From The Marxist Archives-Karl Liebknecht-No Unity With The Class Enemy-Build The Resistance

From The Marxist Archives-Karl Liebknecht-No Unity With The Class Enemy-Build The Resistance  

Workers Vanguard No. 1104 27 January 2017 TROTSKY LENIN No to Unity with Class Enemy! (Quote of the Week) Today, the reformist left calls for “unity” to fight against Trump. This boils down to uniting behind the Democratic Party, political representatives of the class enemy. Writing in 1918, as the German Revolution was unfolding, revolutionary leader Karl Liebknecht warned against the dangers of unity with those defending the capitalist order. Liebknecht, along with Rosa Luxemburg, belatedly split with the socialist conciliators who wanted to unite with the Social Democratic Party (SPD), which had betrayed the working class by supporting German imperialism during World War I. In January 1919, shortly after founding the German Communist Party, Liebknecht and Luxemburg were murdered by right-wing paramilitary forces at the behest of the SPD government and the revolution was defeated. Unity! Who could yearn and strive for it more than we? Unity, which gives the proletariat the strength to carry out its historic mission. But not all “unity” breeds strength. Unity between fire and water extinguishes the fire and turns the water to steam. Unity between wolf and lamb makes the lamb a meal for the wolf. Unity between the proletariat and the ruling classes sacrifices the proletariat. Unity with traitors means defeat. Only forces pulling in the same direction are made stronger through unity. When forces pull against each other, chaining them together cripples them both. We strive to combine forces that pull in the same direction. The current apostles of unity, like the unity preachers during the war, strive to unite opposing forces in order to obstruct and deflect the radical forces of the revolution. Politics is action. Working together in action presupposes unity on means and ends. Whoever agrees with us on means and ends is for us a welcome comrade in battle. Unity in thought and attitude, in aspiration and action, that is the only real unity. Unity in words is an illusion, ​self-​deception, or a fraud. The revolution has hardly begun, and the apostles of unity already want to liquidate it. They want to steer the movement onto “peaceful paths” to save capitalist society. They want to hypnotize the proletariat with the catchword of unity in order to wrench power from its hands by reestablishing the class state and preserving economic class rule. They lash out at us because we frustrate these plans, because we are truly serious about the liberation of the working class and the world socialist revolution. Can we unify with those who are nothing more than substitutes for the capitalist exploiter, dressed as socialists? Can we, may we join with them without becoming accomplices in their conspiracies? Unity with them would mean ruin for the proletariat. It would mean renouncing socialism and the International. They are not fit for a fraternal handshake. They should be met not with unity, but with battle. The toiling masses are the prime movers of social revolution. Clear class consciousness, clear recognition of their historic tasks, a clear will to achieve them, and unerring effectiveness—these are the attributes without which they will not be able to complete their work. Today more than ever the task is to clear away the unity smokescreen, expose half measures and halfheartedness, and unmask all false friends of the working class. Clarity can arise only out of pitiless criticism, unity only out of clarity, and the strength to create the new socialist world only out of unity in spirit, goals, and purpose. —Karl Liebknecht, “The New ‘Civil Peace’” (19 November 1918), printed in The German Revolution and the Debate on Soviet Power (Pathfinder Press, 1986)

Sculptors' Corner-On The 100th Anniversary Of August Rodin's Death

Sculptors' Corner-On The 100th Anniversary Of August Rodin's Death   

Frtiz Taylor comment; 

No question Rodin was the big sculptor of his time and while we should not forget that he treated his long-time companion and fellow sculptor Camille Claudel rather poorly when the deal went down that reputation still holds up. By the way in these times everybody should take a view of his "The Thinker"-and act on it.

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

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

 





From The Pen Of Frank Jackman


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

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

 

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

 

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

 

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

 

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

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

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

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

 

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

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

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

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

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

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

 

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

From Veterans For Peace-The Gals And Guys Who Know About The Slippery Slope To War-No U.S. War Planes in Syria

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An Encore Presentation-In The Time Of The 1960s Folk Minute- With Tom Rush’s No Regrets In Mind

An Encore Presentation-In The Time Of The 1960s Folk Minute- With Tom Rush’s No Regrets In Mind 

I know your leavin's too long over due
For far too long I've had nothing new to show to you
Goodbye dry eyes I watched your plane fade off west of the moon
It felt so strange to walk away alone

No regrets
No tears goodbye
Don't want you back
We'd only cry again
Say goodbye again

The hours that were yours echo like empty rooms
Thoughts we used to share I now keep alone
I woke last night and spoke to you
Not thinkin' you were gone
It felt so strange to lie awake alone

No regrets
No tears goodbye
Don't want you back
We'd only cry again
Say goodbye again

Our friends have tried to turn my nights to day
Strange faces in your place can't keep the ghosts away
Just beyond the darkest hour, just behind the dawn
It feels so strange to lead my life alone

No regrets
No tears goodbye
Don't want you back
We'd only cry again
Say goodbye again

From The Pen Of Zack James 

A few years ago, maybe more like a decade or so, in an earlier 1960s folk minute nostalgia incantation fit Sam Eaton, who will be described further below, had thought he had finally worked out in his head what that folk moment had meant in the great musical arc of his life. Had counted up, had taken up and put value on its graces, did the great subtractions on its disappointments, that lack of beat that he had been spoon fed on in his head having heard maybe in the womb the sweats of some backbeat that sounded an awful lot like a band of the devil’s bad ass angels giving battle to the heavens, and got his head around, his expression, its clasps with certain young women, some absolute folkie women met in the Harvard Squares of the heated horny sex night and loves too not always with folkie women but just the muck of growing up and taking what came his way. So he had taken a back-flip, his expression, when he was required not out of his own volition like that great prairie fire burning before in his youth about why he felt after all these years that he needed to go back to what after all was a very small part of his life now that he was reaching four score and seven, going back over the terrain of a small part of the musics that he had cultivated since early childhood.

Some of those musics from his parents’ slogging through the Great Depression and World War II be-bop swing big band Saturday night get your dancing slippers on imposed on his tender back of brain not to be revived and revisited until many years later when he had heard some ancient Benny Goodman be-bop clarinet backing up a sultry-voiced Peggy Lee getting all in a silky sweat rage because her man like a million others was not a "do right" man but had been chasing her best friend the next best thing when he got his wanting habit on and Peggy turned ice queen when he ran out of dough after shooting craps against the dealer and decided he had been wrong to dismiss such music out of hand. Some of the music along the edges of his coming of  age from that edgy feeling he got when he heard the classic rock that just creeped into his pre-teen brain and lingered there unrequited until he found out what in that beat spoke to his primordial instincts, what caused his feverish nights of wonder, of what made him tick, of what he had missed.

Folk, the folk minute he deeply imbibed for that minute, at least the exciting part of the minute when he heard, finally heard, something that did not make him want to puke every time he turned on the radio, put his ill-gotten coins, grabbed from mother’s pocketbook laying there in wait for his greedy hands or through some con, some cheapjack con he pulled on some younger kids in Jimmy Jakes’ Diner jukebox to impress a few of the girls in town who were not hung up on Fabian or Bobby, heard something very new in his life and so different from the other musics that he had grown up with that he grabbed the sound with both hands. He thought that sweating a decade ago where he done a few small pieces to satisfy his literary sense of things and put them in a desk drawer yellow, frayed and gather dust until he passed on and somebody put the paper in a wastebasket for the rubbish men, thought he had ended those thoughts, closed out the chapter.

Recently though he did another series of short citizen-journalist sketches of scenes from that period for various folk music related blogs and social media outlets. Sam had done that series at the request of his old time friend, Bart Webber, who will also be described in more detail below, from Carver, an old working-class town about thirty miles south of Boston which at the time was the cranberry capital of the world or close to it, and close enough to Boston to have been washed by the folk minute that sprouted forth in Harvard Square and Beacon Hill in Boston.

Sam and Bart, who in their respective youths had been very close, had been corner boys together when that social category meant something, meant something about extreme teen alienation and angst combined with serious poverty, dirt poor poverty as in hand-me-down older brother clothes, as in no family car for long periods between old wreak of cars, of many surly peanut butter and jelly sandwiches, many Spam suppers, all fashioned to make these young men forever talking about big break-outs, about getting something for them and theirs but also for big candy-assed dreams too all put paid to, as one would expect of sons of “boggers,” those who cared for and harvested those world famous  cranberries, but also close because that was the way that corner boys were then, “having each other’s backs” was the term they used which confused even the best of the social scientists who investigated the phenomenon when that corner boy life meant juvenile delinquency, meant some unfathomed anger, some lack of socialization, some throwback to primeval muds, to some rising of the unkempt heathens they were payed to watch out for. Meant as well worry to those in power who were trying to weld society as one piece of steel to fight the internal and external red scare Cold War fight against the faithless, fang-toothed Ruskkie reds wielding nuclear weapons from the hip.

Like a lot of high school friends the cement that bound them in high school, that alienation, that comradery, those best left unsaid larcenous moments, the “midnight creeps” in Bart’s words when somebody asked him later what had made him and the corner boys put their reputations at risk for such small gain, a fact which also played a part in that “having each other’s back” broke apart once they graduated, or rather in their case once they had sowed their wild oats in the 1960s, those wild oats at the time meaning “drugs, sex, and rock and roll” combined with drifting the hitchhike road west in what one of their number, the late Pete Markin, called the search for the great blue-pink American West night.

Sam had stayed out in the West longer than the others except Markin and Josh Breslin whom he and Markin had met on a yellow brick road merry prankster bus before he drifted back East to go to law school and pursue a professional career. Bart had returned earlier, had gotten married to his high school sweetheart and had started up and run a small successful specialty print shop in hometown Carver based on the silk-screening tee-shirt and poster craze. They would run into each other occasionally when Sam came to town but for about twenty years they had not seen each other as both were busy raising families, working and travelling in different circles. One night though when Sam had been sitting in Jimmy Jakes’ Diner over on Spring Street in Carver having a late dinner by himself after having come to town to attend the funeral of a family member Bart had walked in and they then renewed their old relationship, decided that some spark from high school still held them together if nothing else that they both had been deeply formed, still held to those old corner boy habits toward life whatever successes they had subsequently enjoyed.

Along the way to solidifying there new relationship they would alternate meetings, some in Carver, some in Boston or Cambridge where Sam lived. On a recent trip to Boston to meet Sam at the Red Hat at the bottom of Beacon Hill Bart had walked pass Joy Street which triggered memories of the time in high school when he and his date who name he could not remember but she was a cousin of Sam’s “hot” date, Melinda Loring, who they went to school with and whom Sam was crazy to impress even though Melinda was not the daughter of a “bogger” but of school teachers and so from among the town’s better element and he was constantly on eggshells that she would toss him aside once she had figured out he was just another Fast Eddie corner boy trying to get into her pants, had taken them on a cheap date to the Oar and Anchor coffeehouse which stood at the corner of Joy and Cambridge Street to hear Lenny Lane. Lenny was an up and coming folk singer whom Sam had met on one of his clandestine midnight trips to Harvard Square on the Redline subway to hang out at the Hayes-Bickford.

That "cheap" part of the cheap date thing was important since Bart and Sam were as usual from hunger on money in the days when around Carver, probably around the world, guys paid expenses on dates, girls just looked beautiful or if not beautiful glad to not be forever hanging around the midnight telephone waiting for some two-timing guy to call them up for a date, and so short of just hanging at the Hayes for free watching weirdoes, con men, whores plying their trade, drunks, winos and occasional put upon artists, poets, writes and folk-singers perfecting their acts on the cheap, for the price of a couple of cups of coffee, a shared pastry and a couple of bucks in the “basket” for the performer you could get away with a lot especially when Bart was doing Sam a favor with that cousin (and worse could have gotten in trouble if Besty Binstock, his high school sweetheart. found out he was two-timing her although the two-timing involved the possibility of some off-hand sex with that cousin who was supposed to be “easy” but that in another story although come to think of it the situation could serve as another  prime example of “having each other’s back” when one of them was up against it).

Bart remembered that he had been very uncomfortable that night since he had had some feelings of guilt about two-timing (and lying to) Betsy starting out, had had trouble talking about anything in common, school, sports, the weather, with that cousin since she said she was doing Melinda a favor in order that she could go to Boston with Sam which Melinda’s mother would have balked at if she had told her they were going into Boston alone, going into Boston with a “bogger” alone. Moreover she knew nothing, cared nothing for folk music, didn’t even know what it was, said she had never heard of the thing, was fixated on Bobby Vee, dreamy guys, or something like that. What made that date worse was that Bart too then could hardly bear the sound of folk music, said repeatedly that the stuff was all dreary and involved weird stuff like murder and mayhem done on the banks of rivers, in back alleys, on darkened highways just because some woman would not come across, Jesus, strangely thwarted love reminding him of Sam’s forlorn quest for Melinda which seemed like some princess and pauper never the twain shall meet outcome, or hick stuff about home sweet home down in some shanty town in some desolate cabin without lights or water which sounded worse than Boggertown, singing high holy Jehovah stuff that made him wince, and of the hills and hollows in some misbegotten mountains made his teeth grind. So not a good mix, although it did turn out that the cousin was “easy,” did think he was dreamy enough to have sex with (with their clothes mostly on which was how more than one quicky one night stand wound up down by the boathouse near the Charles River after they had split from Sam and Melinda after the coffeehouse closed and that helped but had been the result of no help from the folk music they half-listened to but more some dope that she had in her pocketbook after she had passed a joint around to get things going.            

After telling Sam about his recollections of Joy Street and that cousin, whose name was Judy Dennison Sam told him and who Sam had gone out with and agreed was a little sex kitten once she was stoned, Bart started asking some questions about folk music. Sam said he was not finished with that Judy story, told Bart that fling was after the thing with Melinda had passed due not to class distinctions but to that hard fact that she was saving “it” for marriage, and had been very glad that he had that run around with Judy and was not sorry he did. Bart started in again and asked Sam a million questions about various folk-singers and what had happened to them, were they still playing, still alive since Sam although he did not have the same keen interest of his youthful folk minute still kept small tabs on the scene, the now small scene through his long-time companion, Laura Perkins whom he met one night at the Café Nana several years before when Tom Tremble was playing there after Sam had not heard him in about forty years.

The reason for Bart’s interest given that above he had said that the genre made his teeth grind was that after that night with Judy Bart did go on other double dates with Sam and Melinda, and later Suzanne when she was Sam’s next flame and a real folkie, to folk places and while he still would grind his teeth at some of the stuff he did develop more tolerance for the genre, especially if the date Sam set up was a real foxy folkie girl (thinking on it now he couldn’t believe how unfaithful he had been to Betsy in those days but she too was saving “it” for marriage and some of those young women were very willing and had apartment or dorm rooms too).

The upshot of all of Bart’s questions was that Sam found that he was not really except for Tom Tremble who had lost his sweet baby James voice, forgot lyrics and had “mailed it in” that night he had met Laura and was cold “stonewalled” by the audience but possibly motivated by that old folkie feeling, or maybe just feeling sorry for a guy who had a big local following back in the day when the “basket” went around everybody put some dough in, Sam and Laura included, and a couple of other guys up on what had happened to the old-time folkies since for years he had merely listened on radio station WCAS and when that station went under WUMB out of U/Mass-Boston or listened to records, tapes or CDs. (Sam got big points from Laura that first night when he panned Tom, who Laura had never heard before being enough younger not to have been bitten by the folk minute craze and she agreed that Tom had “mailed it in”.) Since Sam was not all that familiar with what had happened to most of them he thereafter did some research, asked Laura some questions to lead the way and wound up writings that series of sketches. One series entitled Not Bob Dylan about the fate of prominent male folk-singers was a direct result of the Sam and Bart conversation. Here’s what he had to say about Tom Rush who back in the day he knew best from hanging around the old Club 47 on Mount Auburn Street:     

“…Other than enigmatic Bob Dylan who is the iconic never-ending tour male performer most people would still associate with that folk minute period they would draw a blank on a list of others who also were aspiring to make names for themselves in the folk milieu. I am not talking about guys like Lenny Lane who had one hit and then went back to graduate school in biology when he couldn’t get another contract, when his well ran dry, or like Tom Tremble who had a big local following around the old Club Nana when it was on Mount Auburn Street in Cambridge not where it is now on Brattle Street but who did mainly covers and just never broke out or Mike Weddle who had good looks, a good stage presence, had the young women going crazy but who just walked away one day when some good looking woman from Radcliffe came hither and he “sold out” to her father’s stockbroking business.

I’m talking about people like Tom Rush from New Hampshire who lit up the firmament around Cambridge via the Harvard campus folk music station, Dave Von Ronk the cantankerous folk historian and musician who knew more about what happened in the early, early days in the Village at the point where “beat” poetry was becoming passe and folk was moving in to fill in the gap, Phil Ochs who had probably the deepest political sensibilities of the lot and wrote some of the stronger narrative folk protest songs, Richard Farina who represented that “live fast” edge that we were bequeathed by the “beats” and who tumbled down the hill on a motorcycle, and Jesse Collin Young who probably wrote along with Eric Andersen and Jesse Winchester the most pre-flower child lyrics mid-1960s hippie explosion before folk got amplified of the bunch.

My friend Bart had just seen a fragile seeming, froggy-voiced Bob Dylan in one of stages of his apparently never-ending concerts tours up in Maine and had been shaken by the sight and had wondered about the fate of other such folk performers. That request turned into a series of reviews of male folk-singers entitled Not Bob Dylan (and after that, also at Bart’s request, a series entitled Not Joan Baez based on some of the same premises except on the distaff side (nice word, right, you know golden-voiced Judy Collins and her sweet songs of lost, Carolyn Hester and her elegant rendition of Walt Whitman’s Oh Captain, My Captain, Joan’s sister Mimi Farina forever linked with Richard and sorrows, and Malvina Reynolds who could write a song on the wing, fast okay, and based as well on the mass media having back then declared that pair the “king and queen” of the burgeoning folk music minute scene).

That first series (as had the second) had asked two central questions-why did those male folk singers not challenge Dylan who as I noted the media of the day had crowned king of the folk minute for supremacy in the smoky coffeehouse night (then, now the few remaining are mercifully smoke-free although then I smoked as heavily as any guy who though such behavior was, ah, manly and a way to seen “cool” to the young women, why else would we have done such a crazy to the health thing if not to impress some certain she)  and, if they had not passed on and unfortunately a number have a few more since that series as well most notably Phil Ochs of suicide early, Dave Von Ronk of hubris and Jesse Winchester of his battle lost over time had come, were they still working the smoke-free church basement, homemade cookies and coffee circuit that constitutes the remnant of that folk minute even in the old hotbeds like Cambridge and Boston. (What I call the U/U circuit since while other church venues are part of the mix you can usually bet safely that if an event is scheduled it will be at a U/U church which is worthy of a little sketch of its own sometime in order to trace the folk minute after the fanfare had died down and as a tribute to those big-hearted souls at radio stations like WCAS and WUMB and in places like Club Passim whose efforts have kept the thing going in order to try to pass it on to the younger generations now that demographics are catching up with the folkies from the 1960s heyday). Moreover, were they still singing and song-writing, that pairing of singer and writer having been becoming more prevalent, especially in the folk milieu in the wake of Bob Dylan’s word explosions back then. The days when the ground was shifting under the Tin Pan Alley Cole Porter/Irving Berlin/ Jerome Kern kingdom.   

Here is the general format I used in that series for asking and answering those two questions which still apply today if one is hell-bent on figuring out the characters who rose and fell during that time: 

“If I were to ask someone, in the year 2005 as I have done periodically both before and after, to name a male folk singer from the 1960s I would assume that if I were to get any answer to that question that the name would be Bob Dylan. That “getting any answer” prompted by the increasing non-recognition of the folk genre by anybody under say forty, except those few kids who somehow “found” their parents’ stash of Vanguard records (for example, there were other folk labels including, importantly, Columbia Records which pushed the likes of Dylan and John Hammond forward) just as some in an earlier Pete Seeger/Weavers/Leadbelly/ Josh White/Woody Guthrie records in our parents’ stashes. Today’s kids mainly influenced by hip-hop, techno-music and just straight popular music.

And that Dylan pick would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be since he clearly had tired of the role, or seemed to by about 1966 when he for all intents and purposes “retired” for a while prompted by a serious motorcycle accident and other incidents) the voice of the Generation of ’68 (so named for the fateful events of that watershed year, especially the Democratic Convention in America in the summer of that year when the old-guard pulled the hammer down and in Paris where the smell of revolution was palpably in the air for the first time since about World War II, when those, including me, who tried to “turn the world upside down” to make it more livable began to feel that the movement was reaching some ebb tide) but in terms of longevity and productivity, the never-ending touring until this day and releasing of X amount of bootleg recordings, the copyrighting of every variation of every song, including traditional songs, he ever covered and the squelching of the part of the work that he has control over on YouTube he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review, Tom Rush, is one such singer/songwriter.”

“The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960s and it is certainly an appropriate question to ask of Tom Rush as well. Did they aspire to be the “king” of the genre? I do not know if Tom Rush, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting (and strong baritone) voice to fit the lyrics of love, hope, and longing that he was singing about at the time, particularly the No Regrets/Rockport Sunday combination which along with Wasn’t That A Mighty Storm and Joshua Gone Barbados were staples early on. During much of this period along with his own songs he was covering other artists, particularly Joni Mitchell and her Urge For Going and The Circle Game, so it is not clear to me that he had that same Dylan drive by let’s say 1968.

I just mentioned that he covered Joni Mitchell in this period. A very nice version of Urge For Going that captures the wintry, got to get out of here, imaginary that Joni was trying to evoke about things back in her Canadian homeland. And the timelessness and great lyrical sense of his No Regrets, as the Generation of ’68 sees another generational cycle starting, as is apparent now if it was not then. The covers of fellow Cambridge folk scene fixture Eric Von Schmidt on Joshua Gone Barbados and Galveston Flood are well done. As is the cover of Bukka White’s Panama Limited (although you really have to see or hear old Bukka flailing away on his old beat up National guitar to get the real thing on YouTube).”

Whether Tom Rush had the fire back then is a mute question now although in watching the documentary, No Regrets, in which he tells us about his life from childhood to the very recent past (2014) at some point he did lose the flaming “burn down the building fire,” just got tired of the road like many, many other performers and became a top-notch record producer, a “gentleman farmer,” and returned to the stage occasionally, most dramatically with his annual show Tom Rush-The Club 47 Tradition Continues held at Symphony Hall in Boston each winter. And in this documentary appropriately done under the sign of “no regrets” which tells Tom’s take on much that happened then he takes a turn, an important oral tradition turn, as folk historian. 

He takes us, even those of us who were in the whirl of some of it back then to those key moments when we were looking for something rooted, something that would make us pop in the red scare Cold War night of the early 1960s. Needless to say the legendary Club 47 in Cambridge gets plenty of attention as does his own fitful start in getting his material recorded, or rather fitful starts, mainly walking around to every possible venue in town to get backing for record production the key to getting heard by a wider audience via the radio and to become part of the increasing number of folk music-oriented programs, the continuing struggle to this day from what he had to say once you are not a gold-studded fixture.

“Other coffeehouses and other performers of the time, especially Eric Von Schmidt, another performer with a ton of talent and song-writing ability who had been on the scene very, very early on who eventually decided that his artistic career took first place, get a nod of recognition.  As does the role of key radio folk DJ Dick Summer in show-casing new work (and the folk show, picked up accidently one Sunday night when I was frustrated with the so-called rock and roll on the local AM rock station and flipped the dial of my transistor radio and heard a different sound, the sound of Dave Von Ronk, where I started to pick up my life-long folk “habit”).

So if you want to remember those days when you sought refuse in the coffeehouses and church basements, sought a “cheap” date night (for the price of a couple of cups of coffee sipped slowly in front of you and your date, a shared pastry and maybe a few bucks admission or tossed into the passed-around “basket” you got away easy and if she liked the sound too, who knows what else) or, ouch, want to know why your parents are still playing Joshua’s Gone Barbados on the record player as you go out the door Saturday night to your own adventures watch this documentary and find out what happened to one Not Bob Dylan when the folk world went under.   

   

Films To While the Time By- Before Gonzo Journalism Was Gonzo- Johnny Depp’s “The Rum Diary” (With Kudos To Hunter S. Thompson)

Films To While the Time By- Before Gonzo Journalism Was Gonzo- Johnny Depp’s “The Rum Diary” (With Kudos To Hunter S. Thompson)

Zack James’ comment June, 2017:

You know it is in a way too bad that “Doctor Gonzo”-Hunter S Thompson, the late legendary journalist who broke the back, hell broke the neck, legs, arms of so-called objective journalism in a drug-blazed frenzy back in the 1970s when he “walked with the king”’ is not with us in these times. In the times of this 50^th anniversary commemoration of the Summer of Love, 1967 which he worked the edges of while he was doing research (live and in your face research by the way) on the notorious West Coast-based Hell’s Angels. His “hook” through Ken Kesey and the Merry Pranksters down in Kesey’s place in La Honda where many an “acid test” took place and where for a time the Angels, Hunter in tow, were welcomed. He had been there in the high tide, when it looked like we had the night-takers on the run and later as well when he saw the ebb tide of the 1960s coming a year or so later although that did not stop him from developing the quintessential “gonzo” journalism fine-tuned with plenty of dope for which he would become famous before the end, before he took his aging life and left Johnny Depp and company to fling his ashes over this good green planet. He would have “dug” the exhibition, maybe smoked a joint for old times’ sake (oh no, no that is not done in proper society) at the de Young Museum at the Golden Gate Park highlighting the events of the period showing until August 20^th of this year.   

Better yet he would have had this Trump thug bizarre weirdness wrapped up and bleeding from all pores just like he regaled us with the tales from the White House bunker back in the days when Trump’s kindred one Richard Milhous Nixon, President of the United States and common criminal was running the same low rent trip before he was run out of town by his own like some rabid rat. But perhaps the road to truth these days, in the days of “alternate facts” and assorted other bullshit    would have been bumpier than in those more “civilized” times when simple burglaries and silly tape-recorders ruled the roost. Hunter did not make the Nixon “hit list” (to his everlasting regret for which he could hardly hold his head up in public) but these days he surely would find himself in the top echelon. Maybe too though with these thugs he might have found himself in some back alley bleeding from all pores. Hunter Thompson wherever you are –help. Selah. Enough said-for now  

DVD Review

The Rum Diary, starring Johnny Depp, GK Films, 2011


Okay, here is the plot line of the film under review, the adaptation of the late Hunter S. Thompson’s legendary (more later on that) The Rum Diary, straight out of the gate. A young aspiring American writer, of the male persuasion, Paul Kemp, played by Thompson pal Johnny Depp, seeks employment in the newspaper business down in then backwater colonial Puerto Rico in the late cold war red scare early 1960s. Said writer, working to win his spurs and to make a name for himself tries six ways to Sunday to upgrade himself as a professional and the newspaper as well (based on a real the San Juan Star of the time). Oh, and chase a few windmills to right some of the egregious wrongs of this world as the young are prone to do (the major wrong confronting him being double-triple rip-out of the place by hungry, very hungry real estate developers). Problems encountered in chasing those windmills: said budding journalist is a bit of a drunk, a bit too close to some ex-pat fellow journalists who gravitated to PR just to be flaky in peace, and a bit too close (but one cannot blame him on this one) to one very hot blonde who happens to be slumming in Puerto Rico just then. But, trust me, one Paul Kemp will straighten that whole thing out, or have us go mad trying.

Sound familiar? Well, for any Hunter Thompson aficionado, and count me as one, hell, any half- aficionado, this plot line is very, very much like the life, the early life of one Hunter S. Thompson. And how would we know?
Well we have read the letters, we have read the Rolling Stone articles, hell we have read Songs of the Doomed and got a taste for snippets of The Rum Diary there. So when viewing this film there was a certain disappointment (just a little) that this did not turn out to be the great film adaptation of Hunter Thompson’s stab at the great American novel.

And here is where the “more later” mentioned above on The Rum Diary comes in. Hunter Thompson, seemingly, spend endless hours as far back as the early 1970s (maybe earlier )trying get this novel published (and in publishable form), and into film form. But here is a case where life (his, his later life anyway) outdid fiction. The ambience of the film seems very dated, very dated indeed in the post-Doctor Gonzo age. For what it is worth this is my “skinny” on Thompson’s career. He was one of the premier journalists of the last half of the twentieth century but as a novelist he was well behind his heroes Fitzgerald and Hemingway. As for Johnny Depp’s performance, well, Johnny Depp knows, knows deep in his bones, how to play off-the wall characters and does a better job, a much better job, here than in his attempt at channeling Hunter Thompson in the film adaptation of Fear And Loathing In Las Vegas. Selah.