly Birmingham Sunday later killed in a motorcycle crash and Judy Collins on stage at the same time. All three competing with each other for the long straight hair championship. Here’s part of what was said about the picture that night, here’s how Laura put it:    

“Funny how trends get started, how one person, or a few start something and it seems like the whole world follows, or the part of the world that hears about the new dispensation anyway, the part you want to connect with. Remember Sam how we all called folk the “new dispensation” for our generation which had begun back in the late 1950s, early 1960s, slightly before our times when we caught up with it in college in 1964. So maybe it started in reaction to the trend when older guys started to lock-step in gray flannel suits. That funny Mad Men, retro-cool today look, which is okay if you pay attention to who was watching the show. In the days before Jack and Bobby Kennedy put the whammy on that fashion and broke many a haberdasher’s heart topped off by not wearing a soft felt hat like Uncle Ike and the older guys.”

“Funny too it would be deep into the 1960s before open-necks and colors other than white for shirts could be worked in but by then a lot of us were strictly denims and flannel shirts or some such non-suit or dress combination. Remember even earlier when the hula-hoop fad went crazy when one kid goofing off threw a hard plastic circle thing around his or her waist and every kid from Portland, Maine to Portland, Oregon had to have one, to be tossed aside in some dank corner of the garage after a few weeks when everybody got into yo-yos or Davey Crockett coonskin caps. Or maybe, and this might be closer to the herd instinct truth, it was after Elvis exploded onto the scene and every guy from twelve to two hundred in the world had to, whether they looked right with it or not, wear their sideburns just a little longer, even if they were kind of wispy and girls laughed at you for trying to out-king the “king” who they were waiting for not you. I know I did with Jasper James King who tried like hell to imitate Elvis and I just stepped on his toes all dance when he asked me to dance with him on It’s Alright, Mama.”  

“But maybe it was, and this is a truth which we can testify to when some girls, probably college girls like me, now called young women but then still girls no matter how old except mothers or grandmothers, having seen Joan Baez on the cover of Time (or perhaps her sister Mimi on some Mimi and Richard Farina folk album cover)got out the ironing board at home or in her dorm and tried to iron their own hair whatever condition it was in, curly, twisty, or flippy like mine, whatever  don’t hold me to all the different hairstyles to long and straight strands. Surely as strong as the folk minute was just then say 1962, 63, 64, they did not see the photo of Joan on some grainy Arise and Sing folk magazine cover, the folk scene was too young and small back in the early days to cause such a sea-change.”

 Sam piped up and after giving the photograph a closer look said, “Looking at that photograph you just pulled out of the closet now, culled I think from a calendar put out by the New England Folk Archive Society, made me think back to the time when I believe that I would not go out with a girl (young woman, okay) if she did not have the appropriate “hair,” in other words no bee-hive or flip thing that was the high school rage among the not folk set, actually the rage among the social butterfly, cheerleader, motorcycle mama cliques. Which may now explain why I had so few dates in high school and none from Carver High. But no question you could almost smell the singed hair at times, and every guy I knew liked the style, liked the style if they liked Joan Baez, maybe had some dreamy sexual desire thing about hopping in the hay, and that was that.”                   

“My old friend Bart Webber, a guy I met out in San Francisco  when I went out West with my old friend  Josh Breslin in our hitchhike days with whom if you remember I re-connected with via the “magic” of the Internet a few years ago, told me a funny story when we met at the Sunnyville Grille in Boston one time about our friend Julie Peters who shared our love of folk music back then (and later too as we joined a few others in the folk aficionado world after the heyday of the folk minute got lost in the storm of the British Beatles/Stones  invasion).”

“He had first met her in Harvard Square one night at the Café Blanc when the place had their weekly folk night (before every night was folk night when Eric Von Schmidt put the place on the map by writing Joshua Gone Barbados which he sang and which Tom Rush went big with) and they had a coffee together. That night she had her hair kind of, oh he didn’t know what they called it but he thought something like beehive or flip or something which highlighted and enhanced her long face. Bart thought she looked fine. Bart, like myself, was not then hip to the long straight hair thing and so he kind of let it pass without any comment.”

“Then one night a few weeks later after they had had a couple of dates she startled him when he picked her up at her dorm at Boston University to go over the Club Blue in the Square to see Dave Van Ronk hold forth in his folk historian gravelly-voiced way. She met him at the door with the mandatory straight hair although it was not much longer than when he first met her which he said frankly made her face even longer. When Bart asked her why the change Julie declared that she could not possibly go to Harvard Square looking like somebody from some suburban high school not after seeing her idol Joan Baez (and later Judy Collins too) with that great long hair which seemed very exotic, very Spanish.”

“Of course he compounded his troubles by making the serious mistake of asking if she had her hair done at the beauty parlor or something and she looked at him with burning hate eyes since no self-respecting folkie college girl would go to such a place where her mother would go. So she joined the crowd, Bart got used to it and after a while she did begin to look like a folkie girl, and started wearing the inevitable peasant blouses instead of those cashmere sweaters or starched Catholic school shirt things she used to wear.”     

“By the way Laura let’s be clear on that Julie thing with Bart back in the early 1960s since his Emma goes crazy every time anybody, me, you, Bart, Frankie Riley, Jack Callahan mentions any girl that Bart might have even looked at in those days. Yeah, even after almost forty years of marriage so keep this between us. She and Bart went “Dutch treat” to see Dave Van Ronk at the Club Blue. They were thus by definition not on a heavy date, neither had been intrigued by the other enough to be more than very good friends after the first few dates but folk music was their bond. Just friends despite persistent Julie BU dorm roommate rumors what with Bart hanging around all the time listening to her albums on the record player they had never been lovers.

“Many years later she mentioned that Club Blue night to me since I had gone with them with my date, Joyell Danforth, as we waited to see Pete Seeger and Arlo Guthrie with us to see if I remembered Van Ronk’s performance and while I thought I remembered I was not sure.

I asked Julie, “Was that the night he played that haunting version of Fair and Tender Ladies with Eric Von Schmidt backing him up on the banjo?” Julie had replied yes and that she too had never forgotten that song and how the house which usually had a certain amount of chatter going on even when someone was performing had been dead silent once he started singing.”

As for the long-ironed haired women in the photograph their work in that folk minute and later speaks for itself. Joan Baez worked the Bob Dylan anointed “king and queen” of the folkies routine for a while for the time the folk minute lasted. Mimi (now passed on) teamed up with her husband, Richard Farina, who as mentioned before was tragically killed in a motorcycle crash in the mid-1960s, to write and sing some of the most haunting ballads of those new folk times (think Pack Up Your Sorrows). Julie Collins, now coiffured like that mother Julie was beauty parlor running away from and that is okay, still produces beautiful sounds on her concert tours. But everyone should remember, every woman from that time anyway, should remember that burnt hair, and other sorrows, and know exactly who to blame. Yeah, we have the photo as proof.           

In Honor Of May Day 2016-From The American Left History Blog Archives-Reflections on May Day 2012 In Boston- Forward To May Day 2013

In Honor Of May Day 2016-From The American Left History Blog Archives-Reflections on May Day 2012 In Boston- Forward To May Day 2013

 

An Injury To One Is An Injury To All!-Fight-Don’t Starve-We Created The Wealth, Let's Take It, It’s Ours! Labor And The Oppressed Must Rule!

 

From The Pen Of Frank Jackman

 

I have noted on several previous occasions (including in an article in the April 2012 “Boston Occupier, Number 7”) that due to the recent absence of serious left-wing political struggle (prior to the events at Occupy Boston in Dewey Square from October to December 2011anyway) that our tasks for May Day 2012 in Boston centered on reviving the international working class tradition beyond the limited observance by revolutionaries, radicals and, in recent years, immigrants. This effort would thus not be a one event, one year but require a number of years and that this year’s efforts was just a start. We have made that start.

 

The important thing this year was to bring Boston in line with the international movement, to have leftist militants and others see our struggles here as part of an international struggle even if our actions were, for now, more symbolic and educational than powerful blows at the imperial system. I believe, despite the bad weather and consequently smaller than anticipated numbers on May Day 2012, we achieved that aim. Through months of hard outreach, especially over the past several weeks as the day approached, we put out much propaganda and information about the events through the various media with which we have access. The message of this May Day, a day without the 99%, got a full hearing by people from the unions, immigrant communities, student milieu and other sectors like the women’s movement and GLBQT community.  The connections and contacts made are valuable for our further efforts. 

 

 Some participants that spoke to me on May Day (and others who had expressed the same concerns on earlier occasions) believed that we had “bitten off more than we could chew,” by having an all-day series of events.  While I am certainly open to hear criticism on the start time of the day’s events (7:00AM does stretch the imagination for night-owlish militants) the idea of several events starting with that early Financial District Block Party and continuing on with the 11:00 AM Anti-Capitalist March which fed into the noontime rally at Boston City Hall Plaza  and then switching over to the immigrant community marches and rally capped off that evening by the sober, solemn and visually impression “Death Of Capitalism” funeral procession still seems right to me. Given our task –introducing (really re-introducing) May Day to a wider Boston audience we needed to provide a number of times and events where people could, consciously, contribute to the day’s celebration. Maybe some year our side will be able to call for a one event May Day mass rally (or better a general strike) but that is music for the future. 

 

Needless to say, as occurs almost any time you have many events and a certain need to have them coordinated, there were some problems from 

technical stuff like mic set-ups to someone forgetting something important, or not showing at the right time, etc. Growing pains. Nevertheless all the scheduled events happened, we had minimum hassles from the police, and a couple of events really stick out as exemplars for future May Days. The Anti-Capitalist March from Copley Square, mainly in a downpour, led by many young militants and which fed into the noontime City Hall rally was spirited and gave me hope that someday (someday soon, I hope) we are going to bring this imperial monster down. The already mentioned funeral procession was an extremely creative (and oft-forgotten by us) alternative way to get our message across outside the “normal” ham-handed, jack-booted political    

screed.

 

Finally, a word or two on organization. The Occupy-May Day Coalition personnel base was too small, way too small even for our limited goals. We need outreach early (early next year) to get enough organizer-type people on board to push forward. More broadly on outreach I believe, and partially this was a function of being too small an organizing center, we spent too much time “preaching to the choir”-going to events, talking to people already politically convinced , talking among ourselves rather than get out into the broader political milieu. For next year (which will not be an election year) we really need union and community people (especially from oppressed communities) to “smooth” the way for us. We never got that one (although we want more than one ultimately) respected middle-level still militant union official or community organizer that people, working people, listen to and who would listen to us with his or her nod. Radical or bourgeois politics, down at the base, you still need to have the people that the people listen to on board. Forward to May Day 2013.           

From the Archives of Marxism-Lenin on the 1916 Irish Rebellion

Workers Vanguard No. 1088	22 April 2016

From the Archives of Marxism-Lenin on the 1916 Irish Rebellion

This April marks the centenary of the Easter Rising against British colonial rule in Ireland. Taking place amid the interimperialist World War I, the rebellion was brutally suppressed by the British rulers, who proceeded to execute the leaders of the Rising, including the socialist James Connolly. V.I. Lenin stressed the need for Marxists to defend such national uprisings against imperialism. He sharply attacked renegades like German Social-Democratic leader Karl Kautsky and polemicized against more left-wing socialists like Karl Radek who dismissed the Irish revolt as a “putsch” and refused to champion struggles for national self-determination. We print below excerpts from Lenin’s “The Discussion on Self-Determination Summed Up” (July 1916).

*   *   *

The views of the opponents of self-determination lead to the conclusion that the vitality of small nations oppressed by imperialism has already been sapped, that they cannot play any role against imperialism, that support of their purely national aspirations will lead to nothing, etc. The imperialist war of 1914-16 has provided facts which refute such conclusions.

The war proved to be an epoch of crisis for the West-European nations, and for imperialism as a whole. Every crisis discards the conventionalities, tears away the outer wrappings, sweeps away the obsolete and reveals the underlying springs and forces. What has it revealed from the standpoint of the movement of oppressed nations? In the colonies there have been a number of attempts at rebellion, which the oppressor nations naturally did all they could to hide by means of a military censorship. Nevertheless, it is known that in Singapore the British brutally suppressed a mutiny among their Indian troops; that there were attempts at rebellion in French Annam [name for Vietnam prior to 1945]...and in the German Cameroons (see the Junius pamphlet [by Rosa Luxemburg]); that in Europe, on the one hand, there was a rebellion in Ireland, which the “freedom-loving” English, who did not dare to extend conscription to Ireland, suppressed by executions, and, on the other, the Austrian Government passed the death sentence on the deputies of the Czech Diet “for treason,” and shot whole Czech regiments for the same “crime.”

This list is, of course, far from complete. Nevertheless, it proves that, owing to the crisis of imperialism, the flames of national revolt have flared up both in the colonies and in Europe, and that national sympathies and antipathies have manifested themselves in spite of the Draconian threats and measures of repression. All this before the crisis of imperialism hit its peak; the power of the imperialist bourgeoisie was yet to be undermined (this may be brought about by a war of “attrition” but has not yet happened) and the proletarian movements in the imperialist countries were still very feeble. What will happen when the war has caused complete exhaustion, or when, in one state at least, the power of the bourgeoisie has been shaken under the blows of proletarian struggle, as that of tsarism in 1905?

On May 9, 1916, there appeared in Berner Tagwacht, the organ of the [socialist antiwar] Zimmerwald group, including some of the Leftists, an article on the Irish rebellion entitled “Their Song Is Over” and signed with the initials K. R. [Karl Radek]. It described the Irish rebellion as being nothing more nor less than a “putsch,” for, as the author argued, “the Irish question was an agrarian one,” the peasants had been pacified by reforms, and the nationalist movement remained only a “purely urban, petty-bourgeois movement, which, notwithstanding the sensation it caused, had not much social backing.”

It is not surprising that this monstrously doctrinaire and pedantic assessment coincided with that of a Russian national-liberal Cadet, Mr. A. Kulisher (Rech No. 102, April 15, 1916), who also labelled the rebellion “the Dublin putsch.”

It is to be hoped that, in accordance with the adage, “it’s an ill wind that blows nobody any good,” many comrades, who were not aware of the morass they were sinking into by repudiating “self-determination” and by treating the national movements of small nations with disdain, will have their eyes opened by the “accidental” coincidence of opinion held by a Social-Democrat and a representative of the imperialist bourgeoisie!!

The term “putsch,” in its scientific sense, may be employed only when the attempt at insurrection has revealed nothing but a circle of conspirators or stupid maniacs, and has aroused no sympathy among the masses. The centuries-old Irish national movement, having passed through various stages and combinations of class interest, manifested itself, in particular, in a mass Irish National Congress in America (Vorwärts, March 20, 1916) which called for Irish independence; it also manifested itself in street fighting conducted by a section of the urban petty bourgeoisie and a section of the workers after a long period of mass agitation, demonstrations, suppression of newspapers, etc. Whoever calls such a rebellion a “putsch” is either a hardened reactionary, or a doctrinaire hopelessly incapable of envisaging a social revolution as a living phenomenon.

To imagine that social revolution is conceivable without revolts by small nations in the colonies and in Europe, without revolutionary outbursts by a section of the petty bourgeoisie with all its prejudices, without a movement of the politically non-conscious proletarian and semi-proletarian masses against oppression by the landowners, the church, and the monarchy, against national oppression, etc.—to imagine all this is to repudiate social revolution. So one army lines up in one place and says, “We are for socialism,” and another, somewhere else and says, “We are for imperialism,” and that will be a social revolution! Only those who hold such a ridiculously pedantic view could vilify the Irish rebellion by calling it a “putsch.”

Whoever expects a “pure” social revolution will never live to see it. Such a person pays lip-service to revolution without understanding what revolution is....

We would be very poor revolutionaries if, in the proletariat’s great war of liberation for socialism, we did not know how to utilise every popular movement against every single disaster imperialism brings in order to intensify and extend the crisis. If we were, on the one hand, to repeat in a thousand keys the declaration that we are “opposed” to all national oppression and, on the other, to describe the heroic revolt of the most mobile and enlightened section of certain classes in an oppressed nation against its oppressors as a “putsch,” we should be sinking to the same level of stupidity as the Kautskyites.

It is the misfortune of the Irish that they rose prematurely, before the European revolt of the proletariat had had time to mature. Capitalism is not so harmoniously built that the various sources of rebellion can immediately merge of their own accord, without reverses and defeats. On the other hand, the very fact that revolts do break out at different times, in different places, and are of different kinds, guarantees wide scope and depth to the general movement; but it is only in premature, individual, sporadic and therefore unsuccessful, revolutionary movements that the masses gain experience, acquire knowledge, gather strength, and get to know their real leaders, the socialist proletarians, and in this way prepare for the general onslaught.

In Boston May 21, 2016-Chelsea Manning Stand-Out-Six Years Is Enough-More Than Enough-Free Chelsea Now!

In Boston May 21, 2016-Chelsea Manning Stand-Out-Six Years Is Enough-More Than Enough-Free Chelsea Now!    

 

*Class Struggle And The Fight For Black Liberation- A Guest Commentary

Click on the title to link to a "Workers Vanguard", newspaper of the Spartacist League/U.S, article on the subject mentioned in the headline.

*****When The Tin Can Bended…. In The Time Of The Late Folk-Singer Dave Van Ronk’s Time

*****When The Tin Can Bended…. In The Time Of The Late Folk-Singer Dave Van Ronk’s Time

 

 

 

From The Pen Of Bart Webber

 

Sometimes Sam Lowell and his “friend” (really “sweetie,” long time sweetie, paramour, significant other, consort or whatever passes for the socially acceptable or Census Bureau bureaucratic “speak” way to name somebody who is one’s soul-mate, his preferred term) Laura Perkins whose relationship to Sam was just described in parenthesis, and righteously so, liked to go to Crane’s Beach in Ipswich to either cool off in the late summer heat or in the fall before the New England weather lowers its hammer and the place gets a bit inaccessible. That later summer  heat escape valve is a result of the hard fact that July, when they really would like to go there to catch a few fresh sea breezes, is not a time to show up at the bleach white sands beach due to nasty blood-sucking green flies swarming and dive-bombing like some berserk renegade Air Force squadron lost on a spree who breed in the nearby swaying mephitic marshes.

The only “safe haven” then is to drive up the hill to the nearby robber-baron days etched Crane Castle to get away from the buggers, although on a stagnant wind day you might have a few vagrant followers, as the well-to-do have been doing since there were well-to-do and had the where-with-all to escape the summer heat and bugs at higher altitudes. By the way I assume that “castle” is capitalized when it part of a huge estate, the big ass estate of Crane, now a trust monument to the first Gilded Age, not today’s neo-Gilded Age, architectural proclivities of the rich, the guy whose company did, does all the plumbing fixture stuff on half the bathrooms in America including the various incantations of the mansion. 

Along the way, along the hour way to get to Ipswich from Cambridge Sam and Laura had developed a habit of making the time more easy passing by listening to various CDs, inevitably not listened to for a long time folk CDs, not listened to for so long that the plastic containers needed to be dusted off before being brought along, on the car CD player. And is their wont while listening to some CD to comment on this or that thing that some song brought to mind, or the significance of some song in their youth.  One of the things that had brought them together early on several years back was their mutual interest in the old 1960s folk minute which Sam, a little older and having grown up within thirty miles of Harvard Square, one the big folk centers of that period along with the Village and North Beach out in Frisco town, had imbibed deeply. Laura, growing up “in the sticks,” in farm country in upstate New York had gotten the breeze at second-hand through records, records bought at Cheapo Records and the eternal Sandy's on Massachusetts Avenue in Cambridge and a little the fading Cambridge folk scene when she had moved to Boston in the early 1970s to go to graduate school.     

One hot late August day they got into one such discussion about how they first developed an interest in folk music when Sam had said “sure everybody, everybody over the age of say fifty to be on the safe side, knows about Bob Dylan, maybe some a little younger too if some hip kids have browsed through their parents’ old vinyl record collections now safely ensconced in the attic although there are stirrings of retro-vinyl revival of late according a report he had heard on NPR. Some of that over 50 crowd and their young acolytes would also know about how Dylan, after serving something like an apprenticeship under the influence of Woody Guthrie in the late 1950s singing Woody’s songs imitating Woody's style something  fellow Woody acolytes like Ramblin’ Jack Elliot never quite got over moved on, got all hung up on high symbolism and obscure references. Funny guys like Jack actually made a nice workman-like career out of Woody covers, so their complaints seen rather hollow now. That over 50s crowd would also know Dylan became if not the voice of the Generation of ’68, their generation, which he probably did not seriously aspire in the final analysis, then the master troubadour of the age.

Sam continued along that line after Laura had said she was not sure about the connection and he said he meant, “troubadour in the medieval sense of bringing news to the people and entertaining them by song and poetry as well if not decked in some officially approved garb like back in those olden days where they worked under a king’s license if lucky, by their wit otherwise but the 'new wave' post-beatnik flannel shirt, work boots, and dungarees which connected you with the roots, the American folk roots down in the Piedmont, down in Appalachia, down in Mister James Crow’s Delta. So, yes, that story has been pretty well covered.”  

Laura said she knew all of that about the desperate search for roots although not that Ramblin’ Jack had been an acolyte of Woody’s but she wondered about others, some other folk performers who she listened to on WUMB on Saturday morning when some weeping willow DJ put forth about fifty old time rock and folk things a lot of which she had never heard of back in Mechanicsville outside of Albany where she grew up. Sam then started in again, “Of course that is hardly the end of the story since Dylan did not create that now hallowed folk minute of the early 1960s. He had been washed by it when he came to the East from Hibbing, Minnesota for God’s sake (via Dink’s at the University), came into the Village where there was a cauldron of talent trying to make folk the next big thing, the next big cultural thing for the young and restless of the post-World War II generations. For us. But also those in little oases like the Village where the disaffected could put up on stuff they couldn’t get in places like Mechanicsville or Carver where I grew up. People who I guess, since even I was too young to know about that red scare stuff except to you had to follow your teacher’s orders to put your head under your desk and hand over your head if the nuclear holocaust was coming, were frankly fed up with the cultural straightjacket of the red scare Cold War times and began seriously looking as hard at roots in all its manifestations as our parents, definitely mine, yours were just weird about stuff like that, right, were burying those same roots under a vanilla existential Americanization. How do you like that for pop sociology 101.”

“One of the talents who was already there when hick Dylan came a calling, lived there, came from around there was the late Dave Van Ronk who as you know we had heard several times in person, although unfortunately when his health and well-being were declining not when he was a young politico and hell-raising folk aspirant. You know he also, deservedly, fancied himself a folk historian as well as musician.”    

“Here’s the funny thing, Laura, that former role is important because we all know that behind the “king” is the “fixer man,” the guy who knows what is what, the guy who tells one and all what the roots of the matter were like some mighty mystic (although in those days when he fancied himself a socialist that mystic part was played down). Dave Van Ronk was serious about that part, serious about imparting that knowledge about the little influences that had accumulated during the middle to late 1950s especially around New York which set up that folk minute. New York like I said, Frisco, maybe in small enclaves in L.A. and in precious few other places during those frozen times a haven for the misfits, the outlaws, the outcast, the politically “unreliable,” and the just curious. People like the mistreated Weavers, you know, Pete Seeger and that crowd found refuge there when the hammer came down around their heads from the red-baiters and others like advertisers who ran for cover to “protect” their precious soap, toothpaste, beer, deodorant or whatever they were mass producing to sell to a hungry pent-ip market.  

Boston and Cambridge by comparison until late in the 1950s when the Club 47 and other little places started up and the guys and gals who could sing, could write songs, could recite poetry even had a place to show their stuff instead of to the winos, rummies, grifters and conmen who hung out at the Hayes-Bickford or out on the streets could have been any of the thousands of towns who bought into the freeze.”     

“Sweetie, I remember one time but I don’t remember where, maybe the Café Nana when that was still around after it had been part of the Club 47 folk circuit for new talent to play and before Harry Reid, who ran the place, died and it closed down, I know it was before we met, so it had to be before the late 1980s Von Ronk told a funny story, actually two funny stories, about the folk scene and his part in that scene as it developed a head of steam in the mid-1950s which will give you an idea about his place in the pantheon. During the late 1950s after the publication of Jack Kerouac’s ground-breaking road wanderlust adventure novel that got young blood stirring, not mine until later since I was clueless on all that stuff except rock and roll, On The Road which I didn’t read until high school, the jazz scene, the cool be-bop jazz scene and poetry reading, poems reflecting off of “beat” giant Allen Ginsberg’s Howl the clubs and coffeehouse of the Village were ablaze with readings and cool jazz, people waiting in line to get in to hear the next big poetic wisdom guy if you can believe that these days when poetry is generally some esoteric endeavor by small clots of devotees just like folk music. The crush of the lines meant that there were several shows per evening. But how to get rid of one audience to bring in another in those small quarters was a challenge.

Presto, if you wanted to clear the house just bring in some desperate “from hunger” snarly nasally folk singer for a couple, maybe three songs, and if that did not clear the high art be-bop poetry house then that folk singer was a goner. A goner until the folk minute of the 1960s who probably in that very same club then played for the 'basket.' You know the 'passed hat' which even on a cheap date, and a folk music coffeehouse date was a cheap one in those days like I told you before and you laughed at cheapie me and the 'Dutch treat' thing, you felt obliged to throw a few bucks into to show solidarity or something.  And so the roots of New York City folk according to the 'father.'

Laura interrupted to ask if that “basket” was like the buskers put in front them these days and Sam said yes. And asked Sam about a few of the dates he took to the coffeehouses in those days, just out of curiosity she said, meaning if she had been around would he have taken her there then. He answered that question but since it is an eternally complicated and internal one I have skipped it to let him go on with the other Von Ronk story. He continued with the other funny story like this-“The second story involved his [Von Ronk's] authoritative role as a folk historian who after the folk minute had passed became the subject matter for, well, for doctoral dissertations of course just like today maybe people are getting doctorates in hip-hop or some such subject. Eager young students, having basked in the folk moment in the abstract and with an academic bent, breaking new ground in folk history who would come to him for the 'skinny.' Now Van Ronk had a peculiar if not savage sense of humor and a wicked snarly cynic’s laugh but also could not abide academia and its’ barren insider language so when those eager young students came a calling he would give them some gibberish which they would duly note and footnote. Here is the funny part. That gibberish once published in the dissertation would then be cited by some other younger and even more eager students complete with the appropriate footnotes. Nice touch, nice touch indeed on that one, right.”

Laura did not answer but laughed, laughed harder as she thought about it having come from that unformed academic background and having read plenty of sterile themes turned inside out.       

As Laura laugh settled Sam continued “As for Van Ronk’s music, his musicianship which he cultivated throughout his life, I think the best way to describe that for me is that one Sunday night in the early 1960s I was listening to the local folk program on WBZ hosted by Dick Summer, who was influential in boosting local folk musician Tom Rush’s career and who was featured on that  Tom Rush documentary No Regrets we got for being members of WUMB, when this gravelly-voice guy, sounding like some old mountain pioneer, sang the Kentucky hills classic Fair and Tender Ladies. It turned out to be Von Ronk's version which you know I still play up in the third floor attic. After that I was hooked on that voice and that depth of feeling that he brought to every song even those of his own creation which tended to be spoofs on some issue of the day.”

Laura laughed at Sam and the intensity with which his expressed his mentioning of the fact that he liked gravelly-voiced guys for some reason. Here is her answer, “You should became when you go up to the third floor to do your “third floor folk- singer” thing and you sing Fair and Tender Ladies I hear this gravelly-voiced guy, sounding like some old mountain pioneer, some Old Testament Jehovah prophet come to pass judgment come that end day time.”

They both laughed. 

Laura then mentioned the various times that they had seen Dave Von Ronk before he passed away, not having seen him in his prime, when that voice did sound like some old time prophet, a title he would have probably secretly enjoyed for publicly he was an adamant atheist. Sam went on, “ I saw him perform many times over the years, sometimes in high form and sometimes when drinking too much high-shelf whiskey, Chavis Regal, or something like that not so good. Remember we had expected to see him perform as part of Rosalie Sorrels’ farewell concert at Saunders Theater at Harvard in 2002 I think. He had died a few weeks before.  Remember though before that when we had seen him for what turned out to be our last time and I told you he did not look well and had been, as always, drinking heavily and we agreed his performance was subpar. But that was at the end. For a long time he sang well, sang us well with his own troubadour style, and gave us plenty of real information about the history of American folk music. Yeah like he always used to say-'when the tin can bended …..and the story ended.'

As they came to the admission booth at the entrance to Crane’s Beach Sam with Carolyn Hester’s song version of Walt Whitman’s On Captain, My Captain on the CD player said “I was on my soap box long enough on the way out here. You’re turn with Carolyn Hester on the way back who you know a lot about and I know zero, okay.” Laura retorted, “Yeah you were definitely on your soap-box but yes we can talk Carolyn Hester because I am going to cover one of her songs at my next “open mic.” And so it goes.