Fair Food TED Talk on the docket for 2019!
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Friday, December 07, 2018
Fair Food TED Talk on the docket for 2019! Coalition of Immokalee Workers
A View From The Local Left-WARS ABROAD, WARS AT HOME
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WARS ABROAD, WARS AT HOME
Nil nisi bonum?
IMPERIALISM WITH A NICE THANK-YOU NOTE
History has taught us that for presidents we can do a lot worse than George Herbert Walker Bush. This is partly the explanation for the pomp and ceremony by the united ruing class around his death and funeral -- the anti-Trump version of “Make America Great Again.” But that doesn’t change the fact that Bush Sr, like all modern presidents before and since, had a lot of blood on his hands -- from Central America to the Persian Gulf. And he famously defeated Michael Dukakis for president by deploying perhaps the most racist campaign ad in recent memory.
Bush Sr, Icon of the WASP Establishment—and of Brutal US Repression in the Third World
Through birth and breeding—at the Greenwich Country Day School, Phillips Academy, and Yale—Bush identified with an Eastern Establishment already, in the decades after World War II, threatened by democratization: by immigration, the rise of a meritocracy, the consolidation of an administrative state that socialized and bureaucratized private economic relations, and the spread of popular culture, which made the markings of WASP habitus available to the population at large… Bush’s wars in Panama and the Persian Gulf should be remembered for gratuitous killing. On the heels of the fall of the Berlin Wall, his 1989 invasion of Panama established the legal and political foundation (as I’ve written here) for his son’s catastrophic invasion of Iraq in 2003. The killing in Panama was on a smaller scale than in the Persian Gulf, but it was still horrific: Human Rights Watch wrote that even conservative estimates of civilian fatalities suggest “that the rule of proportionality and the duty to minimize harm to civilians…were not faithfully observed by the invading U.S. forces.” That’s an understatement. More
The Ignored Legacy of George H.W. Bush: War Crimes, Racism, and Obstruction of Justice
In the age of Donald Trump, it isn’t difficult for hagiographers of the late Bush Sr. to paint a picture of him as a great patriot and pragmatist; a president who governed with “class” and “integrity.” …Facts matter. The 41st president of the United States was not the last Republican moderate or a throwback to an imagined age of conservative decency and civility; he engaged in race baiting, obstruction of justice, and war crimes. He had much more in common with the two Republican presidents who came after him than his current crop of fans would like us to believe. More
AMERICAN CAPITALISM ISN’T WORKING.
The great stagnation of living standards is a defining problem of our time… The solution will need to involve a return to higher taxes on the rich. But it’s also worth thinking about pre-tax incomes — and specifically what goes on inside corporations. It’s worth asking the question that Benton asked: What kind of corporate America does the rest of America need? Elizabeth Warren, the Massachusetts senator, is now rolling out a platform for her almost-certain presidential campaign, and it includes an answer to this question… Warren wants an economy in which companies again invest in their workers and communities. Yet she doesn’t believe it can happen organically, as it did in the 1940s, because financial markets will punish well-meaning executives who stop trying to maximize short-term profits. “They can’t go back,” she told me recently. “You have to do it with a rule.” More
The surprisingly high number of Americans getting absolutely no raises
One of the great puzzles of this economic expansion has been the tepid increase in wages, even as the unemployment rate has declined to 3.7 percent, its lowest point since 1969. But drill down, and there’s an even deeper issue. A surprising number of workers aren’t seeing any wage growth at all. Their pay this year is exactly the same as it was last year, right down to the dollar. Roughly 14 percent of workers — or 1 in 7 — have seen their earnings stall over the past year, counting only those who have stayed in the same job. That’s only a slight improvement over the 16 percent rate reached in the hangover years after the Great Recession. For comparison, the last time the United States had an unemployment rate under 4 percent — in the go-go dot-com years — the number of workers getting $0 raises fell below 10 percent, according to an analysis of Labor Department data from former Treasury Department economist Ernie Tedeschi. More
Citizens United Is Still Doing the Dirty Work
In the eight years since it was decided, Citizens United has unleashed a wave of campaign spending that by any reasonable standard is extraordinarily corrupt… Since 2010, when the case was decided, independent expenditures and other forms of outside spending have grown exponentially, according to OpenSecrets. In 2010, independent expenditures totaled $203.9 million; in 2016, it was $1.48 trillion. In this nonpresidential year, with final reports still to come, independent expenditures totaled at least $1.18 trillion. The surge in outside spending unconstrained by contribution limits is a central element of current campaign finance practice… The American system of campaign finance, undergirded by a Supreme Court whose conservative members feign innocence, has become the enabler of corrosive processes of economic and political inequality. More
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NEW WARS / OLD WARS – What Could Possibly Go Wrong
Congress is finally pushing the US to withdraw from Yemen. It's about time
It was a resounding defeat for the White House and Republican Senate leadership: by a 63-37 majority, the US Senate voted this week to advance legislation that would give President Trump 30 days to get the US military out of Saudi Arabia’s genocidal war in Yemen, unless he could get congressional authorization for US military intervention. Which he almost certainly could not… The Senate’s action was truly historic for a number of reasons. First there is the magnitude of the war crimes that the Senate is trying to end. Mass starvation has been used as a weapon of war by the Saudis and their Emirati allies, pushing 14 million people to the brink of famine. More than 85,000 children have already died since their bombing campaign began in 2015. As was noted during the Senate debate on Thursday, the Saudi and UAE planes have also bombed water treatment plants and other essential civilian infrastructure, leading to a cholera outbreak that has killed thousands of people. More
YEMEN ON BRINK OF 'MAJOR CATASTROPHE': UN AID CHIEF
UN aid chief Mark Lowcock warned Saturday that Yemen was "on the brink of a major catastrophe", as the world body pushes for peace talks in the impoverished and war-wracked country. His comments came after renewed deadly clashes between Huthi rebels and pro-government forces in the Red Sea port city of Hodeida, which is vital for the flow of humanitarian aid. He said conditions had deteriorated alarmingly since his last visit in October 2017 to Yemen, which the United Nations has termed the world's worst humanitarian crisis. "In Aden, I met emaciated children so malnourished they could barely open their eyes," Lowcock said in a statement. "Humanitarian assistance helps many of these children recover. But I also heard heartbreaking stories of children relapsing again and again because their families simply can't afford food or proper medical care," he said. More
U.S. could be set for another Iraq War in Syria, despite Trump criticizing "endless wars" in ME
The U.S. may be headed down a similar path in Syria as it was in the lead-up to the Iraq War in 2003, a conflict that vastly changed the dynamics of the region and entrenched the Pentagon in the country to this day. In a press briefing following a meeting of the so-called United Nations "small group" on Syria—the U.S., Egypt, France, Germany, Jordan, Saudi Arabia, and the United Kingdom— U.S. special envoy James Jeffrey outlined what many had criticized as a vague approach to Washington's true goals in the conflict. Since 2015, the U.S. has led a coalition tasked with bombing the Islamic State militant group (ISIS), but officials have said they did not plan on removing the military until forces allegedly under Iranian control were withdrawn and Syrian President Bashar al-Assad was ousted. More
Press Communiqué of the First International Conference Against US/NATO Military Bases
We are deeply concerned, and frightened, by the threat of war that permeates the present Global atmosphere. The increasingly aggressive and expansionist actions of US/NATO forces in violation of international law and the sovereign rights of all nations, the raging wars in the Middle East, the expansive militarization of the African continent via AFRICOM, the burgeoning arms race devastating the national treasuries, the bellicose language replacing diplomatic negotiations, the economic crises facing country after country, and the destruction of the global environment through war and unfettered exploitation, and their impact on public health, have all created crises that, unless checked by popular opposition, can lead to unimaginable catastrophe and war. None of us can stop this madness alone from within our national borders. The global peace forces must come together, mobilizing the millions in our countries, and around the world, for peace. We cannot, and should not, allow our possible differences on other issues to separate us. WE MUST UNITE FOR PEACE! More
The “Arms Sales Oversight Act” Could Prevent American Arms for the Next Overseas Crisis
The debate over U.S. complicity in Yemen’s humanitarian catastrophe is coming to a head in the Senate, with a series of votes on the Sanders-Lee-Murphy war powers resolution. But beyond this immediate measure, other members of Congress are planning to increase their long-term leverage over weapons sales to problematic security partners. Foremost among them, Representatives Ted Lieu (D-Calif.) and Jim McGovern (D-Mass.) recently introduced House Resolution 7080, the “Arms Sale Oversight Act,” to little fanfare. The bill’s unassuming title and procedural focus should not escape the attention of conventional arms control advocates. If passed, H.R. 7080 would expand Congress’s constricted ability to vote down damaging arms sales and mark a first step toward preventing the United States from exacerbating the human cost of conflict. More
Disarmament: The Forgotten Premises of Non-Proliferation
In today’s world, sober political analysts now agree that possession of nuclear weapons—once an assurance of security—barely does anything to protect countries from threats and insecurities. Hence, further modernization of nuclear armaments will only serve to undermine the peace and stability of this planet. It will also push the world toward a cataclysmic great powers conflict that is so reminiscent of the outdated Cold War mentality. The difference, however, is that in the context of the Cold War, the polarized international politics and the constant threats of nuclear annihilation focused peace efforts increasingly on law and adjudication. The NPT was one such conspicuous result. In contrast, the “withdrawal doctrine” of the Trump administration is pushing the world to the brink of a new nuclear arms race. Nothingendangers the planet more than nuclear weapons. Only a renewed effort to negotiate nuclear disarmament and non-proliferation agreements can reduce this urgent threat. More
Searching For The American Songbook-In The Time Of The 1960s Folk Minute- With Tom Rush’s No Regrets In Mind
Searching For The American Songbook-In The Time Of The 1960s Folk Minute- With Tom Rush’s No Regrets In Mind
DVD Review
From The Pen Of Frank Jackman
No Regrets, narrated by Tom Rush and whoever else he could corral from the old Boston/Cambridge folk scene minute still around, 2014
I know your leavin's too long overdue
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
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
A few years ago in an earlier 1960s folk minute nostalgia fit I did a series of reviews of male folk-singers entitled Not Bob Dylan. That series asked two central questions-why did those folk singers not challenge Dylan whom the media of the day had crowned king of the folk minute for supremacy in the smoky (then) coffeehouse night and, if they had not passed on, 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. 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 ground was shifting under the Tin Pan Alley kingdom.
Here is the general format 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 2010 as I have done periodically, to name a male folk singer from the 1960s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 (so named for the fateful events of that watershed year when those 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, 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 1960’s and it is certainly an appropriate question to ask of Tom Rush as well. 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. During much of this period along with his own songs he was covering other artists, particularly Joni Mitchell, so it is not clear to me that he had that same Dylan drive by let’s say 1968.
As for the songs themselves I 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 under review, No Regrets, in which he tells us about his life from childhood to the very recent past 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, 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” in 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, the continuing struggle from what he said. Other coffeehouses and other performers of the time, especially Eric Von Schmidt get a nod of recognition and does the role of key folk FJ Dick Summer in show-casing new work (and the show 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 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 watch this film.
Searching For The American Songbook-In The Time Of The 1960s Folk Minute- With Tom Rush’s No Regrets In Mind
Searching For The American Songbook-In The Time Of The 1960s Folk Minute- With Tom Rush’s No Regrets In Mind
DVD Review
From The Pen Of Frank Jackman
No Regrets, narrated by Tom Rush and whoever else he could corral from the old Boston/Cambridge folk scene minute still around, 2014
I know your leavin's too long overdue
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
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
A few years ago in an earlier 1960s folk minute nostalgia fit I did a series of reviews of male folk-singers entitled Not Bob Dylan. That series asked two central questions-why did those folk singers not challenge Dylan whom the media of the day had crowned king of the folk minute for supremacy in the smoky (then) coffeehouse night and, if they had not passed on, 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. 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 ground was shifting under the Tin Pan Alley kingdom.
Here is the general format 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 2010 as I have done periodically, to name a male folk singer from the 1960s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 (so named for the fateful events of that watershed year when those 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, 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 1960’s and it is certainly an appropriate question to ask of Tom Rush as well. 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. During much of this period along with his own songs he was covering other artists, particularly Joni Mitchell, so it is not clear to me that he had that same Dylan drive by let’s say 1968.
As for the songs themselves I 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 under review, No Regrets, in which he tells us about his life from childhood to the very recent past 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, 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” in 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, the continuing struggle from what he said. Other coffeehouses and other performers of the time, especially Eric Von Schmidt get a nod of recognition and does the role of key folk FJ Dick Summer in show-casing new work (and the show 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 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 watch this film.
On The 50th Anniversary Of The Death Of Singer From The Soul Otis Redding
On The 50th
Anniversary Of The Death Of Singer From The Soul Otis Redding
By Josh Breslin
The beauty of art, music,
you know cultural artifacts is that they can last, outlast their creators. The
beauty of art, music you know cultural artifacts in the modern age is that you
can access almost anything via some site on the Internet. What you cannot do is
get a sense of certain personalities, certain singers in this case that you had
seen in person once that have passed on. That was the case with the singer from
the soul Otis Redding who passed away fifty years ago this year. (Hell, even I
can’t believe it has been that long). Saw Otis in his prime, saw Otis with my then
flame, a gal we all called Butterfly Swirl (real name Carol Callahan) a surfer
girl from Carlsbad out on the Pacific Coast Highway just then slumming, thank god,
with “hippies” on Captain Crunch’s yellow brick road bus tooling up and down
the Pacific Coast at the Monterey Pop Festival in 1967. Was there at the
creation of the short sweet legend of Otis. Enough said
Link to a Christopher
Lydon Open Source NPR program on the life
and times of Otis Redding for an audience 50 years later.
radioopensource.org/afterlife-otis-redding/
Great Voices of Bluegrass IV: Jim and Jesse, "Worried Man Blues"
When The King Of Rock And
Roll Held Forth In The Acre Section Of North Adamsville -In Honor Of The
Generation Of ’68-Or Those Who Graced Wild Child Part Of It -On That Old
Hill-Billy Down In The Hills And Hollows Come Saturday Red Barn Dance Father
Moment
By Zack James
[Zack James has been on an
assignment covering the various 50th anniversary commemorations of
the year 1968 (and a few in 1967 and for the future 1969 which is to his mind
something of a watershed year rather than his brother Alex and friends
“generation of ‘68” designation they have wrapped themselves around) and
therefore has not graced these pages for a while. Going through his paces on
those assignments Zack realized that he was out of joint with his own
generation, having been born in 1958 and therefore too young to have been
present at the creation of what is now called, at least in the
demographical-etched commercials, the classic age of rock and roll. Too young
too for any sense of what a jailbreak that time was and a shortly later period
which Seth Garth who was deep into the genre has called the ‘folk minute
breeze” that ran rampart through the land say in the early 1960s. Too young as
well to have been “washed clean,” not my term but Si Lannon’s since I am also
too young to have been aware of the import by the second wave of rock, the acid
rock period. Hell, this is enough of an introduction to re-introducing the
legendary writer here. Lets’ leave it as Zack is back and let him go through
his paces. Greg Green, site manager]
Alex James was the king of
rock and roll. Of course he was not really the king, the king being Elvis and
no last name needed at least for the bulk of those who will read what I call a
“think piece,” a piece about what all the commemorations of events a million
years ago, or it like a million years ago even mentioning 50 or 60 year
anniversaries, mean. What Alex was though was the conduit for my own musical
experiences which have left me as a stepchild to five important musical moments, the birth of rock
and roll in the 1950s, the quick prairie fire called the “folk minute of the
early 1960s and the resurgence with a vengeance of rock in the mid-1960s which
for brevity’s sake call “acid” rock, along the way and intersecting that big
three came a closeted “country outlaw moment” initiated by father time Hank
Williams and carried through with vengeance by singers like Willie Nelson,
Townes Van Zandt, and Waylon Jennings, and Muddy Waters and friends blues as
the glue that bound what others who write here, Sam Lowell, in particular calls
the Generation of ’68- a seminal year in many ways which I have been exploring
for this and other publications. I am well placed to do since I was over a
decade too young to have been washed over by the movements. But that step-child
still sticks and one Alex James is the reason why.
This needs a short
explanation. As should be apparent Alex James is my brother, my oldest brother,
born in 1946 which means a lot in the chronology of what follows. My oldest
brother as well in a family with seven children, five boys and two twin girls,
me being the youngest of all born in 1958. As importantly this clan grew up in
the dirt- poor working- class Acre, as in local lore Hell’s Acre, section of
North Adamsville where my mother, under better circumstances, grew up and
remained after marrying her World War II Marine my father from dirt poor
Appalachia which will also become somewhat important later. To say we lacked
for many of the things that others in that now seen “golden age” of American
prosperity would be an understatement and forms the backdrop of how Alex kept
himself somewhat sane with music although we didn’t even have a record player
(the now ancient although retro revival way to hear music then) and he was
forced when at home to “fight” for the family radio to get in touch with what
was going on, what the late Pete Markin his best friend back then called “the
great jailbreak.”
A little about Alex’s
trajectory is important too. He was a charter member along with the late
Markin, Si Lannon, Sam Lowell, Seth Garth and Allan Jackson, the later four
connected with this publication in various ways since its hard copy start in
the 1970s, of the Tonio Pizza Parlor corner boys. These guys, and maybe it
reflected their time and milieu, hung out at Tonio’s for the simple reason they
never had money, or not enough, and while they were not above various acts of
larceny and burglary mostly they hung around there to listen to the music
coming out of Tonio’s to die for jukebox. That jukebox came alive in maybe
1955, 1956 when they first heard Elvis (and maybe others as well but Alex
always insisted that he was the first to “discover” Elvis in his crowd.)
Quickly that formed the backdrop of what Alex listened to for a few years until
the genre spent a few years sagging with vanilla songs and beats. That same
Markin, who the guys here have written about and I won’t, was the guy who
turned Alex on to folk music via his desperate trips to Harvard Square up in
Cambridge when he needed to get out of the hellish family household he dwelled
in. The third prong of the musical triad was also initiated by Markin who made
what everybody claims was a fatal mistake dropping out of Boston University in
his sophomore year in 1967 to follow his dream, to “find” himself, to go west
to San Francisco for what would be called the Summer of Love where he learned
about the emerging acid rock scene (drugs, sex and rock and roll being one
mantra). He dragged everybody, including Alex if you can believe this since he
would subsequently come back and go to law school and become the staid
successful lawyer he is today, out there with him for varying periods of time.
(The fateful mistake on the part of Markin stemming from him dropping out at
the wrong time, the escalation of the war in Vietnam subjecting him later to
the draft and hell-hole Vietnam service while more than the others unhinged him
and his dream.) The blues part came as mentioned as a component of the folk
minute, part of the new wave rock revival and on its own. The country outlaw
connections bears separate mention these days.
That’s Alex’s story-line.
My intersection with Alex’s musical trip was that one day after he had come
back from a hard night at law school (he lived at home, worked during the day
at some law firm as some kind of lacky, and went to law school nights
studying the rest of the time) he went to his room and began playing a whole
bunch of music starting I think with Bill Haley and the Comet’s Rock Around The Clock and kept playing
stuff for a long time. Loudly. Too loudly for me to get to sleep and I went and
knocked on his door to get him quiet down. When he opened the door he had on his
record player Jerry Lee Lewis’s High School Confidential. I flipped out.
I know I must have heard Alex playing this stuff earlier, but it was kind of a
blank before. Background music just like Mother’s listening to 1940s stuff on
her precious ancient RCA radio in the kitchen. What happened then, what got me
mesmerized as a twelve- year old was that this music “spoke” to me, spoke to my
own unformed and unarticulated alienation. I had not been particularly
interested in music, music mostly heard and sung in the obligatory junior high
school music class, but this was different, this got my hormonal horrors in
gear. I stayed in Alex’s room listening half the night as he told me above when
he had first heard such and such a song.
Although the age gap between
Alex and I was formidable, he was out the door originally even before I knew
him since at that point we were the only two in the house all the others in
college or on their own he became something of a mentor to me on the ins and
out of rock and roll once I showed an interest. From that night on it was not
just a question of say, why Jailhouse
Rock should be in the big American Songbook but would tell me about who or
what had influenced rock and roll. He was the first to tell me about what had
happened in Memphis with a guy named Sam Phillips and his Sun Record label
which minted an extraordinary number of hits by guys like Elvis, Warren Smith,
Chuck Berry and Jerry Lee. When I became curious about how the sound got going,
why my hands got clammy when I heard the music and I would start tapping my
toes he went chapter and verse on me. Like some god-awful preacher quoting how
Ike Turner, under a different name, may really have been the granddaddy of rock
with his Rocket 88 and how obscure
guys like Louis Jordan, Big Joe Turner and Willie Lomax and their big bop
rhythm and blues was one key element. Another stuff from guys like Hack Devine,
Warren Smith and Lenny Larson who took the country flavor and melted it down to
its essence. Got rid of the shlock. Alex though did surprise me with the thing
he thought got our toes tapping-these guys, Elvis, Chuck, Jerry Lee, Buddy
Holly and a whole slew of what I would later call good old boys took their
country roots not the Grand Ole Opry stuff but the stuff they played at the red
barn dances down in the hills and hollows come Saturday night and mixed it with
some good old fashion religion stuff learned through bare-foot Baptists or from
the black churches and created their “jailbreak” music.
One night Alex startled me
while we were listening to an old Louvain Brothers song, I forget which one maybe
Every Times You Leave, when he said
“daddy’s music” meaning that our father who had come from down in deep down in
the mud Appalachia had put the stuff in our genes. He didn’t call it DNA I
don’t’ think he knew the term and I certainly didn’t but that was the idea. I
resisted the idea then, and for a long time after but sisters and brothers look
at the selections that accompany this so-called think piece the whole thing is
clear now. I, we are our father’s sons after all. Sons welded by twelve
millions unacknowledged ties to those lonesome hills and hollows where the coal
ruled and the land got crummy before its time and Saturday brought out red barn
fiddles and mandolins an stringed basses with some mad monk calling the tune
and the guys drinking home-made hooch and the girls wondering whether the guy would
be sober enough to dance, hell, to ask for the last dance something out of a Child ballad turned Appalachian mud by the
time it got to the sixth generation fighting the land. Knew that they were
doomed even if they could not appreciate in words their fate unless something like
World War II exploded them out of their life routine like it had Dad when Pearl
Harbor sent him Pacific War bound and then up north to guard some naval depot
near North Adamsville toward war’s end. Alex knew that early on I only grabbed
the idea lately-too late since our father he has been gone a long time
now.
Alex had the advantage of
being the oldest son of a man who also had grown up as the oldest son in his
family brood of I think eleven. (Since I, we never met any of them when my
father came North to stay for good after being discharged from the Marine after
hard Pacific War military service, I can’t say much about that aspect of why my
father doted on his oldest son.) That meant a lot, meant that Dad confided as
much as a quiet, sullen hard-pressed man could or would confide in a youngster.
All I know is that sitting down at the bottom of the food chain (I will make
you laugh if you too were from the poor the “clothes chain” too as the
recipient of every older brother, sister too when I was too young to complain
or comprehend set of ragamuffin clothing) he was so distant that we might well
have been just passing strangers. Alex, for example, knew that Dad had been in
a country music trio which worked the Ohio River circuit, that river dividing
Ohio and Kentucky up north far from hometown Hazard, yes, that Hazard of legend
and song whenever anybody speaks of the hardscrabble days of the coal mine
civil wars that went on down there before the war, before World War II. I don’t
know what instrument he played although I do know that he had a guitar tucked
under his bed that he would play when he had a freaking minute in the days when
he was able to get work (which was less frequently than I would have guessed early
one until Alex clued me in that non-job time meaning that he spent every waking
hour looking for work and had no time for even that freaking minute to play
some fretted guitar).
That night Alex also
mentioned something that hit home once he mentioned it. He said that Dad who
tinkered a little fixing radios, a skill learned from who knows where although
apparently his skill level was not enough to get him a job in that industry,
figured out a way to get WAXE out of I think Wheeling, West Virginia which
would play old country stuff 24/7 and that he would always have that station on
in the background when he was doing something. Had stopped doing that at some
point before I recognized the country-etched sound but Alex said he was
spoon-fed on some of the stuff, citing Warren Smith and Smiley Jamison
particularly, as his personal entre into the country roots of one aspect of the
rock and roll craze. Said further that he was not all that shocked when say
Elvis’s It’s All Right Mama went off
the charts since he could sense that country beat up-tempo a little from what
Smith had been fooling around with, Carl Perkins too he said. They were what he
called “good old boys” who were happy as hell that they had enough musical
skills at the right time so they didn’t have to stick around the farm or work
in some hardware store in some small town down South.
Here is the real shocker,
well maybe not shocker, but the thing that made Alex’s initial so-called DNA
thought make sense. When Alex was maybe six or seven Dad would be playing
something on the guitar, just fooling around when he started playing Hank
Williams’ mournful lost love Cold, Cold
Heart. Alex couldn’t believe his ears and asked Dad to play it again. He
would for years after all the way to high school when Dad had the guitar out
and he was around request that Dad play that tune. I probably heard the song
too. I know I heard Come All You Fair and
Tender Ladies from the original Carter family or one branch of it. So,
yeah, maybe that DNA business is not so far off. And maybe, just maybe, over
fifty years later we are still our father’s sons. Thanks, Dad.
The selection posted here
culled from the merciful YouTube network thus represents one of the key pieces
of music that drove the denizens of the Generation of ’68 and their
stepchildren. And maybe now their grandchildren.
[Alex and I had our ups and
downs over the years and as befits a lawyer and journalist our paths seldom
passed except for occasional political things where we were on the same
wavelength like with the defense of Army whistle-blower Chelsea Manning
(formerly Bradley). Indicative though of our closeness despite distance in 2017
when Alex had a full head of steam up about putting together a collective
corner boy memoir in honor of the late Markin after a business trip to San
Francisco where he went to a museum exhibition featuring the seminal Summer of
Love, 1967 he contacted me for the writing, editing and making sure of the
production values.]
From The Pen Of Joshua Lawrence Breslin- When Woody Allen Ruled The Social Satire (And Adult Angst) Night
Short Film Clips
From an American Left History blog review of Woody Allen’s Annie Hall-
Add to that the perennial issue of Woody’s struggle with ‘interpersonal’ relationships and his angst-driven desire to understand the modern world and you have a very fine social commentary of the times. Needless to say Woody’s love interest Annie Hall (as played by his then paramour Diane Keaton) keeps him hopping. As does an ensemble cast that works well together as foils for his ironic and savage humor. The only surprise in revisiting this film recently is how well Keaton plays her role as an up and coming torch singer. Of course, I have always been a sucker for torch singers but that is another matter. Some of the humor may seem dated and very 1970’s New Yorkish. Some of Woody’s mannerism and use of sight gags may seem like old news. But this is a film to watch or re-watch if you have seen it before.
And hence…
Bullets Over Broadway
Apparently, as long as it involves a New York City scenario Woody Allen is more than happy to take a run at a plot that involves that locale in some way. Here it is the Great White Way- Broadway during its heyday in the Prohibition Era 1920’s that gets his attention (as it has before in the classic Broadway Danny Rose). What really makes this plot line very, very funny and makes the film work however is the twist of interspersing production of a play with nefarious gangster activity.
Here a struggling (weren’t we all and still are) Greenwich Village writer has a play in search of a backer and in the process a gangster ‘ghostwriter’. Up comes one backer-with a problem- his ‘doll’ wants in on the play and he needs to stay one or two steps ahead of his rivals. These antics drive the play nicely as does a brilliant performance by Diane Wierst doing a fantastic send up of Gloria Swanson as the has been actress searching for a comeback in Billy Wilder’s classic Hollywood Boulevard. This one is definitely the five star without the hype.
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