In Honor Of The King Of The Folk-Singing Hard-Living Hobos The Late Utah Phillips -From The Archives- *From The Archives-Old Wobblie Folksinger/Storyteller Utah Phillips Needs Your Help

Click On Title To Link To Utah Phillips Web page.

Commentary

I have just received this communication about Utah Phillips from a local folksong society newsletter. I would add that I saw Utah playing at a club in Cambridge last spring (2007) and he looked a little off then. I have reposted below a CD Review of his anthology Starlight On The Trail from 2006 for those unfamiliar with his music and his politics. We differ on the politics but please help this old class warrior. I have added a link to his website here.

I have also added a link to the Industrial Workers of the World (IWW, Wobblies) website.

Utah Phillips needs help

Unions Passing Resolutions to Honor, Assist Folksinger/Storyteller Bruce "Utah" Phillips

The great folksinger and storyteller Utah Phillips has had to retire from performing due to chronic and serious heart problems that have plagued him for years. In recognition of his great love for and work on behalf of the union movement and working people of the United States, several union locals have passed resolutions honoring Phillips and attaching donations for his "retirement fund." Unable to travel or stand the rigors of performing a two-hour concert, Phillips has seen his main source of income vanish just when his medical problems are demanding more money for treatment and medications.

In response, Local 1180 of the Communications Workers of America (NYC), and both the Detroit and the James Connolly (Upstate New York) Branches of the Industrial Workers of the World (IWW) have recently passed the following resolution:

Bruce "Utah" Phillips is a truly unique American treasure. Not just a great folksong writer and interpreter, not just a great storyteller, Utah has preserved and presented the history of our nation's working people and union movement for audiences throughout the world. His recorded work keeps these songs and stories alive. He has spoken up against the injustices of boss-dominated capitalism and worked for peace and justice for more than 40 years.

Now Utah finds himself unable to continue performing due to severe heart problems. We wish to honor and recognize his great talent, spirit and love for the working people and the union movement of the United States. Therefore, we move to pass this resolution in gratitude for all he has done and will continue to do in his
work and life. We also wish to contribute to Utah Phillips in appreciation and in solidarity as he and his wife, Joanna Robinson, deal with his health and the loss of his ability to work.

This news is being released with the hope that other unions, anti-war and labor-affiliated organizations will respond in kind by passing this or similar resolutions in appreciation for all Utah Phillips has done for the cause of unions and peace.

Another way that organizations and individuals can help is by purchasing some or all of Utah's vast catalog of songs and stories. All of his CDs and more information are available at his website, www.utahphillips.org, and Utah has begun posting pod casts up there that you can download and listen to! You can also order his CDs online (credit card sales) through www.cdbaby.com but be advised that prices are cheaper and more of that money will go into Utah's hands if you order directly from him. More info on his website.

Here's the address for CD orders and to send a donation: U. Utah Phillips, No Guff Records, P.O. Box 1235, Nevada City, CA 95959, (530) 265-2476

Utah has given so much of himself to the labor and peace movements. It is great news that some unions and many have chosen to give something back to him, to allow him and his wife, Joanna Robinson, to rest easy, work on his long-term health, and not have to worry about where money will come for the medicine and bills he has to pay.

In Solidarity, George Mann


AN UNREPENTANT WOBBLIE AT WORK

CD REVIEW

STARLIGHT ON THE RAILS- UTAH PHILLIPS, 2005

Although this space is mainly dedicated to reviewing political books and commenting on past and current political issues as a way to orient today’s alienated radical youth on the lessons of the past literary output is hardly the only form of political creation. Occasionally in the history of the American and international left musicians, artists and playwrights have given voice or provided visual reminders to the face of political struggle. With that thought in mind, every once in a while I will use this space to review those kinds of political expression.

My musical tastes were formed, as were many of those of the generation of 1968, by ‘Rock and Roll’ music exemplified by the Rolling Stones and Beatles and by the blues revival, both Delta and Chicago style. However, those forms as much as they gave pleasure were only marginally political at best. In short, these were entertainers performing material that spoke to us. In the most general sense that is all one should expect of a performer. Thus, for the most part that music need not be reviewed here. Those who thought that a new musical sensibility laid the foundations for a cultural or political revolution have long ago been proven wrong.

That said, in the early 1960’s there nevertheless was another form of musical sensibility that was directly tied to radical political expression- the folk revival. This entailed a search for roots and relevancy in musical expression. While not all forms of folk music lent themselves to radical politics it is hard to see the 1960’s cultural rebellion without giving a nod to such figures as Dave Van Ronk, the early Bob Dylan, Utah Phillips, Joan Baez, Pete Seeger, Woody Guthrie and others. Whatever entertainment value these performers provided they also spoke to and prodded our political development. They did have a message and an agenda and we responded as such. That these musicians’ respective agendas proved inadequate and/or short-lived does not negate their affect on the times.

My leftist political consciousness, painfully fought for in my youth coincided with an expansion of my musical tastes under the influence of the great blues and folk revivals of the 1960’s. Unfortunately my exposure to the blues greats was mainly on records as many of them had been forgotten, retired or were dead. Not so with the folk revival which was created mainly by those who were close contemporaries. Alas, they too are now mainly forgotten, retired or dead. It therefore is with special pleasure that I review Utah Phillips Songbook while he is very much alive.

Many of the folksingers of the 1960’s attempted to use their music to become troubadours for social change. The most famous example, the early Bob Dylan, can be fairly described as the voice of his generation at that time. However, he fairly quickly moved on to other concepts of himself and his music. Bob Dylan’s work became more informed by the influences of Rimbaud and Verlaine and the French Symbolists of the late 1800’s and thus moved away to a more urban, sophisticated vision. From the start and consistently throughout his long career Utah has acted as a medium giving voice to the troubles of ordinary people and the simpler ethos of a more rural, Western-oriented gone by day in the American experience. He evokes in song the spirit of the people Walt Whitman paid homage to in poetic form and John Dos Passos and John Steinbeck gave in prose. He sits comfortably in very fast company. Therefore, Utah Phillips can justly claim the title of a people’s troubadour.

A word about politics. Generally, one rates music without reference to politics. However, Utah has introduced the political element by the way he structured the Songbook. Each song is introduced by him as to its significance heavily weighted to his political experiences, observations and vision. Thus, political comment is fairly in play here. Utah is a long time anarchist and unrepentant supporter of the Wobblies (Industrial Workers of the World, hereafter IWW). Every militant cherishes the memory of the class battles led by the IWW like the famous Lawrence strike of 1912 and honors the heroes of those battles like Big Bill Haywood and Vincent St. John and the militants they recruited to the cause of the working class in the first part of the 20th century. They paved the way for the later successful organization drives of the 1930’s.

Nevertheless, while Utah and I would both most definitely agree that some old-fashioned class struggle by working people in today’s one-sided class war would be a very good thing we as definitely differ on the way to insure a permanent victory for working people in order to create a decent society. In short, Utah’s prescriptions of good moral character, increased self-knowledge and the creation of small intentional communities are not enough. Under modern conditions it is necessary to take and safeguard political power against those who would quite consciously deny that victory. History has been cruel in some of the bitter lessons working people have had to endure for not dealing with the question of taking state power to protect their interests. But, enough said. I am more than willing to forgive the old curmudgeon his anarchist sins if he’ll sing ‘I Remember Loving You’ the next time he tours the Boston area.

*Who 'Lost' The Sixties?- The Culture Wars In America Up Close And Personal

Click on title to link to Wikipedia's entry for Students For A Democratic Society (SDS), a central organizational expression of all the theoretical and strategic impulses that made the 1960s "very heaven" and, as well, a fount of confusion in the struggle against American imperialism. For those who are only familiar with the current version of SDS this is your parents' (or grandparents', ouch)SDS. On reflection, those were the days, warts and all.

Commentary

I recently reviewed a biography of the late social democratic editor of Dissent, Irving Howe (by Professor Gerald Sorin, New York University Press, 2002), in this space. One of the grievous faults that I laid at Professor Howe’s door step was that he and his cohort of “greatest generation” intellectuals, mainly from New York City, had so thoroughly made their peace with bourgeois society that the bulk of the New Left in the 1960’s dismissed their efforts out of hand. Professor Sorin’s biography spent some time on this question and draws the conclusion that Howe and his compatriots were essentially right in their scorn for the confrontational tactics of the New Left. Furthermore, he argues that Howe was correct in his estimation that such New Left efforts would ‘turn people off’ and that a backlash would occur as a result. Thus, the question is posed point blank- who ‘lost’ the Sixties?

I titled my review of Professor Sorin’s biography The Retreat of the “Greatest Generation” Intellectuals for a reason. If nothing else the professor’s narrative of Howe’s political progression (if that is the correct word for such a trajectory) simply confirms that retreat. A quick synopsis of that odyssey is in order here. In the mid-1930’s Howe became an ardent anti-Stalinist socialist drawn to the American Socialist Party in New York City. As elements of that party moved leftward, responding to the labor struggles and general political turmoil of that period, he became a follower of Leon Trotsky. When the international situation heated up and the question of which side of the class divide one was on was unavoidable he slipped out the back door with the anti–Soviet defensist wing of the Trotskyist movement led by Max Shachtman.

Thereafter Howe spent the bulk of the Forties laboring to find a ‘third camp’ in a world that was becoming extremely polarized by the onrushing Cold War. By the early 1950’s he had begun his long-term position of ‘critical support’ to American imperialism. Perhaps out of old sentimental attachments he nevertheless still considered himself a socialist, at least as he understood socialism. The Trotskyist movement had another less kind, but apt, name for his type of politics- “State Department socialism”. Does that profile, and Howe was by no means the worst of the lot in this regard, read as if he was ready to ‘storm heaven’ in the 1960’s? To pose the question is to give the answer.

I have on more than one occasion been at pains to convey the fact that we of the New Left in the 1960’s made every political mistake in the radical/revolutionary handbook. (I have discussed my own political evolution in past entries and will make separate commentary on it in connection with this question in a future entry.) Part of the purpose of this blog site is to discuss and analyze those mistakes. What was not a mistake, because we were under the gun if for no other reason especially those in the black liberation struggle, was bringing our politics out into the street rather than solely relying on the good offices of the imperial state. One would think that those socialists who came of political age in the 1930’s, another great era of extra- parliamentary political struggle, would have taken that lesson as the ABC’s of political organizing.

To buttress my argument here is a graphic case in point. One of the defining issues of the Sixties was the question of the socialist position on the Vietnam War that was raging and tearing up (along with the effects of the black liberation struggle) the fabric of American society. One would think, and here we can use the current apparently never-ending Iraq war as a guidepost, that as an elementary political position that the call for immediate, unconditional withdrawal of American forces would be an early driving force behind the anti-war struggle of the times, say in about 1965 when the first mass escalations of troops were occurring. Howe, and not he alone, did not endorse such a slogan until 1968, rather late in the game. Of course, 1968 is one of those defining year in American politics. One of the reasons that it is so is that the North Vietnamese Army and the South Vietnamese Liberation Front also initiated their own version of the immediate, unconditional withdrawal slogan for American troops- it was called the Tet offensive. Frankly, I liked their version better.

Finally, Professor Sorin has favorable comments on Howe’s analysis that the confrontational tactics of the Sixties ‘turned the American people off’. We will put the question of whether socialist politics should be determined by polling the heartbeats of the population at any given moment to one side. We will further let the question of whether Howe’s take on the pulse of the American population was correct. We will even put aside the thorny question of whether, and which, tactics were or were no appropriate on the part of the New Left experience. Professor Howe, in his youth, saw social ills in the 1930’s and did something righteous about it. We of the generation of ‘68 saw social ills and did something righteous about it. There are social ills (mainly the same kind as it turns out) now to be righteously addressed. I think a little more of the Thirties and Sixties spirit is called for. What about you?

*WE WANT THE WORLD, AND WE WANT IT NOW!- The Music Of Jim Morrison And The Doors

Click on the title to link to a "YouTube" film clip of Jim Morrison and The Doors performing their classic rock anthem, "The End".

CD REVIEW

THE BEST OF THE DOORS, ELECTRA ASYLUM RECORDS, 1985


Since my youth I have had an ear for American (and other roots music), whether I was conscious of that fact or not. The origin of that interest first centered on the blues, then early rock and roll and later, with the folk revival of the early 1960’s, folk music. I have often wondered about the source of this interest. I am, and have always been a city boy, and an Eastern city boy at that. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. The subject of the following review is an example.

The Doors are roots music? Yes, in the sense that one of the branches of rock and roll derives from early rhythm and blues and in the special case of Jim Morrison, leader of the Doors, the attempt to musically explore the shamanic elements in the Western American Native American culture. Some of that influence is apparent here.

More than one rock critic has argued that at their best the Doors were the best rock and roll band ever created. Those critics will get no argument here. What a reviewer with that opinion has to do is determine whether any particular CD captures the Doors at their best. This reviewer advises that if you want to buy only one Doors CD that would be The Best of the Doors. If you want to trace their evolution other CD’s do an adequate job.

A note on Jim Morrison as an icon of the 1960’s. He was part of the trinity – Morrison, Janis Joplin, Jimi Hendrix who lived fast and died young. The slogan- Drugs, sex, and rock and roll. And we liked that idea. Then. Their deaths were part of the price we felt we had to pay if we were going to be free. And creative. Even the most political, including this writer, among us felt those cultural winds and counted those who espoused this vision as part of the chosen. Those who believed that we could have a far-reaching positive cultural change without a political change proved to be wrong long ago. But, these were still our people.

MARK THIS WELL. Whatever excesses were committed by the generation of ’68, and there were many, were mainly made out of ignorance and foolishness. Our opponents at the time , exemplified by one Richard M. Nixon, President of the United States and common criminal, spent every day of their lives as a matter of conscious, deliberate policy raining hell down on the peoples of the world, minorities in this country, and anyone else who got in their way. 40 years of ‘cultural wars’ by his proteges in revenge is a heavy price to pay for our youthful errors. Enough.

Doors — The End lyrics

This is the end
Beautiful friend
This is the end
My only friend, the end
Of our elaborate plans, the end
Of everything that stands, the end
No safety or surprise, the end
I'll never look into your eyes...again
Can you picture what will be
So limitless and free
Desperately in need...of some...stranger's hand
In a...desperate land
Lost in a Roman...wilderness of pain
And all the children are insane
All the children are insane
Waiting for the summer rain, yeah
There's danger on the edge of town
Ride the King's highway, baby
Weird scenes inside the gold mine
Ride the highway west, baby
Ride the snake, ride the snake
To the lake, the ancient lake, baby
The snake is long, seven miles
Ride the snake...he's old, and his skin is cold
The west is the best
The west is the best
Get here, and we'll do the rest
The blue bus is callin' us
The blue bus is callin' us
Driver, where you taken' us
The killer awoke before dawn, he put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and...then he
Paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door...and he looked inside
Father, yes son, I want to kill you
Mother...I want to...WAAAAAA
C'mon baby,--------- No "take a chance with us"
C'mon baby, take a chance with us
C'mon baby, take a chance with us
And meet me at the back of the blue bus
Doin' a blue rock
On a blue bus
Doin' a blue rock
C'mon, yeah
Kill, kill, kill, kill, kill, kill
This is the end
Beautiful friend
This is the end
My only friend, the end
It hurts to set you free
But you'll never follow me
The end of laughter and soft lies
The end of nights we tried to die
This is the end