*From The Rag Blog- The Late Class-War Prisoner And Poet Marilyn Buck Honored In Texas- "Black August"

Click on headline to link to a The Rag Blog entry- The Late Class-War Prisoner Marilyn Buck Honored In Texas.

Markin comment:

Honor Marilyn Buck! Fight to Free All Class-War Prisoners from A to Z Now!

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Black August

Would you hang on a cliff’s edge
sword-sharp, slashing fingers
while jackboot screws stomp heels
on peeled-flesh bones
and laugh
“let go! die, damn you, die!”
could you hang on 20 years, 30 years?

20 years, 30 years and more
brave Black brothers buried
in US koncentration kamps
they hang on
Black light shining in torture chambers
Ruchell, Yogi, Sundiata, Sekou,
Warren, Chip, Seth, Herman, Jalil,
and more and more they resist: Black August

Nat Turner insurrection chief executed: Black August
Jonathan, George dead in battle’s light: Black August
Fred Hampton, Black Panthers, African Brotherhood murdered: Black August
Kuwasi Balagoon, Nuh Abdul Quyyam captured warriors dead: Black August
Harriet Tubman, Sojourner Truth, Ella Baker, Ida B. Wells
Queen Mother Moore – their last breaths drawn fighting death: Black August

Black August: watchword
for Black liberation for human liberation
sword to sever the shackles

light to lead children of every nation to safety
Black August remembrance
resist the amerikkan nightmare for life

-- Marilyn Buck, 2000

*Songs To While Away The Class Struggle By- Phil Och's "A.M.A." Song"

Click on the title to link to YouTube to hear the above-mentioned Phil Ochs song.

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.

***********

Markin comment:

This is a continuation of entries for folksinger/songwriter Phil Och's who back in the early 1960s stood right up there with Bob Dylan in the protest songwriting category. The entries on this date testify to that. However, early on I sensed something special about Dylan and never really warmed up to Ochs. His singing style did not "move" me and that counted for a lot in those days. The rest just turned on preference.

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A.M.A. Song Lyrics

G D G
We are the nation's physicians
D G
Yes, we give to our lobbies every day
D B C7
We will fight against disease when the money comes with ease
G D G
And when we get together we say
C G
Hooray for A.M.A.
C G D
And for us doctors gluts of higher pay
G D B C7
If you can't afford my bill don't you tell me that you're ill
G D G
'Cause that's the free enterprise way

We've divided up the sections of the body
Every day we specialize more and more
But we really love to stitch the diseases of the rich
We are sure there is a clinic for the poor
Hooray for the A.M.A
And for us doctors gluts of higher pay
If you can't afford my bill don't you tell me that you're ill
'Cause that's the free enterprise way

And our waiting rooms are getting pretty crowded
It is sad to see our patients sit and bleed
But if you must use our ointment then you must have an appointment
Or who'll pay for those magazines you read
Hooray for the A.M.A
And for us doctors gluts of higher pay, higher pay
If you can't afford my bill don't you tell me that you're ill
'Cause that's the free enterprise way

And now the government is getting too ambitious
Yes, we know they want to socialize us all
Well our oath was hippocratic but with money we're fanatic
So we'll see you in Canada in the fall [1]
Hooray for the A.M.A.
And for us doctors gluts of higher pay
If you can't afford my bill don't you tell me that you're ill
'Cause that's the free enterprise way
AMALGAMATED A.M.A.

*The Never-Ending Review Tour-Coming Of Age, Period- Oldies But Goodies

Click on the headline to link to a YouTube film clip of Gene Chandler performing his classic Duke Of Earl

CD Review

Oldies But Goodies, Volume Six, Original Sound Record Co., 1986

I have been doing a series of commentaries elsewhere on another site on my coming of political age in the early 1960s, but here when I am writing about musical influences I am just speaking of my coming of age, period, which was not necessarily the same thing. No question that those of us who came of age in the 1950s are truly children of rock and roll. We were there, whether we appreciated it or not at the time, when the first, sputtering, musical moves away from ballady Broadway show tunes and rhymey Tin Pan Alley pieces hit the radio airwaves. (If you do not know what a radio is then ask your parents or, ouch, grandparents, please.) And, most importantly, we were there when the music moved away from any and all music that your parents might have approved of, or maybe, even liked, or, hopefully, at least left you alone to play in peace up in your room when rock and roll hit post- World War II America teenagers like, well, like an atomic bomb.

Not all of the material put forth was good, nor was all of it destined to be playable fifty or sixty years later on some “greatest hits” compilation but some of songs had enough chordal energy, lyrical sense, and sheer danceability to make any Jack or Jill jump then, or now. And, here is the good part, especially for painfully shy guys like me, or those who, like me as well, had two left feet on the dance floor. You didn’t need to dance toe to toe, close to close, with that certain she (or he for shes). Just be alive…uh, hip to the music. Otherwise you might become the dreaded wallflower. But that fear, the fear of fears that haunted many a teenage dream then, is a story for another day. Let’s just leave it at this for now. Ah, to be very, very young then was very heaven.

So what still sounds good on this CD compilation to a current AARPer, and perhaps to some of his fellows who comprise the demographic that such a 1950s-oriented compilation “speaks” to. Of course, Jerry Lee Lewis’s Breathless (and about twenty other of his songs from this period). The Isley Brothers’ classic Twist And Shout. Dion and The Belmonts Teenager In Love (the battle cry of our, and every, generation). Naturally, in a period of classic doo wop numbers, Gene Chandler’s Duke Of Earl.


But what about the now, seeming mandatory to ask, inevitable end of the night high school dance song (or maybe even middle school) that seems to be included in each CD compilation? The song that you, maybe, waited around all night for just to prove that you were not a wallflower, and more importantly, had the moxie to, mumbly-voiced, parched-throated, sweaty-handed, asked a girl to dance (women can relate their own experiences, probably similar). Here the classic Little Caesar’s Those Oldies But Goodies Remind Me Of You fills the bill. Hey, I didn’t even like the song that much, or the singing, but that certain she (a different certain she than in earlier reviews, oh fickle youth) said yes and this was what you waited for so don’t be so choosey. And, yes, I know, this is one of the slow ones that you had to dance close on. And just hope, hope to high heaven that you didn’t destroy your partner’s shoes and feet. Well, one learns a few social skills in this world if for no other reason that to “impress” that certain she (or he for shes) mentioned above. I did, didn’t you?

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Duke Of Earl Lyrics-Gene Chandler

Duke, Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl

Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl
Duke, Duke, Duke of Earl

As I walk through this world
Nothing can stop the Duke of Earl
And-a you, you are my girl
And no one can hurt you, oh no

Yes-a, I, oh I'm gonna love you, oh oh
Come on let me hold you darlin'
'Cause I'm the Duke of Earl
So hey yea yea yeah

And when I hold you
You'll be my Duchess, Duchess of Earl
We'll walk through my dukedom
And a paradise we will share

Yes-a, I, oh I'm gonna love you, oh oh
Nothing can stop me now
'Cause I'm the Duke of Earl
So hey yeah yeah yeah

Well, I, oh I'm gonna love you, oh oh
Nothing can stop me now
'Cause I'm the Duke of Earl
So hey yeah yeah yeah

*Notes From The Old Home Town- In The Time Of The Jock- The Big Football Rally, Circa 1963

Click on the headline to link to a "YouTube" film clip of the film "The Last Picture Show" that evokes the sense of teen liff back in the days of the entry below, although it is about a decade earlier in time in the 1950s and in dust-blown Texas.

Markin comment:

Not all the entries in this space are connected to politics, although surely most of them can be boiled down into some political essence, if you try hard enough. The following is one of those instances where trying to gain any “political traction”, or as I am fond of saying drawing any “lessons” would be foolhardy. I should also note that this entry is part of a continuing, if sporadic, series of “trips down memory lane” provoked by a fellow high school classmate who has been charged with keeping tabs on old classmates and their doings, even those of old-line communists like this writer. Go figure?


The "Big Night" Thanksgiving Eve Football Rally, Circa 1963

Scene: Around and inside the old high school gym the night before the big Thanksgiving Day game against our cross town arch-rival in 1963, but it could have been a scene from any one of number of years in those days.

Guys and gals, old and young, students and alumni are milling about for the annual gathering of the Red Raider clan. Every unattached boy student, in addition, looking around to see if she has come for the festivities, and every unattached girl student for he. A couple of fervent quasi-jock male students, one of them writing this entry, members of the Class of 1964, with a vested interest in seeing their football-playing fellow classmates pummel the cross town rival are in attendance, and also in the hunt for those elusive shes. This is the final football game of their final football- watching season, as students, as well so they have brought extra energy to the night’s performance.

Finally, after much hubbub the rally begins, at first somewhat subdued due to the very recent trauma of the Kennedy assassination, the murder of one of our own as well as a president. But everyone, seemingly, has tacitly agreed for this little window of time that the outside world and its horrors will not intrude. A few obligatory (and forgettable) speeches follow with a little of this and that, mainly side show antics. But what every red-blooded senior boy, and probably others as well, is looking forward to is the cheer-leading to get things moving, led by the senior girls like the vivacious Roxanne G., the spunky Josie W., and the plucky Linda P.. They do not fail us with their flips, dips, and rah-rahs. Strangely, the band and its bevy of majorettes do not inspire that same kind of devotion, although no one can deny that some of those girls can twirl.

But all this spectacle is so much, too much, introduction. For what is wanted, up close and personal, is a view of the Goliaths that will run over the cross town arch-rival the next day. The season has been excellent, marred only by a bitter lost to a bigger area team on their home field, and our team is highly regarded by lukewarm fans and sports nuts alike. Naturally, in the spirit, if not the letter of high school athletic ethos, the back ups and non-seniors are introduced by Coach L.. Then come the drum roll of the senior starters, some of whom have been playing for an eternity it seems. Names like Tom K., Walt S., Lee M., Paul D., Joe Z., Don McN., Jim F., Charlie McD., Stevie C., "Woj" (Jesus, don’t forget him. I don't need that kind of madness coming down on my face, even now) and on and on.

Oh, yes and “Bullwinkle”, Bill C., a behemoth of a run-over fullback ,even by today’s standards. Yes, let him loose on that arch-rival's defense. Whoa. But something is missing. The crowd needs an oral reassurance from their warriors that the enemy is done for. And as he ambles up to the microphone and says just a couple of words we get that reassurance from “Bullwinkle” himself. That is all we need. Boys and girls, this one is in the bag. And the band plays the school fight song to the tune of “On Wisconsin”. Yes, those were the days when boys and girls, young and old, wise or ignorance bled Raider red in the old town. Do they still do so today? I hope so.

*Once More Into The Time Capsule, Part One-The New York Folk Revival Scene in the Early 1960’s-Glenn Yarborough

Click on title to link to YouTube's film clip of 'Cowboy' Bob Dylan (Brooklyn-born Ramblin' Jack Elliott is not alone) performing "Spanish Is The Loving Tongue. Where is Glenn Yarbrough. No luck on YouTube for him. Hey, I really like this song and in this space, at least here, I control the clicker. Okay? If not I'll meet you on Main Street in Dodge City. Oops, I got carried away. Sorry.

CD Review

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

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

Disc One; Woody Guthrie on “Hard Travelin’”, Big Bill Broonzy on “Black , Brown And White”, Jean Ritchie on “Nottamun Town”, Josh White on “One Meat Ball” Malvina Reynolds on “Little Boxes”, Cisco Houston on “Midnight Special”, The Weavers on “Wasn’t That A Time”, Glenn Yarborough on “Spanish Is A Loving Tongue”, Odetta on “I’ve Been Driving On Bald Mountain”, The New Lost City Ramblers on “Don’t Let Your Deal Go Down”, Bob Gibson and Bob Camp on “Betty And Dupree”, Ramblin’ Jack Elliott on “San Francisco Bay Blues”, Peggy Seeger on “First Time Ever I Saw Your Face”, Hoyt Axton on “Greenback Dollar” and Carolyn Hester on “Turn And Swing Jubilee”."

Glenn Yarborough on “Spanish Is A Loving Tongue”. Honestly I am not that familiar with Glenn Yarborough although I know his name and some of his work from the 1960s television show “Hootenanny” that was a great source for the expansion (and commercialization) of folk music to a greater audience that the coffeehouses and parks of the big cities. His rendition here, I think, is an expression of that commercialization of this old time cowboy thwarted love song. Here is the antidote-listen to Bob Dylan and The Band doing it on Volume Five of “The Genuine Basement Tapes” done while Dylan was in ‘exile’ in upstate New York after 1966. Then you will know how a folkie should sing this one.

"Spanish Is The Loving Tongue"

ORIGINAL LYRICS BY CHARLES BADGER CLARK, JR.

Originally published in Charles Badger Clark, Sun and Saddle Leather, Boston, 1915; later included in N. Howard Thorp, Songs of the Cowboys, Boston, 1921. Music: unknown composer; most commonly used melody from the singing of Richard Dyer-Bennett (learned from Sam Eskin), transcribed in The People's Songs Bulletin (Vol. 3, No. 11).


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Spanish is the loving tongue,
Soft as music, light as spray:
'Twas a girl I learned it from,
Living down Sonora way.
I don't look much like a lover,
Yet I say her love words over,
Often when I'm all alone --
"Mi amor, mi corazón."
Nights when she knew where I'd ride
She would listen for my spurs,
Fling the big door open wide,
Raise them laughin' eyes of hers;
And my heart would nigh stop beating
When I heard her tender greeting,
Whispered soft for me alone --
"Mi amor, mi corazón."

Moonlight in the patio,
Old Senora nodding near,
Me and Juana talking low
So the Madre couldn't hear;
How those hours would go a-flyin'!
And too soon I'd hear her sighin'
In her little sorry tone --
"Adios, mi corazón!"

But one time I had to fly
For a foolish gamblin' fight,
And we said a swift goodbye
In that black unlucky night.
When I'd loosed her arms from clingin'
With her words the hoofs kept ringin'
As I galloped north alone --
"Adios, mi corazón!"

Never seen her since that night --
I can't cross the Line, you know.
She was "Mex" and I was white;
Like as not it's better so.
Yet I've always sort of missed her
Since that last wild night I kissed her;
Left her heart and lost my own --
"Adios, mi corazón!"

***The Not Joan Baez Female Folkies-The Music Of Buffy Sainte Marie

Click on title to link to "Boston Sunday Globe", August 16, 2009, article about the current whereabouts of Buffy Sainte Marie.

DVD Review

Buffy Sainte Marie: Up Where We Belong, Buffy Sainte Marie, CBC Production, 1996

Okay, okay I have had enough. Recently I received a spate of e-mails from aging 1960's folkies asking why, other than one review of Carolyn Hester's work late in 2008, I have not done more reviews of the female folkies of the 1960's. To balance things out I begin to make amends here. To set the framework for my future reviews I repost the germane part of the Carolyn Hester review:

"Earlier this year I posed a question concerning the fates of a group of talented male folk singers like Tom Rush, Tom Paxton and Jesse Colin Young, who, although some of them are still performing or otherwise still on the musical scene have generally fallen off the radar in today's mainstream musical consciousness, except, of course, the acknowledged "king of the hill", Bob Dylan. I want to pose that same question in this entry concerning the talented female folk performers of the 1960's, except, of course, the "queen of the hill" Joan Baez. I will start out by merely rephrasing the first paragraph from the reviews of those male performers.

"If I were to ask someone, in the year 2008, to name a female folk singer from the 1960's I would assume that if I were to get an answer to that question that the name would be Joan Baez (or, maybe, Judy Collins but you get my point). And that would be a good and appropriate choice. One can endlessly dispute whether or not Baez was (or wanted to be) the female voice of the Generation of '68 but in terms of longevity and productivity she fits the bill as a known quality. However, there were a slew of other female folk singers who tried to find their niche in the folk milieu and who, like Baez, may today still quietly continue to produce work and to perform. The artist under review, Carolyn Hester, certainly had the talent to challenge Baez to be "queen of the hill."

Well, as the short DVD concert performance under review, tastefully produced and interspersed with conversations with Buffy, will testify to, the Native American singer /songwriter and activist was also in contention, back in the days. I am not familiar with the current status of Ms. Sainte Marie (although see link above for recent "Boston Sunday Globe" article about her) as a performer. Nevertheless I can remember the first time I heard her in a coffeehouse in Cambridge doing her famous song, done here as well, "Until It's Time For You To Go" I got through many a traumatic romantic experience listening to that one, especially the "I was an oak now I am a willow, now I can bend" line.

That theme and, in addition, several more inward searching tracks, make this a very representative Sainte Marie effort. Needless to say here the stick outs are ant- war “Universal Soldier" made famous by Donovan , the eerie Native American-flavored "Cripple Creek" and "Bury My Heart At Wounded Knee" and the title track "Up Where We Belong".

"Until Its Time For You To Go" -Buffy Sainte Marie

You're not a dream
You're not an angel
You're a man

I'm not a queen
I'm a woman
Take my hand

We'll make a space
in the lives
that we'd planned

And here we'll stay
Until it's time
for you to go

Yes we're different
Worlds apart
We're not the same

We laughed and played
at the start
like in a game

You could've stayed
outside my heart
but in you came

And here you'll stay
until it's time
for you to go

Don't ask why
Don't ask how
Don't ask forever
Love me now

This love of mine
had no beginning
It has no end

I was an oak
Now I'm a willow
Now I can bend

And though I'll never
in my life
see you again

Still I'll stay
until it's time
for you to go

Don't ask why
Don't ask how
Don't ask forever
Love me now

You're not a dream
You're not an angel
You're a man

I'm not a queen
I'm a woman
Take my hand

We'll make a space
in the lives
that we'd planned

And here we'll stay
Until it's time
for you to go.

Universal Soldier Lyrics

He's five foot-two, and he's six feet-four,
He fights with missiles and with spears.
He's all of thirty-one, and he's only seventeen,
Been a soldier for a thousand years.

He'a a Catholic, a Hindu, an Atheist, a Jain,
A Buddhist and a Baptist and a Jew.
And he knows he shouldn't kill,
And he knows he always will,
Kill you for me my friend and me for you.

And he's fighting for Canada,
He's fighting for France,
He's fighting for the USA,
And he's fighting for the Russians,
And he's fighting for Japan,
And he thinks we'll put an end to war this way.

And he's fighting for Democracy,
He's fighting for the Reds,
He says it's for the peace of all.
He's the one who must decide,
Who's to live and who's to die,
And he never sees the writing on the wall.

But without him,
How would Hitler have condemned him at Dachau?
Without him Caesar would have stood alone,
He's the one who gives his body
As a weapon of the war,
And without him all this killing can't go on.

He's the Universal Soldier and he really is to blame,
His orders come from far away no more,
They come from here and there and you and me,
And brothers can't you see,
This is not the way we put the end to war.