This space is dedicated to the proposition that we need to know the history of the struggles on the left and of earlier progressive movements here and world-wide. If we can learn from the mistakes made in the past (as well as what went right) we can move forward in the future to create a more just and equitable society. We will be reviewing books, CDs, and movies we believe everyone needs to read, hear and look at as well as making commentary from time to time. Greg Green, site manager
Showing posts with label richard and mimi farina. Show all posts
Showing posts with label richard and mimi farina. Show all posts
Click on title to link to YouTube's film clip of Pete Seeger's now famous 1960s (black and white, that's the give-away)"Rainbow Quest" for the performer in this entry's headline.
Markin comment:
This series, featuring Pete Seeger and virtually most of the key performers in the 1960s folk scene is a worthy entry into the folk archival traditions for future revivalists to seek out. There were thirty plus episodes (some contained more than one performer of note, as well as Pete solo performances). I have placed the YouTube film clips here one spot over four days, November 10-13, 2009 for the reader's convenience.
Lyrics to House Un-American Blues Activity Dream :
I was standing on the sidewalk, had a noise in my head.
There were loudspeakers babbling, but nothing was said.
There were twenty-seven companies of female Marines.
There were presidential candidates in new Levis jeans.
It was the red, white and blue planning how to endure.
The fife, drum and bugle marching down on the poor.
God bless America, without any doubt.
And I figured it was time to get out.
Well I have to b'lieve that in between scenes, good people.
Went and got em done in the sun, good people.
Tourist information said to get on the stick.
You ain't moving 'til you're grooving with a Cubana chick.
So I hopped on a plane, I took a pill for my brain,
and I discovered I was feeling all right.
When I strolled down the Prado, people looked at me weird.
Who's that hippy, hoppy character without any beard?
Drinking juice from papayas, singing songs to the trees.
Dancing mambo on the beaches, spreading social disease.
Now the Castro convertible was changing the style,
a whole lot of action on a blockaded isle.
When along come a summons in the middle of night,
saying, "Buddy, we're about to indict."
When I went up on the stand with my hand, good people.
You've got to tell the truth in the booth, good people.
I started out with information kind of remote.
When a patriotic mother dragged me down by the throat.
"If they ask you a question, they expect a reply!"
Doesn't matter if you're fixin' to die.
Well I was lying there unconscious feeling kind of exempt.
When the judge said that silence was a sign of contempt.
He took out his gavel, banged me hard on the head.
He fined me ten years in prison, and a whole lot of bread.
It was the red, white and blue making war on the poor.
Blind mother justice, on a pile of manure.
Say your prayers and the Pledge of Allegiance every night.
And tomorrow, you'll be feeling all right.
Click on title to link to YouTube's film clip of Carolyn Hester performing "The Praties They Grow Small".
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”."
Carolyn Hester on “Turn And Swing Jubilee”. I will listen to anything by Carolyn Hester anywhere and at anytime and this is a fine effort. However in the year of celebrating the 200th anniversary of Abraham Lincoln’s birth (1809) and thinking about his role in the struggle to end slavery, his assassination and Walt Whitman’s great poem in his honor “Oh Captain, My Captain” I really would have liked to hear her eerily beautiful singing of the words to that poem. Wow!
Walt Whitman (1819–1892). Leaves of Grass. 1900.
O Captain! My Captain!
1
O CAPTAIN! my Captain! our fearful trip is done;
The ship has weather’d every rack, the prize we sought is won;
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring:
But O heart! heart! heart! 5
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.
2
O Captain! my Captain! rise up and hear the bells;
Rise up—for you the flag is flung—for you the bugle trills; 10
For you bouquets and ribbon’d wreaths—for you the shores a-crowding;
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head;
It is some dream that on the deck, 15
You’ve fallen cold and dead.
3
My Captain does not answer, his lips are pale and still;
My father does not feel my arm, he has no pulse nor will;
The ship is anchor’d safe and sound, its voyage closed and done;
From fearful trip, the victor ship, comes in with object won; 20
Exult, O shores, and ring, O bells!
But I, with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.
I am devoted to a local
folk station WUMB which is run out of the campus of U/Mass-Boston over near
Boston Harbor. At one time this station was an independent one based in
Cambridge but went under when their significant demographic base deserted or
just passed on once the remnant of the folk minute really did sink below the
horizon.
So much for radio folk
history except to say that the DJs on many of the programs go out of their ways
to commemorate or celebrate the birthdays of many folk, rock, blues and related
genre artists. So many and so often that I have had a hard time keeping up with
noting those occurrences in this space which after all is dedicated to such
happening along the historical continuum.
To “solve” this problem
I have decided to send birthday to that grouping of musicians on an arbitrary
basis as I come across their names in other contents or as someone here has
written about them and we have them in the archives. This may not be the best
way to acknowledge them, but it does do so in a respectful manner.
Click on title to link to New England Folk Archives website to find information about the folk revivals of the past that have been discussed, highlighted, low-lighted, beat-up, beat-down and whatnot in this blog. Markin
Click on title to link to YouTube's film clip of Richard and Mimi Farina performing on Pete Seegers' "Rainbow Quest".
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 Three: Phil Ochs on “I Ain’t Marching Anymore”, Richard &Mimi Farina on “Pack Up Your Sorrows”, John Hammond on “Drop Down Mama”, Jim Kweskin & The Jug Band on “Rag Mama”, John Denver on “Bells Of Rhymney”, Gordon Lightfoot on "Early Morning Rain”, Eric Andersen on “Thirsty Boots”, Tim Hardin on “Reason To Believe”, Richie Havens on “Just Like A Woman”, Judy Collins on “Suzanne”, Tim Buckley on “Once I Was”, Tom Rush on “The Circle Game”, Taj Mahal on “Candy Man”, Loudon Wainwright III on “School Days”and Arlo Guthrie on “The Motorcycle Song”
Richard &Mimi Farina on “Pack Up Your Sorrows”. Okay, if you have gotten tired (as I sometimes have in all truth) of my going on and on about “the king”, Bob Dylan, and “the queen”, Joan Baez of the old folk revival of the 1960s then try this pair on for an alternative. Joan’s late sister, Mimi, and Bob’s greatest writing competitor before his early motorcycle death in 1966. Mimi’s mountain harp and their nice harmonies on work that he wrote still sound good. This one, by the way, is definitely in the modern American folk songbook. That, my friends, says it all. Richard’s “Birmingham Sunday” is a classic of topical political songwriting. Powerful stuff.
"Birmingham Sunday"
Come round by my side and I'll sing you a song.
I'll sing it so softly, it'll do no one wrong.
On Birmingham Sunday the blood ran like wine,
And the choirs kept singing of Freedom.
That cold autumn morning no eyes saw the sun,
And Addie Mae Collins, her number was one.
At an old Baptist church there was no need to run.
And the choirs kept singing of Freedom,
The clouds they were grey and the autumn winds blew,
And Denise McNair brought the number to two.
The falcon of death was a creature they knew,
And the choirs kept singing of Freedom,
The church it was crowded, but no one could see
That Cynthia Wesley's dark number was three.
Her prayers and her feelings would shame you and me.
And the choirs kept singing of Freedom.
Young Carol Robertson entered the door
And the number her killers had given was four.
She asked for a blessing but asked for no more,
And the choirs kept singing of Freedom.
On Birmingham Sunday a noise shook the ground.
And people all over the earth turned around.
For no one recalled a more cowardly sound.
And the choirs kept singing of Freedom.
The men in the forest they once asked of me,
How many black berries grew in the Blue Sea.
And I asked them right with a tear in my eye.
How many dark ships in the forest?
The Sunday has come and the Sunday has gone.
And I can't do much more than to sing you a song.
I'll sing it so softly, it'll do no one wrong.
And the choirs keep singing of Freedom.
Once Again Haunted By The Question Of Questions-Who Represented The “Voice” Of The Generation Of ’68 When The Deal Went Down-And No It Was Not One Richard Millstone, Oops, Milhous Nixon
By Seth Garth
I have been haunted recently by various references to events in the early 1960s brought to mind by either seeing or hearing those references. First came one out of the blue when I was in Washington, D.C. on other business and I popped in as is my wont to the National Gallery of Art to get an “art bump” after fighting the dearies at the tail-end of the conference that I was attending. I usually enter on the 7th Street entrance to see what they have new on display on the Ground Floor exhibition areas. This time there was a small exhibit concerning the victims of Birmingham Sunday, 1963 the murder by bombing of a well-known black freedom church in that town and the death of four innocent young black girls and injuries to others. The show itself was a “what if” by a photographer who presented photos of what those young people might have looked like had they not had their precious lives stolen from them by some racist KKK-drenched bastards who never really did get the justice they deserved. The catch here, the impact on me, was these murders and another very disturbing viewing on television at the time, in black and white, of the Birmingham police unleashing dogs, firing water hoses and using the ubiquitous police billy-clubs to beat down on peaceful mostly black youth protesting against the pervasive Mister James Crow system which deprived them of their civil rights.
Those events galvanized me into action from seemingly out of nowhere. At the time I was in high school, in an all-white high school in my growing up town of North Adamsville south of Boston. (That “all white” no mistake despite the nearness to urban Boston since a recent look at the yearbook for my class showed exactly zero blacks out of a class of 515. The nearest we got to a black person was a young immigrant from Lebanon who was a Christian though and was not particularly dark. She, to my surprise, had been a cheer-leader and well-liked). I should also confess, for those who don’t know not having read about a dozen articles I have done over the past few years in this space, that my “corner boys,” the Irish mostly with a sprinkling of Italians reflecting the two major ethic groups in the town I hung around with then never could figure out why I was so concerned about black people down South when we were living hand to mouth up North. (The vagaries of time have softened some things among them for example nobody uses the “n” word which needs no explanation which was the “term of art” in reference to black people then to not prettify what this crowd was about.)
In many ways I think I only survived by the good graces of Scribe who everybody deferred to on social matters. Not for any heroic purpose but because Scribe was the key to intelligence about what girls were interested in what guys, who was “going” steady, etc. a human grapevine who nobody crossed without suffering exile. What was “heroic” if that can be used in this context was that as a result of those Birmingham images back then I travelled over to the NAACP office on Massachusetts Avenue in Boston to offer my meager services in the civil rights struggle and headed south to deadly North Carolina one summer on a voting drive. I was scared but that was that. My guys never knew that was where I went until many years later long after we had all gotten a better gripe via the U.S. Army and other situations on the question of race and were amazed that I had done that.
The other recent occurrence that has added fuel to the fire was a segment on NPR’s Morning Edition where they deal with aspects of what amounts to the American Songbook. The segment dealt with the generational influence of folk-singer songwriter Bob Dylan’s The Times They Are A-Changin’ as an anthem for our generation (and its revival of late in newer social movements like the kids getting serious about gun control). No question for those who came of political age early in the 1960s before all hell broke loose this was a definitive summing up song for those of us who were seeking what Bobby Kennedy would later quoting a line of poetry from Alfred Lord Tennyson call “seeking a newer world.” In one song was summed up what we thought about obtuse indifferent authority figures, the status quo, our clueless parents, the social struggles that were defining us and a certain hurried-ness to get to wherever we thought we were going.
I mentioned in that previous commentary that given his subsequent trajectory while Bob Dylan may have wanted to be the reincarnation Plus of Woody Guthrie (which by his long life he can rightly claim) whether he wanted to be, could be, the voice of the Generation of ’68 was problematic. What drove me, is driving me a little crazy is who or what some fifty plus years after all the explosions represented the best of what we had started out to achieve (and were essentially militarily defeated by the ensuing reaction before we could achieve most of it) in those lonely high school halls and college dormitories staying up late at night worrying about the world and our place in the sun.
For a long time, probably far longer than was sensible I believed that it was somebody like Jim Morrison, shaman-like leader of the Doors, who came out of the West Coast winds and headed to our heads in the East. Not Dylan, although he was harbinger of what was to come later in the decade as rock reassembled itself in new garb after some vanilla music hiatus but somebody who embodied the new sensibility that Dylan had unleashed. The real nut though was that I, and not me alone, and not my communal brethren alone either, was the idea that we possessed again probably way past it use by date was that “music was the revolution” by that meaning nothing but the general lifestyle changes through the decade so that the combination of “dropping out” of nine to five society, dope in its many manifestations, kindnesses, good thought and the rapidly evolving music would carry us over the finish line. Guys like Josh Breslin and the late Pete Markin, hard political guys as well as rabid music lovers and dopers, used to laugh at me when I even mentioned that I was held in that sway especially when ebb tide of the counter-cultural movement hit in Nixon times and the bastinado was as likely to be our home as the new Garden. Still Jim Morrison as the “new man” (new human in today speak) made a lot of sense to me although when he fell down like many others to the lure of the dope I started reappraising some of my ideas -worried about that bastinado fate.
So I’ll be damned right now if I could tell you that we had such a voice, and maybe that was the problem, or a problem which has left us some fifty years later without a good answer. Which only means for others to chime in with their thoughts on this matter.
Click on title to link to YouTube's film clip of Richard and Mimi Farina performing 'House Un-American Blues Activity Dream" on Dalton Trumbo's fellow blacklistee Pete Seeger's 1960s television show, "Rainbow Quest". It all fits here doesn't it. All honor to those who said no to that committee, come what may.
Clip From Trailer for Trumbo
(2015)- the story of the black-listed writer who wrote the classic Johnny Got His Gun.
Lyrics to House Un-American Blues Activity Dream :
I was standing on the sidewalk, had a noise in my head. There were loudspeakers babbling, but nothing was said. There were twenty-seven companies of female Marines. There were presidential candidates in new Levis jeans. It was the red, white and blue planning how to endure. The fife, drum and bugle marching down on the poor. God bless America, without any doubt. And I figured it was time to get out.
Well I have to b'lieve that in between scenes, good people. Went and got em done in the sun, good people. Tourist information said to get on the stick. You ain't moving 'til you're grooving with a Cubana chick. So I hopped on a plane, I took a pill for my brain, and I discovered I was feeling all right. When I strolled down the Prado, people looked at me weird. Who's that hippy, hoppy character without any beard? Drinking juice from papayas, singing songs to the trees. Dancing mambo on the beaches, spreading social disease.
Now the Castro convertible was changing the style, a whole lot of action on a blockaded isle. When along come a summons in the middle of night, saying, "Buddy, we're about to indict." When I went up on the stand with my hand, good people. You've got to tell the truth in the booth, good people. I started out with information kind of remote. When a patriotic mother dragged me down by the throat. "If they ask you a question, they expect a reply!" Doesn't matter if you're fixin' to die.
Well I was lying there unconscious feeling kind of exempt. When the judge said that silence was a sign of contempt. He took out his gavel, banged me hard on the head. He fined me ten years in prison, and a whole lot of bread. It was the red, white and blue making war on the poor. Blind mother justice, on a pile of manure. Say your prayers and the Pledge of Allegiance every night. And tomorrow, you'll be feeling all right.
Click on title to link to YouTube's film clip of "Sleepy" John Estes performing "Drop Down Mama".
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 Three: Phil Ochs on “I Ain’t Marching Anymore”, Richard &Mimi Farina on “Pack Up Your Sorrows”, John Hammond on “Drop Down Mama”, Jim Kweskin & The Jug Band on “Rag Mama”, John Denver on “Bells Of Rhymney”, Gordon Lightfoot on "Early Morning Rain”, Eric Andersen on “Thirsty Boots”, Tim Hardin on “Reason To Believe”, Richie Havens on “Just Like A Woman”, Judy Collins on “Suzanne”, Tim Buckley on “Once I Was”, Tom Rush on “The Circle Game”, Taj Mahal on “Candy Man”, Loudon Wainwright III on “School Days”and Arlo Guthrie on “The Motorcycle Song”
John Hammond on “Drop Down Mama”. Be aware we are not talking here about the John Hammond who “discovered” Billie Holiday and a million other great singers but his “folkie” son, John. Also be aware that even with such bloodlines it is not a sure thing that the talent for discovering great singers can be transmitted to the next generation. The real reason that I have included this track for your inspection is that it was written (or a version of it, at least) by Sleepy John Estes, one of those old time country blues artists who were themselves ‘discovered’ by the 1960s folk revivalists. Moreover, I have been somewhat remiss in not having mentioned old Sleepy previously. Needless to say the future holds one in store. As for young Hammond that is about it.
Drop Down Mama Lyrics: Traditional Music: Traditional
Drop down mama Let your daddy see You got something goin' down That keeps on worryin' me
Chorus But my mama don't allow me To fool around She's sayin' "Son you're too young now Some woman might put you down"
Go away from my window Stop scratchin' round my screen You're so evil woman And I know what you mean
[chorus]
I got three women livin' On the same damn road One does my cookin', one does my washin' One pays my room and board
[chorus]
Drop down mama Let your daddy see You got something goin' down That keeps worryin' me
[chorus]
Son you're too young now Some woman might put you down
Click on title to link to YouTube's film clip of Richard and Mimi Farina performing their musical take on HUAC- "The House Un-American Activities Blues Dream".
