In Honor Of John Brown Late Of Harpers Ferry-1859- *Honor John Brown's Revolutionary Anti-Slavery Struggle At Harper's Ferry- A Union Anthem -"John Brown's Body"

Click on title to link to YouTube's film clip of Paul Robeson (who else should do it when you think about it) performing "John Brown's Body". February Is Black History Month

Lyrics- Section from Wikipedia's Entry For "John Brown's Body"

The lyrics generally show an increase in complexity and syllable count as they move from simple, orally-transmitted camp meeting song, to an orally composed marching song, to more consciously literary versions.

The increasing syllable count led to an ever-increasing number of dotted rhythms in the melody to accommodate the increased number of syllables. The result is that the verse and chorus, which were musically identical in the "Say, Brothers", became quite distinct rhythmically in "John Brown's Body", and even more so in the more elaborate versions of the "John Brown Song" and in the "Battle Hymn of the Republic".

Say, Brothers

(1st verse)
Say, brothers, will you meet us (3x)
On Canaan's happy shore.
(Refrain)
Glory, glory, hallelujah (3x)
For ever, evermore!
(2nd verse)
By the grace of God we'll meet you (3x)
Where parting is no more.
(3rd verse)
Jesus lives and reigns forever (3x)
On Canaan's happy shore.
John Brown's Body

John Brown's body lies a-mouldering in the grave; (3X)
His soul's marching on!
(Chorus)
Glory, glory, hallelujah! Glory, glory, hallelujah!
Glory, glory, hallelujah! his soul's marching on!
He's gone to be a soldier in the army of the Lord! (3X)
His soul's marching on!
(Chorus)
John Brown's knapsack is strapped upon his back! (3X)
His soul's marching on!
(Chorus)
His pet lambs will meet him on the way; (3X)
They go marching on!
(Chorus)
They will hang Jeff Davis to a sour apple tree! (3X)
As they march along!
(Chorus)
Now, three rousing cheers for the Union; (3X)
As we are marching on!
(From the Library of Congress:[32])

The version by William Weston Patton:[24]:

Old John Brown’s body lies moldering in the grave,
While weep the sons of bondage whom he ventured all to save;
But tho he lost his life while struggling for the slave,
His soul is marching on.

John Brown was a hero, undaunted, true and brave,
And Kansas knows his valor when he fought her rights to save;
Now, tho the grass grows green above his grave,
His soul is marching on.

He captured Harper’s Ferry, with his nineteen men so few,
And frightened "Old Virginny" till she trembled thru and thru;
They hung him for a traitor, they themselves the traitor crew,
But his soul is marching on.

John Brown was John the Baptist of the Christ we are to see,
Christ who of the bondmen shall the Liberator be,
And soon thruout the Sunny South the slaves shall all be free,
For his soul is marching on.

The conflict that he heralded he looks from heaven to view,
On the army of the Union with its flag red, white and blue.
And heaven shall ring with anthems o’er the deed they mean to do,
For his soul is marching on.

Ye soldiers of Freedom, then strike, while strike ye may,
The death blow of oppression in a better time and way,
For the dawn of old John Brown has brightened into day,
And his soul is marching on

In Honor Of John Brown Late Of Harpers Ferry-1859 *Honor John Brown's Revolutionary Anti-Slavery Struggle At Harper's Ferry- A Union Anthem -"John Brown's Body"

Click on title to link to YouTube's film clip of Paul Robeson (who else should do it when you think about it) performing "John Brown's Body". February Is Black History Month

Lyrics- Section from Wikipedia's Entry For "John Brown's Body"

The lyrics generally show an increase in complexity and syllable count as they move from simple, orally-transmitted camp meeting song, to an orally composed marching song, to more consciously literary versions.

The increasing syllable count led to an ever-increasing number of dotted rhythms in the melody to accommodate the increased number of syllables. The result is that the verse and chorus, which were musically identical in the "Say, Brothers", became quite distinct rhythmically in "John Brown's Body", and even more so in the more elaborate versions of the "John Brown Song" and in the "Battle Hymn of the Republic".

Say, Brothers

(1st verse)
Say, brothers, will you meet us (3x)
On Canaan's happy shore.
(Refrain)
Glory, glory, hallelujah (3x)
For ever, evermore!
(2nd verse)
By the grace of God we'll meet you (3x)
Where parting is no more.
(3rd verse)
Jesus lives and reigns forever (3x)
On Canaan's happy shore.
John Brown's Body

John Brown's body lies a-mouldering in the grave; (3X)
His soul's marching on!
(Chorus)
Glory, glory, hallelujah! Glory, glory, hallelujah!
Glory, glory, hallelujah! his soul's marching on!
He's gone to be a soldier in the army of the Lord! (3X)
His soul's marching on!
(Chorus)
John Brown's knapsack is strapped upon his back! (3X)
His soul's marching on!
(Chorus)
His pet lambs will meet him on the way; (3X)
They go marching on!
(Chorus)
They will hang Jeff Davis to a sour apple tree! (3X)
As they march along!
(Chorus)
Now, three rousing cheers for the Union; (3X)
As we are marching on!
(From the Library of Congress:[32])

The version by William Weston Patton:[24]:

Old John Brown’s body lies moldering in the grave,
While weep the sons of bondage whom he ventured all to save;
But tho he lost his life while struggling for the slave,
His soul is marching on.

John Brown was a hero, undaunted, true and brave,
And Kansas knows his valor when he fought her rights to save;
Now, tho the grass grows green above his grave,
His soul is marching on.

He captured Harper’s Ferry, with his nineteen men so few,
And frightened "Old Virginny" till she trembled thru and thru;
They hung him for a traitor, they themselves the traitor crew,
But his soul is marching on.

John Brown was John the Baptist of the Christ we are to see,
Christ who of the bondmen shall the Liberator be,
And soon thruout the Sunny South the slaves shall all be free,
For his soul is marching on.

The conflict that he heralded he looks from heaven to view,
On the army of the Union with its flag red, white and blue.
And heaven shall ring with anthems o’er the deed they mean to do,
For his soul is marching on.

Ye soldiers of Freedom, then strike, while strike ye may,
The death blow of oppression in a better time and way,
For the dawn of old John Brown has brightened into day,
And his soul is marching on

The Centennial Of Pete Seeger’s Birthday (1919-2014)- From The Archives Of Marxism-*On The Passing Of Folklorist And Ardent Stalinist Irwin Silber- A Short Note

Click on the headline to link to a Wikipedia entry for the late folklorist and political activist Irwin Silber.

Markin comment:

In a recent post linking to a New York Times obituary concerning the passing of Irwin Silber, well- known folklorist and left political activist I made a point, as I have in this headline, of mentioning his ardent and long time Stalinist inclinations. I also noted in the post that if one wanted examples of that political bent then one could Google the Guardian (U.S.) archive for anti-Trotskyist (using the classic giveaway “Trotskyite”) material that he wrote during the 1970s when his Stalinist bent tilted in the direction of the Maoism. As it turns out, at least for now, I have been unable to Google any articles by Silber, or for that matter the Guardian itself. That newspaper ceased publication in the 1990s and, apparently, no one has deemed it necessary, as of yet, to see that the archives enter cyberspace. However, in order to give a flavor of what I am speaking of I have enclosed the link to a twelve-part series run in the Guardian in 1973 (while Silber was on the editorial staff) by Carl Davidson entitled Left in Form, Right in Essence: A Critique of Contemporary Trotskyism. (http://www.marxists.org/history/etol/critiques/guardian/index.htm).

Let’s make something clear on Stalinism, at least what is essential about it for those who stand in the Trotskyist tradition, while we are on the subject. In the United States, at least when anyone utters the epitaph Stalinist (or Stalin) that conjures up the KGB, gulags, Moscow Trials, slave labor camps, the Cold War, totalitarianism, and assorted other negative labels. As Trotskyists, whose forbears lost the political battle to Stalinism in the Soviet Union in the 1920s, we are painfully aware of all of that, including the lost of our historic leader to assassination at the hands of a Stalinist agent in 1940.

But for us, and this is where a bloodline is drawn between the Stalinists and us, including Irwin Silber, it is our perspectives for revolution that distinguish us. In shorthand, does one stand in the tradition of “socialism in one country", or "half a country", or "one island', or whatever political franchise one is craving for and extolling or for international revolution? Does one stand for one-stage workers revolution in the modern age (basically post-1848) or two-stage revolution, first “democratic” (maybe) and then socialist (never, or in the very, very distant future- witness South Africa today for the latest edition). The fight in the international working class movement, at least of its Marxist component, has always, in the end, been fought on that axis. That is the sense is which one Irwin Silber was, from the time he was a pup, an ardent Stalinist.

Note: In the Marxist movement it has always been, or always should have been the case, that in writing political obituaries one should not take a pass on a person’s political life. I have taken my shots at Silber’s politics, and that is that. However, if one reads the whole of the Wikipedia entry one will find that Brother Silber (the brother will be explained presently) wrote a non-political book on the struggles involved with hip and knee replacements. This is one subject on which aging Stalinists and aging Trostkyists can make a principled united front. Hell, we can throw in the anarchists and social democrats as well. That said, back to the political struggles.

The Centennial Of Pete Seeger’s Birthday (1919-2014)- In Honor Of Newport 1965-Folk Music- The Graduate Course

Click on the headline to link to a "YouTube" film clip of Woody Guthrie performing "Pastures Of Plenty".

CD REVIEW

Classic Folk Music, Woody Guthrie, Pete Seeger and various other artists, Smithsonian FolkWays, 2004

Recently, in a review of a three volume set of CDs entitled “Troubadours of The Folk Era” containing songs done by many of the folk singers then coming in prominent in the 1960’s, I headlined the entry “Folk Music 101-There Are Many Rooms In That Mansion” . That entry however, in a way, begged the question of how those singers (or listeners like me) traced their ways back to the roots of folk.

Well, my friends, I have the answer, or at least part of it, here in this little gem of a CD. Sure we all, later when we understood things better, appreciated that John and Allan Lomax did yeomen’s service to roots music by their travels into the hinterlands in the 1930’s and 1940’s (and had Pete Seeger tag along for a year and thus serve as a little transmission belt to the latter generation) to find blues, mountain and other types of American traditional music. However, most of us got our folk infusion second-hand through our addiction to local coffeehouses and the fledgling performers who provided us entertainment there. They, in turn, learned their material from the masters who populate this CD.

You doubt the truth of that statement? Well, let’s go through the litany. On one CD we have Woody Guthrie doing “Pastures of Plenty”; Pete leading “We Shall Overcome; Lead Belly on “Rock Island Line”; Doc Watson on “John Henry”; Elizabeth Cotton on the super-classic “Freight Train" (a right of passage for virtually every 1960’s performer); Paul Robeson on “No More Auction Block” (it will give you goose bumps to hear that voice); Big Bill Broonzy on “This Train” (fighting Jim Crow version) and on and on. This is the core of folk, take my word for it. No don’t. Get this CD and get ‘religion’ on your own.

A word is also in order about the role of Moses Asch, his Asch recording studio in New York City and his role as the producer of many of the classic folk songs in the 1940’s and 1950’s gleaned from the always excellent liner notes provided by Smithsonian Folkway. As I have noted previously in this space the folk revival of the 1960’s did not form tabula rasa. Asch’s commitment is a testament to that proposition. It therefore is no accident that the early flowering of the folk revival was in New York City as that is where one could find the ‘refugees’ from elsewhere during the "red scare" during the hard political winter of the 1950’s.

Nor is it accidental that left-wingers blacklisted, like Pete Seeger, Woody and Paul Robeson, by the government are liberally represented in this collection. When one is searching for some kind of critique of society there is bound to be a folk song by some damn radical that reflects that outrage. Or gets prominence due to that struggle. Witness in that regard the history of the song “We Shall Overcome” and its relationship to the black civil rights movement. I should also point out that the liner notes provide an interesting fact about the older generation of folk performers like Woody Guthrie and the young revivalists of the 1960’s. The notes point out that a fair proportion of the folk revivalists came to love the music from songs they learned as children at summer camp. Woody and Pete Seeger are well-known for their children’s songs. So, maybe the government was right to see “reds” under every bunk bed corrupting the morals of the youth. Oh, well.

As a general observation the producers of this CD, Smithsonian Folkway (the name itself should be a give away about the quality of this production) went out of their way, way out of their way to get the best renditions available of the songs by the individual artists represented and to provide the best range of what folk meant to those who wrote the songs, sang them and listened in. As I mentioned above in that earlier review of the 1960’s folk scene for those too young to have heard the music then you have been given a reprieve- take advantage of it.

In Honor Of John Brown Late Of Harpers Ferry-1859- *Honor The Anniversary of John Brown's Anti-Slavery Struggle At Harper's Ferry- A Union Anthem -"John Brown's Body"

Click on title to link to YouTube's film clip of Paul Robeson (who else should do it when you think about it)performing "John Brown's Body".

Lyrics- Section from From Wikipedia's Entry For "John Brown's Body"

The lyrics generally show an increase in complexity and syllable count as they move from simple, orally-transmitted camp meeting song, to an orally composed marching song, to more consciously literary versions.

The increasing syllable count led to an ever-increasing number of dotted rhythms in the melody to accommodate the increased number of syllables. The result is that the verse and chorus, which were musically identical in the "Say, Brothers", became quite distinct rhythmically in "John Brown's Body", and even more so in the more elaborate versions of the "John Brown Song" and in the "Battle Hymn of the Republic".

Say, Brothers

(1st verse)
Say, brothers, will you meet us (3x)
On Canaan's happy shore.
(Refrain)
Glory, glory, hallelujah (3x)
For ever, evermore!
(2nd verse)
By the grace of God we'll meet you (3x)
Where parting is no more.
(3rd verse)
Jesus lives and reigns forever (3x)
On Canaan's happy shore.
John Brown's Body

John Brown's body lies a-mouldering in the grave; (3X)
His soul's marching on!
(Chorus)
Glory, glory, hallelujah! Glory, glory, hallelujah!
Glory, glory, hallelujah! his soul's marching on!
He's gone to be a soldier in the army of the Lord! (3X)
His soul's marching on!
(Chorus)
John Brown's knapsack is strapped upon his back! (3X)
His soul's marching on!
(Chorus)
His pet lambs will meet him on the way; (3X)
They go marching on!
(Chorus)
They will hang Jeff Davis to a sour apple tree! (3X)
As they march along!
(Chorus)
Now, three rousing cheers for the Union; (3X)
As we are marching on!
(From the Library of Congress:[32])

The version by William Weston Patton:[24]:

Old John Brown’s body lies moldering in the grave,
While weep the sons of bondage whom he ventured all to save;
But tho he lost his life while struggling for the slave,
His soul is marching on.

John Brown was a hero, undaunted, true and brave,
And Kansas knows his valor when he fought her rights to save;
Now, tho the grass grows green above his grave,
His soul is marching on.

He captured Harper’s Ferry, with his nineteen men so few,
And frightened "Old Virginny" till she trembled thru and thru;
They hung him for a traitor, they themselves the traitor crew,
But his soul is marching on.

John Brown was John the Baptist of the Christ we are to see,
Christ who of the bondmen shall the Liberator be,
And soon thruout the Sunny South the slaves shall all be free,
For his soul is marching on.

The conflict that he heralded he looks from heaven to view,
On the army of the Union with its flag red, white and blue.
And heaven shall ring with anthems o’er the deed they mean to do,
For his soul is marching on.

Ye soldiers of Freedom, then strike, while strike ye may,
The death blow of oppression in a better time and way,
For the dawn of old John Brown has brightened into day,
And his soul is marching on

In Honor Of John Brown Late Of Harpers Ferry-1859 *Honor John Brown's Revolutionary Anti-Slavery Struggle At Harper's Ferry- A Union Anthem -"John Brown's Body"

Click on title to link to YouTube's film clip of Paul Robeson (who else should do it when you think about it) performing "John Brown's Body". February Is Black History Month

Lyrics- Section from Wikipedia's Entry For "John Brown's Body"

The lyrics generally show an increase in complexity and syllable count as they move from simple, orally-transmitted camp meeting song, to an orally composed marching song, to more consciously literary versions.

The increasing syllable count led to an ever-increasing number of dotted rhythms in the melody to accommodate the increased number of syllables. The result is that the verse and chorus, which were musically identical in the "Say, Brothers", became quite distinct rhythmically in "John Brown's Body", and even more so in the more elaborate versions of the "John Brown Song" and in the "Battle Hymn of the Republic".

Say, Brothers

(1st verse)
Say, brothers, will you meet us (3x)
On Canaan's happy shore.
(Refrain)
Glory, glory, hallelujah (3x)
For ever, evermore!
(2nd verse)
By the grace of God we'll meet you (3x)
Where parting is no more.
(3rd verse)
Jesus lives and reigns forever (3x)
On Canaan's happy shore.
John Brown's Body

John Brown's body lies a-mouldering in the grave; (3X)
His soul's marching on!
(Chorus)
Glory, glory, hallelujah! Glory, glory, hallelujah!
Glory, glory, hallelujah! his soul's marching on!
He's gone to be a soldier in the army of the Lord! (3X)
His soul's marching on!
(Chorus)
John Brown's knapsack is strapped upon his back! (3X)
His soul's marching on!
(Chorus)
His pet lambs will meet him on the way; (3X)
They go marching on!
(Chorus)
They will hang Jeff Davis to a sour apple tree! (3X)
As they march along!
(Chorus)
Now, three rousing cheers for the Union; (3X)
As we are marching on!
(From the Library of Congress:[32])

The version by William Weston Patton:[24]:

Old John Brown’s body lies moldering in the grave,
While weep the sons of bondage whom he ventured all to save;
But tho he lost his life while struggling for the slave,
His soul is marching on.

John Brown was a hero, undaunted, true and brave,
And Kansas knows his valor when he fought her rights to save;
Now, tho the grass grows green above his grave,
His soul is marching on.

He captured Harper’s Ferry, with his nineteen men so few,
And frightened "Old Virginny" till she trembled thru and thru;
They hung him for a traitor, they themselves the traitor crew,
But his soul is marching on.

John Brown was John the Baptist of the Christ we are to see,
Christ who of the bondmen shall the Liberator be,
And soon thruout the Sunny South the slaves shall all be free,
For his soul is marching on.

The conflict that he heralded he looks from heaven to view,
On the army of the Union with its flag red, white and blue.
And heaven shall ring with anthems o’er the deed they mean to do,
For his soul is marching on.

Ye soldiers of Freedom, then strike, while strike ye may,
The death blow of oppression in a better time and way,
For the dawn of old John Brown has brightened into day,
And his soul is marching on

*Honor John Brown's Revolutionary Anti-Slavery Struggle At Harper's Ferry- A Union Anthem -"John Brown's Body"

*Honor John Brown's Revolutionary Anti-Slavery Struggle At Harper's Ferry- A Union Anthem -"John Brown's Body"

Click on the title to link to YouTube's film clip of Paul Robeson (who else should sing the song better if you think about it) performing "John Brown's Body".

February Is Black History Month

Lyrics- Section from Wikipedia's Entry For "John Brown's Body"

The lyrics generally show an increase in complexity and syllable count as they move from simple, orally-transmitted camp meeting song, to an orally composed marching song, to more consciously literary versions.

The increasing syllable count led to an ever-increasing number of dotted rhythms in the melody to accommodate the increased number of syllables. The result is that the verse and chorus, which were musically identical in the "Say, Brothers", became quite distinct rhythmically in "John Brown's Body", and even more so in the more elaborate versions of the "John Brown Song" and in the "Battle Hymn of the Republic".

Say, Brothers

(1st verse)
Say, brothers, will you meet us (3x)
On Canaan's happy shore.
(Refrain)
Glory, glory, hallelujah (3x)
For ever, evermore!
(2nd verse)
By the grace of God we'll meet you (3x)
Where parting is no more.
(3rd verse)
Jesus lives and reigns forever (3x)
On Canaan's happy shore.
John Brown's Body

John Brown's body lies a-mouldering in the grave; (3X)
His soul's marching on!
(Chorus)
Glory, glory, hallelujah! Glory, glory, hallelujah!
Glory, glory, hallelujah! his soul's marching on!
He's gone to be a soldier in the army of the Lord! (3X)
His soul's marching on!
(Chorus)
John Brown's knapsack is strapped upon his back! (3X)
His soul's marching on!
(Chorus)
His pet lambs will meet him on the way; (3X)
They go marching on!
(Chorus)
They will hang Jeff Davis to a sour apple tree! (3X)
As they march along!
(Chorus)
Now, three rousing cheers for the Union; (3X)
As we are marching on!
(From the Library of Congress:[32])

The version by William Weston Patton:[24]:

Old John Brown’s body lies moldering in the grave,
While weep the sons of bondage whom he ventured all to save;
But tho he lost his life while struggling for the slave,
His soul is marching on.

John Brown was a hero, undaunted, true and brave,
And Kansas knows his valor when he fought her rights to save;
Now, tho the grass grows green above his grave,
His soul is marching on.

He captured Harper’s Ferry, with his nineteen men so few,
And frightened "Old Virginny" till she trembled thru and thru;
They hung him for a traitor, they themselves the traitor crew,
But his soul is marching on.

John Brown was John the Baptist of the Christ we are to see,
Christ who of the bondmen shall the Liberator be,
And soon thruout the Sunny South the slaves shall all be free,
For his soul is marching on.

The conflict that he heralded he looks from heaven to view,
On the army of the Union with its flag red, white and blue.
And heaven shall ring with anthems o’er the deed they mean to do,
For his soul is marching on.

Ye soldiers of Freedom, then strike, while strike ye may,
The death blow of oppression in a better time and way,
For the dawn of old John Brown has brightened into day,
And his soul is marching on

In Honor Of John Brown Late Of Harpers Ferry-1859- *Honor John Brown's Revolutionary Anti-Slavery Struggle At Harper's Ferry- A Union Anthem -"John Brown's Body"

Click on title to link to YouTube's film clip of Paul Robeson (who else should do it when you think about it) performing "John Brown's Body". February Is Black History Month

Lyrics- Section from Wikipedia's Entry For "John Brown's Body"

The lyrics generally show an increase in complexity and syllable count as they move from simple, orally-transmitted camp meeting song, to an orally composed marching song, to more consciously literary versions.

The increasing syllable count led to an ever-increasing number of dotted rhythms in the melody to accommodate the increased number of syllables. The result is that the verse and chorus, which were musically identical in the "Say, Brothers", became quite distinct rhythmically in "John Brown's Body", and even more so in the more elaborate versions of the "John Brown Song" and in the "Battle Hymn of the Republic".

Say, Brothers

(1st verse)
Say, brothers, will you meet us (3x)
On Canaan's happy shore.
(Refrain)
Glory, glory, hallelujah (3x)
For ever, evermore!
(2nd verse)
By the grace of God we'll meet you (3x)
Where parting is no more.
(3rd verse)
Jesus lives and reigns forever (3x)
On Canaan's happy shore.
John Brown's Body

John Brown's body lies a-mouldering in the grave; (3X)
His soul's marching on!
(Chorus)
Glory, glory, hallelujah! Glory, glory, hallelujah!
Glory, glory, hallelujah! his soul's marching on!
He's gone to be a soldier in the army of the Lord! (3X)
His soul's marching on!
(Chorus)
John Brown's knapsack is strapped upon his back! (3X)
His soul's marching on!
(Chorus)
His pet lambs will meet him on the way; (3X)
They go marching on!
(Chorus)
They will hang Jeff Davis to a sour apple tree! (3X)
As they march along!
(Chorus)
Now, three rousing cheers for the Union; (3X)
As we are marching on!
(From the Library of Congress:[32])

The version by William Weston Patton:[24]:

Old John Brown’s body lies moldering in the grave,
While weep the sons of bondage whom he ventured all to save;
But tho he lost his life while struggling for the slave,
His soul is marching on.

John Brown was a hero, undaunted, true and brave,
And Kansas knows his valor when he fought her rights to save;
Now, tho the grass grows green above his grave,
His soul is marching on.

He captured Harper’s Ferry, with his nineteen men so few,
And frightened "Old Virginny" till she trembled thru and thru;
They hung him for a traitor, they themselves the traitor crew,
But his soul is marching on.

John Brown was John the Baptist of the Christ we are to see,
Christ who of the bondmen shall the Liberator be,
And soon thruout the Sunny South the slaves shall all be free,
For his soul is marching on.

The conflict that he heralded he looks from heaven to view,
On the army of the Union with its flag red, white and blue.
And heaven shall ring with anthems o’er the deed they mean to do,
For his soul is marching on.

Ye soldiers of Freedom, then strike, while strike ye may,
The death blow of oppression in a better time and way,
For the dawn of old John Brown has brightened into day,
And his soul is marching on

*Singers' Corner- Honor The Birthday Anniversary Of Paul Robeson

Singers' Corner- Honor The Birthday Anniversary Of Paul Robeson

"Waterboy"

Waterboy, where are you hiding
If you don't come right here
Gonna tell you pa on you
There ain't no hammer
That's on a this mountain
That ring like mine boy
That ring like mine

I'm gonna bust this rock boy
From here to the Macon
All the way to the jail boy
All the way to the jail

You Jack o diamond
Jack o diamond
Know you of old boy
I know you're of old
You rob-a my pocket
Rob my pocket
Silver and gold boy
Of silver and gold
There ain't no sweat boy
That's on a this mountain
That run like mine boy
That run like mine

Playwright's Corner- Eugene O'Neill's "The Emperor Jones"

Click on the headline to link to a Wikipedia entry for American playwright Eugene O'Neill's The Emperor Jones.

http://en.wikipedia.org/wiki/The_Emperor_Jones

Markin comment:

This entry provides a little background information for the play (and movie) that helped, along with Othello, define Paul Robeson as the epitome of the strong black man, a man for every racist, and every Uncle Tom, to fear. Period.

*Films to While Away The Class Struggle by-“Old Man River Keeps Rolling Along”-The Work Of Paul Robeson

Click on the title to link to an American Left History blog entry of a book reviewing the life of Paul Robeson as background for this film review>

February Is Black History Month

Recently I have begun to post entries under the headline- Songs To While Away The Class Struggle By-that will include progressive and labor-oriented songs that might be of general interest to the radical public. I have decided to do the same for some films that may perk that same interest under the title in this entry’s headline. In the future I expect to do the same for books under a similar heading.-Markin

DVD Review

Portrait Of An Artist, Paul Robeson, The Criterion Collection, 2007

Paul Robeson’s name can be found in many places in this space for his extraordinary (untutored) vocal talents singing songs of freedom, of the struggle for human dignity and for artistic effect (Emperor Jones, etc.). The most famous, or from a leftist perspective, infamous use of that instrument was the Peekskill (New York) concert of 1949 where he, his fellow progressives, including Communist Party members and sympathizers, literally had to fight off the fascistic locals in the throes of the post-World War II Cold War “red scare” that dominated my childhood and many others from my generation of ’68.

But that skill hardly ends the list of talents that Paul Robeson used in his life: scholar, All-American football player (at one point denied that honor because of his politics0, folklorist, actor, and, most importantly, political activist round out the main features. This Criterion Collection series of four discs concentrates on his film career (and other short biographic and memory pieces) especially the early work where he had to play groveling, simple-minded blacks and did so against type (his ever present black and proud type). I will give a short summary below to show the range of his work, although his real role as Shakespeare’s Othello, done on the stage, is by all accounts, his definitive work, as is, to my mind Emperor Jones for his film work.

That said, Paul Robeson, and I were political opponents on the left. Whether he was a member or just a sympathizer of the Stalinized Communist Party (or to use a quaint work form the old Cold War days, fellow-traveler) he nevertheless, if one looks closely at his speeches and comments stayed very close to the American Communist Party "party line" of the times (whatever that was, or rather whatever Moscow called for), including the ritualistic denunciation of Trotskyites as counter-revolutionaries, etc. He, however, was an eloquent spokesman for blacks here in America and internationally, a speaker against the Cold War madness, and a fighter for national liberation and anti-colonial struggles a kindred spirit. Moreover, unlike others, including poet Langston Hughes and novelist Richard Wright no “turncoat” and held his ground despite its effect on his career, his ability to earn a living, and his ability to leave America. Thus, he, along with the anarchist Emma Goldman, is one of those contradictory political characters from the past that I have a “soft” spot for. Paul Robeson’s voice and presence, in any case, with this comprehensive retrospective (and others) will always be there. I wish, wish like hell, he could have been with us when the deal went down and communists had to choose between Stalinism and Trotskyism.
********
Emperor Jones, a classic Robeson performance is the main feature of the first disc. It is almost painful to watch this brilliant Eugene O’Neill play brought to the screen in 1933 for its language (the ‘n’ word), it depiction of blacks, in the cities and the jungle as servile or loony, and merely the white man’s fodder and for its primitive cinematic effects. But Paul Robeson IS Emperor Jones. No amount of fool talk, bad dialogue, didactic scripting can take away the power of his performance, foolishly tempting the fates, and the white man, or not. This is a powerful black man, period. His singing, especially of Water Boy, of course, needs no comment from me.

The other part of this disc is a sequence short piece on his life and times, as well as the effect hat he had on then up-and-coming young black actors and singers like James Earl Jones and Ruby Dee. This is a good short biographic sketch, although I find it hard to believe that throughout the various comments the fact of his association with the American Communist Party is no mentioned by anyone or I did not hear it mentioned by the narrator once. Robeson is characterized as merely a black social activist. This is a disservice to his memory, and a form of historical distortion that I have found elsewhere (notably in a Howard Zinn tribute documentary done by Matt Damon).The American Communist Party, our left-wing political enemy or not, was part of the working class movement in this country, at some points an important part, and to deny that is to deny our left-wing history. No, this falsification by omission will not do.

*Those Black Militants Who Fought For Our Communist Future Are Kindred Spirits-Paul Robeson

Click on the headline to link to a Wikipedia entry for Paul Robeson.

February Is Black History Month

Every January, as readers of this blog are now, hopefully, familiar with the international communist movement honors the 3 Ls-Lenin, Luxemburg and Liebknecht, fallen leaders of the early 20th century communist movement who died in this month (and whose untimely deaths left a huge, irreplaceable gap in the international leadership of that time). January is thus a time for us to reflect on the roots of our movement and those who brought us along this far. February is Black History Month and is a time for reflection on our black forebears who brought us along this far. In order to give a fuller measure of honor to our fallen forbears this February, and in future Februarys, this space will honor others who have contributed in some way to the struggle for our communist future. That future classless society, however, will be the true memorial to their sacrifices.

Note on inclusion: As in other series on this site (Labor’s Untold Story, Leaders Of The Bolshevik Revolution, etc.) this year’s honorees do not exhaust the list of every possible communist worthy of the name. Nor, in fact, is the list limited to Bolshevik-style communists. There will be names included from other traditions (like anarchism, social democracy, the Diggers, Levellers, Jacobins, the black liberation struggle here and elsewhere, etc.) whose efforts contributed to the international struggle. Also, as was true of previous series this year’s efforts are no more than an introduction to these heroes of the class struggle. Future years will see more detailed information on each entry, particularly about many of the lesser known figures. Better yet, the reader can pick up the ball and run with it if he or she has more knowledge about the particular exploits of some communist militant, or to include a missing one.

*Films to While Away The Class Struggle by-“Old Man River Keeps Rolling Along”-The Work Of Paul Robeson

Click on the title to link to an American Left History blog entry of a book reviewing the life of Paul Robeson as background for this film review>

Recently I have begun to post entries under the headline- Songs To While Away The Class Struggle By-that will include progressive and labor-oriented songs that might be of general interest to the radical public. I have decided to do the same for some films that may perk that same interest under the title in this entry’s headline. In the future I expect to do the same for books under a similar heading.-Markin

DVD Review

Portrait Of An Artist, Paul Robeson, The Criterion Collection, 2007

Paul Robeson’s name can be found in many places in this space for his extraordinary (untutored) vocal talents singing songs of freedom, of the struggle for human dignity and for artistic effect (Emperor Jones, etc.). The most famous, or from a leftist perspective, infamous use of that instrument was the Peekskill (New York) concert of 1949 where he, his fellow progressives, including Communist Party members and sympathizers, literally had to fight off the fascistic locals in the throes of the post-World War II Cold War “red scare” that dominated my childhood and many others from my generation of ’68.

But that skill hardly ends the list of talents that Paul Robeson used in his life: scholar, All-American football player (at one point denied that honor because of his politics0, folklorist, actor, and, most importantly, political activist round out the main features. This Criterion Collection series of four discs concentrates on his film career (and other short biographic and memory pieces) especially the early work where he had to play groveling, simple-minded blacks and did so against type (his ever present black and proud type). I will give a short summary below to show the range of his work, although his real role as Shakespeare’s Othello, done on the stage, is by all accounts, his definitive work, as is, to my mind Emperor Jones for his film work.

That said, Paul Robeson, and I were political opponents on the left. Whether he was a member or just a sympathizer of the Stalinized Communist Party (or to use a quaint work form the old Cold War days, fellow-traveler) he nevertheless, if one looks closely at his speeches and comments stayed very close to the American Communist Party "party line" of the times (whatever that was, or rather whatever Moscow called for), including the ritualistic denunciation of Trotskyites as counter-revolutionaries, etc. He, however, was an eloquent spokesman for blacks here in America and internationally, a speaker against the Cold War madness, and a fighter for national liberation and anti-colonial struggles a kindred spirit. Moreover, unlike others, including poet Langston Hughes and novelist Richard Wright no “turncoat” and held his ground despite its effect on his career, his ability to earn a living, and his ability to leave America. Thus, he, along with the anarchist Emma Goldman, is one of those contradictory political characters from the past that I have a “soft” spot for. Paul Robeson’s voice and presence, in any case, with this comprehensive retrospective (and others) will always be there. I wish, wish like hell, he could have been with us when the deal went down and communists had to choose between Stalinism and Trotskyism.
********
Emperor Jones, a classic Robeson performance is the main feature of the first disc. It is almost painful to watch this brilliant Eugene O’Neill play brought to the screen in 1933 for its language (the ‘n’ word), it depiction of blacks, in the cities and the jungle as servile or loony, and merely the white man’s fodder and for its primitive cinematic effects. But Paul Robeson IS Emperor Jones. No amount of fool talk, bad dialogue, didactic scripting can take away the power of his performance, foolishly tempting the fates, and the white man, or not. This is a powerful black man, period. His singing, especially of Water Boy, of course, needs no comment from me.

The other part of this disc is a sequence short piece on his life and times, as well as the effect hat he had on then up-and-coming young black actors and singers like James Earl Jones and Ruby Dee. This is a good short biographic sketch, although I find it hard to believe that throughout the various comments the fact of his association with the American Communist Party is no mentioned by anyone or I did not hear it mentioned by the narrator once. Robeson is characterized as merely a black social activist. This is a disservice to his memory, and a form of historical distortion that I have found elsewhere (notably in a Howard Zinn tribute documentary done by Matt Damon).The American Communist Party, our left-wing political enemy or not, was part of the working class movement in this country, at some points an important part, and to deny that is to deny our left-wing history. No, this falsification by omission will not do.

*Songs To While Away The Class Struggle By-Paul Robeson's "Let My People Go"

Click on the title to link a "YouTube" film clip of singer/communist activist Paul Robeson performing "Let My People Go."

In this series, presented under the headline “Songs To While Away The Class Struggle By”, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here. Markin.

*************
Let My People Go-Lyrics

When Israel was in Egypt’s land,
Let My people go!
Oppressed so hard they could not stand,
Let My people go!

Refrain:

Go down, Moses,
Way down in Egypt’s land;
Tell old Pharaoh
To let My people go!

No more shall they in bondage toil,
Let My people go!
Let them come out with Egypt’s spoil,
Let My people go!

Oh, let us all from bondage flee,
Let My people go!
And let us all in Christ be free,
Let My people go!

You need not always weep and mourn,
Let My people go!
And wear these slav’ry chains forlorn,
Let My people go!

Your foes shall not before you stand,
Let My people go!
And you’ll possess fair Canaan’s land,
Let My people go!

Today There Is Stormy Weather Indeed- Singer Lena Horne Passes At 92

Click on the headline to link to a "New York Times" entry for the late jazz/blues singer Lena Horne.


Markin comment:

I have hear the classic jazz/blues song "Stormy Weather", a song forever associated with the name of Lena Horne, done by many singers. None, and I mean none, ever had me stop doing what I was doing to listen, and listen again and again like Ms. Horne did. That is tribute enough, I think. Farewell, Lena.

"Stormy Weather" Lyrics

Don't know why there's no sun up in the sky
Stormy weather since my man and I ain't together
Keeps raining all the time, the time
Life is bare, gloom and misery everywhere
Stormy weather, just can't get my poor self together
It's raining all the time, the time

When you went, you went away, the blues walked in and met me
If he stays away, ol' rocking chair will get me
All I do is pray, the Lord above will let me walk in the sun once more

Can't go on, everything I had is gone
Stormy weather since my man and I ain't together
It's raining all the time

I walk around, heavy-hearted and sad
Night comes around and I'm still feeling bad
Rain's pouring down, blinding every hope I had
This pitterin pattering, beating and spattering drives Me Mad
Love, Love, Love, this misery's just too much for me

Can't go on, everything I have is gone
Stormy weather since my man and I ain't together
It's raining all the time, keeps raining all the time

*Songs To While The Class Struggle By- Lena Horne's "Stromy Weather"-With A Tear

Click on the headline to link to a "YouTube" film clip of the late Lena Horne performing her classic cover of "Stormy Weather" in sunnier days.

Markin comment:

Yes, with a tear.


"Stormy Weather" Lyrics

Don't know why there's no sun up in the sky
Stormy weather since my man and I ain't together
Keeps raining all the time, the time
Life is bare, gloom and misery everywhere
Stormy weather, just can't get my poor self together
It's raining all the time, the time

When you went, you went away, the blues walked in and met me
If he stays away, ol' rocking chair will get me
All I do is pray, the Lord above will let me walk in the sun once more

Can't go on, everything I had is gone
Stormy weather since my man and I ain't together
It's raining all the time

I walk around, heavy-hearted and sad
Night comes around and I'm still feeling bad
Rain's pouring down, blinding every hope I had
This pitterin pattering, beating and spattering drives Me Mad
Love, Love, Love, this misery's just too much for me

Can't go on, everything I have is gone
Stormy weather since my man and I ain't together
It's raining all the time, keeps raining all the time

*”Bluesland” -A Look At The Evolution Of The Blues- In One Place At One Time

Click on title to link to YouTube's film clip of Muddy Waters performing "Hoochie Coochie Man" at the New Port Jazz Festival in 1960. Wow!


DVD Review

Bluesland: Masters Of American Music Series, various artists, BMG, 1991

Okay, apparently I will review any item that comes my way that has even the remotest connection with the blues, the history of the blues, or the individual performances of blues artists, great and small. I confess to being an aficionado and have been since my jaded youth. However, I know damn well that not everyone either shares that addiction or has heard enough to make a judgment. Thus, while I now tend to shy away from anthologies and general histories on this subject and have been honing in on individual genres and styles within the broad terms of what the blues are, when one of those crosses my desk that seems reasonably well-done and gives good sense of where the blues came from and….where it is going I will take the time to write a few word about it, especially as here there when there is a great deal of rare film footage involved in the production.

“Bluesland” easily fits those criteria just mentioned, and if there is just a little too much push of the blues as a central American gene in relationship to other musical forms by the presenter and “talking heads” that always feature in such documentaries, it hits all the known high spots of the blues experience and has some very, very good documentary footage accompanying the presentation. Like? Well, like old Son House flailing away on that National guitar of his. Or Muddy Waters tearing the place up in 1960 at the staid old Newport Jazz Festival with his “Hoochie Goochie Man” that had them dancing in the aisles. Or Duke Ellington leading the band in different variations of his classic “Ko-Ko” (including clips shot at the famed Harlem Cotton Club.). Yes, now you get the idea. Some of this footage is incredible.

But enough of the homage to the film footage. The central theme is the evolution of the genre from back in post-Civil War plantation days through Jim Crow sharecropping days that formed the music. Then it moves to the cities in the early part of the 20th century, in the South at first, then upriver to places like Memphis, Chicago and Kansas City. With the urbanization came the key changeover to electric sound in the post World War II period. The story from there is one of a mix and match and partial ellipse with the rise of rock and rock and then back up front again when some British kids, who had been spoon-fed in the late 1950s on it while we were listening to Bobby Vee or whoever, starting linking up wit the likes of Muddy Waters. And then…well we will wait and see. But, if you have any interest at all in the blues or our common musical heritage here in America then you shouldn’t wait.


"Charley Patton High Water Everywhere (part 1) lyrics"


Well, backwater done rose all around Sumner now,
drove me down the line
Backwater done rose at Sumner,
drove poor Charley down the line
Lord, I'll tell the world the water,
done crept through this town
Lord, the whole round country,
Lord, river has overflowed
Lord, the whole round country,
man, is overflowed
You know I can't stay here,
I'll go where it's high, boy
I would goto the hilly country,
but, they got me barred
Now, look-a here now at Leland
river was risin' high
Look-a here boys around Leland tell me,
river was raisin' high
Boy, it's risin' over there, yeah
I'm gonna move to Greenville
fore I leave, goodbye
Look-a here the water now, Lordy,
Levee broke, rose most everywhere
The water at Greenville and Leland,
Lord, it done rose everywhere
Boy, you can't never stay here
I would go down to Rosedale
but, they tell me there's water there
Now, the water now, mama,
done took Charley's town
Well, they tell me the water,
done took Charley's town
Boy, I'm goin' to Vicksburg
Well, I'm goin' to Vicksburg,
for that high of mine
I am goin' up that water,
where lands don't never flow
Well, I'm goin' over the hill where,
water, oh don't ever flow
Boy, hit Sharkey County and everything was down in Stovall
But, that whole county was leavin',
over that Tallahatchie shore Boy,
went to Tallahatchie and got it over there
Lord, the water done rushed all over,
down old Jackson road
Lord, the water done raised,
over the Jackson road
Boy, it starched my clothes
I'm goin' back to the hilly country,
won't be worried no more

"High Water Everywhere (part 2)"



Backwater at Blytheville, backed up all around
Backwater at Blytheville, done took Joiner town
It was fifty families and children come to sink and drown
The water was risin' up at my friend's door
The water was risin' up at my friend's door
The man said to his women folk, "Lord, we'd better go"
The water was risin', got up in my bed
Lord, the water was rollin', got up to my bed
I thought I would take a trip, Lord,
out on the big ice sled
Oh, I can hear, Lord, Lord, water upon my door,
you know what I mean, look-a here
I hear the ice, Lord, Lord, was sinkin' down,
I couldn't get no boats there, Marion City gone down
So high the water was risin' our men sinkin' down
Man, the water was risin' at places all around,
boy, they's all around
It was fifty men and children come to sink and drown
Oh, Lordy, women and grown men drown
Oh, women and children sinkin' down Lord, have mercy
I couldn't see nobody's home and wasn't no one to be found

*A BLACK VOICE IN THE WILDERNESS-The Life And Times Of Paul Robeson

Click on title to link to Wikipedia's entry for Paul Robeson.

BOOK REVIEW

ROBESON, MARTIN B. DUBERMAN, Adoph Knopf, New York, 1988

The great black singer, actor and political figure Paul Robeson as presented in Mr. Duberman’s comprehensive biography is a prime example of what the black scholar W.E.B. Dubois called the "talented tenth", that is, those who would lead the black race out of bondage. That essentially elitist concept has since Dubois’ time thankfully fallen out of favor. Despite my severe political disagreements with Robeson's later Stalinist politics, his life deserves careful study. Moreover, Robeson’s life can and should be viewed as a struggle against that earlier personalist concept outlined by Dubois in favor of a latter more communal class- based effort to use his great authority for social change. Under either standard he has earned his proper place as an important figure in the black liberation struggle. A previous generation of Trotskyists could certainly have used his talents to advantage.

Without seeming to do Robeson an injustice it is fair to roughly compartmentalize his life into the two categories described above, although one can find traces of both throughout his career. I would argue that one cannot understand his life without this compartmentalization for that approximates his own conception of how he changed from the view that his personal success would act as a catalyst for black advancement to his latter view that he needed to use the authority won by his stellar career as a wedge to fight for his political positions in the black liberation struggle. This internal struggle both informs the book and divides it into it proper components.

Obviously this reviewer seeks to highlight the lessons of Robeson’s latter political career as a spokesperson for many causes associated with the Communist Party, the Soviet Union and with the black liberation struggle. However, it is also necessary to acknowledge that other cultural component as a professional entertainer made Paul Robeson undoubtedly the most well-known American black figure of the first half of the 20th century.


Apparently Mr. Duberman attempted in his research for the book to compile every bit of known data about Robeson and to interview every source possible. These sources are cited and footnoted at the back of the book and almost form a book in themselves. This is one of the most comprehensive biographies I have read lately that, at the same time, does not suffer excessively from the author’s heavy-handed take on the quirks of his subject’s life. In a sense it is also a general social history of the American and English theater in the period from about 1920 to 1960, for its seems that Robeson acted or sang with most of the important figures of the time from Eugene O’Neill at the beginning to Tony Richardson at the end of his career. There is more than enough material on his career, including the usual gossip, to fill the many pages of this book.

And what of the personal Robeson that emerged with a splash in the early 1920’s? That he was an outstanding athlete and student only begins to tell the story. After that there are the attempts at law school, the struggle to become a stage actor under O’Neill’s tutelage and the development of his talents as a singer. But not just any kind of singer. Robeson's was an attempt to sing the songs of his people, black people, as they came out of slavery and out of the black church in America. Interestingly, latter when he tried to move beyond that material to other forms of musical expression he was not nearly so successful.

Of course no biography of a man as a charismatic and physically attractive as Robeson is complete without a little romance. The life-long, if trying (on both sides), up and down romance with his wife Essie- the proverbial ‘brains’ of the operation gets more than its fair share of space here. As does the more ambivalent one of Robeson’s ‘womanizing’- among others, seemingly every important female actress or hanger-on in the cultural field who crossed his path, white or black, was at his call. That in the end, his own intensely private personality pushed them away symbolized the lesser place these conquests held in his life’s scheme.

Nagging at Robeson, a very proud man, throughout his career were the petty (and some not so petty) discriminations he faced both professionally and socially despite his acclaim. Understanding that he could not run away from his blackness and that personal self-fulfillment had its limits he turned, I would say, naturally to politics. Characteristically, he charged full speed ahead and began in the 1930’s a life-long association with the American Communist Party and Soviet-style socialism.


By far the more interesting aspect of Paul Robeson’s career is the part where he, beginning in the mid-1930’s, became a left-wing political advocate very closely associated with the American Communist Party. Mr. Duberman makes an extremely well-formed analysis of the events in Mr. Robeson’s career that made him eager to break out of the cultural straight jacket of the entertainment industry and use his authority derived there as a ‘bully’ pulpit in order to express his political beliefs. As a result Robeson faced the same kind of questioning then, as politicized entertainers do today, when the combination of politics and cultural expression attack the main stream. Bruce Springsteen today could have been speaking for Robeson when asked why he mixed politics and music. Springsteen replied -Do you want to leave politics to the likes of Anne Coulter, Donald Rumsfeld and Karl Rove? I would add that politics is far too important to be left to the hacks. Enough said

Although Mr. Robeson was never a disciplined member of the American Communist Party (as much as the FBI and others doggedly tried to portray him as one) he nevertheless toed the party line, at least publicly, through thick and thin from Spain to the Hitler-Stalin Pact through the World War II Western Alliance and its no strike pledge to the post-war Cold War. Know this then, Mr. Robeson was a stalwart in defense of Soviet Stalinism, socialism as he saw, and thus a direct opponent of my political forbears. A river of blood stands between us, not the least the murder of Leon Trotsky by a Stalinist agent in 1940.

Yes, anyone who defended Republican Spain in the 1930’s is a kindred spirit. Yes, the defense of the Soviet Union was a central concern, not the least for Trostsky himself. However, Mr. Robeson, an intelligent man by any measure and no simple toady, never critically assessed his general defense of the Soviet Union as it was under Stalin and his epigones. Apparently Khrushchev’s revelations about Stalin’s murderous policies were not a reason for a serious reevaluation of his political position. Robeson’s 1956 defense of the Soviet actions in Hungary says volumes about his politics, as does his attitude during the ‘red scare’ of period in denying political defense help to the American Trotskyists.

That said, it is nevertheless true, despite great personal harm to his professional career epitomized by his passport troubles making him literally a prisoner in his own country, that he stood by the Communist Party as it was taking a beating from the American government. That at a time when many fellow travellers were slinking away from the party or turning governmental informer. This dual quality I believe catches the central contradiction in Robeson's life. The manic desire for black liberation in America and elsewhere and his desire to commit his powerful personality to it along with a rather studied lack of attention to political theory. And political program. Nevertheless read this book for more insights into one of the most important men of the first half of the 20th century.