*From The Pages Of “Workers Vanguard”-SDS Old & New-From Tepid Liberalism to Radicalism and Back Again

Markin comment:

As almost always these historical articles and polemics are purposefully helpful to clarify the issues in the struggle against world imperialism, particularly the “monster” here in America.


Workers Vanguard No. 927
2 January 2009

SDS Old & New

From Tepid Liberalism to Radicalism and Back Again

(Young Spartacus pages)

A “new” Students for a Democratic Society (SDS), founded in 2006, has mushroomed on campuses across the country. This heterogeneous lash-up pounded the pavement to bring out voters for the Democratic Party (see “UCLA SDS Hitches Skateboard to Obama Bandwagon,” p. 5), but it has also occupied military recruitment centers. Disdainful of “ideology” and dominated by hysterical liberal anti-Communists, the new SDS sticks together by shunning political debate in favor of “politically correct” platitudes about democracy. So, for example, SDS’s voluminous “Who We Are” statement does not take a position on a single concrete political issue (studentsforademocraticsociety.org, 2007). Veterans of the early SDS, including Bernardine Dohrn, Bill Ayers, Mark Rudd and Mike Klonsky, have rallied around the new SDS, giving talks and raising money, as well as holding their own tepid liberal protests and nostalgic conferences under the auspices of a refounded Movement for a Democratic Society.

So, what’s in a name? SDS cofounder Pat Korte explained, “The reason we chose to keep the name SDS is because it accurately describes us (we are students for a democratic society)” (“The New SDS: Towards a Radical Youth Movement,” CounterPunch, 10 July 2006). What being “for a democratic society” means in racist, capitalist America becomes clear from a look at SDSers’ activities. Having gained some experience at the business end of a nightstick, the original SDS was known for its petty-bourgeois radical “off the pig” rhetoric—but the new SDS in Boston went on hunger strike in support of security guards at Harvard! Former SDS News Bulletin coeditor and UCLA SDS honcho Dave Shukla wants to braintrust the Feds, who witchhunted the first SDS, by “developing a model for mass participation and engagement with institutional design and policy formation for each agency and program in the federal government” (“Left Forum 2008 Speaker Bio,” leftforum.org, undated). At Rutgers, SDS has taken up local New Jersey gerrymandering so “each [ward] gets to elect it’s OWN Council person to represent their neighborhood” and “the student community will get the representation it deserves” (Tent State University/Students for a Democratic Society Facebook page, undated).

The institutions of bourgeois democracy are institutions of capitalist class rule with which the bourgeoisie dupes, defrauds and represses working people and the oppressed. SDS’s pushing of “democratic models” diverts young activists into the dead end of bourgeois electoral politics. What unites the liberals in the new SDS with reformists of all varieties is the view that the capitalist system can be made to serve the interests of working people and the oppressed. As revolutionary Marxists, we seek to win youth to building a revolutionary workers party that can lead the working class in the struggle to overthrow the whole rotten capitalist system and lay the basis for an egalitarian, communist society.

Pushing the myth that communism destroyed the first SDS, the new SDS’s leadership raises the spectre of “sectarian takeovers” and “totalitarian principles” in the service of liberal anti-communism. Voicing her opposition to members of the Maoist Freedom Road Socialist Organization being in SDS, New York SDS honcho Rachel Haut told Platypus magazine: “I think it is inappropriate to have conversations about ideological differences when we still have Maoists in the organization. Why should we be having these conversations with them, including them in the discussion, if their ideology is in direct opposition to building a democratic society?” (September 2008). Who needs the House Committee on Un-American Activities when you have the new SDS! The Workers World Party, Freedom Road Socialist Organization and other reformists work in SDS anyway, but this says less about SDS’s “non-sectarianism” than about the reformists’ toothless politics. They must feel right at home with the new SDS’s parochial campus activism and Democratic Party lesser-evilism.

Forty years ago, Students for a Democratic Society played a prominent role in protests at the Chicago Democratic National Convention. The dirty, losing Vietnam War, initiated and escalated under Democratic Party presidents Kennedy and Johnson, was a burning issue. Most of the protesters in Chicago in 1968 opposed the Democratic Party as a capitalist party presiding over social injustice. As Kirkpatrick Sale described in SDS, his well-known history of the organization, SDSers rejected “as usual the idea of mass marches but [were] doubly scornful of any project mired in electoral politics.” SDSers propagandized and organized actions against the Democratic Party and raised general hell in the city. For that, they were arrested, savagely beaten, and one young man was shot to death, all under the aegis of the Democratic Party city administration of the infamous Daley machine.

Last August, the new SDS mobilized for protests at the Democratic National Convention in Denver. They did so as part of the Alliance for Real Democracy, whose stated intention was “to convince and pressure Democrats to work for just and progressive policies at home and abroad” (realdemocracy2008.org, undated). Ostensibly more radical chapters of SDS, including the one from Grand Rapids, Michigan, stated in their call to action, “If we, as a radical movement, are going to attempt to pressure the Democratic Party candidates, the time to do so is before they are elected” (“SDS Call to Action: Disrupt the DNC,” undated). The new SDS is a far cry from the iconic New Left organization of the 1960s, but the history of the old SDS sheds light on the new one.

Heirs of Stodgy Cold Warriors

While the first SDS emerged as part of a radicalization of U.S. society, the new SDS reflects a rightward social shift in a period of little struggle. Capitalist counterrevolution in the Soviet Union and Eastern Europe was a grave defeat for working people and the oppressed worldwide. It ushered in a period of bourgeois triumphalism over the “death of communism,” in which social struggle has been limited and isolated. In their works Empire and Multitude, American academic Michael Hardt and his mentor, veteran Italian New Left intellectual Antonio Negri, developed on the bourgeois idea that communism has failed—an idea also embraced by the new SDS. As our article “Empire, Multitude and the ‘Death of Communism’: The Senile Dementia of Post-Marxism,” noted:

“Claiming to update Marx, Hardt and Negri jettison the programmatic core of Marxism: proletarian revolution to overthrow the capitalist system. They dismiss the lessons distilled from the 1871 Paris Commune, the first proletarian insurrection, and the subsequent history of the revolutionary workers movement. They deride class war and proletarian power as ‘old, tired and faded’ notions….

“In the late 1930s, following the victory of fascism in Germany and the defeat of the Spanish Revolution, Marxist revolutionary Leon Trotsky observed: ‘As always during epochs of reaction and decay, quacks and charlatans appear on all sides, desirous of revising the whole course of revolutionary thought’ (Transitional Program [1938]). The triumph of capitalist counterrevolution in the Soviet Union and East Europe in the early 1990s has nurtured a new generation of ideological quacks and charlatans. Hardt and Negri peddle their ideological wares to young leftists who, having no sense of the revolutionary capacity of the proletariat, accept the subjective outlook that a new world will be won not by uprooting the material reality of oppression but by changing the ideas in people’s heads.”

—Spartacist (English-language edition) No. 59, Spring 2006

Dismissing communist revolution as a “failed experiment,” today’s SDSers are left with nothing more than the grubby politics of “lesser evil” capitalism. They are running the film of the first SDS’s radicalization in reverse.

The new SDS’s “democratic” and “anti-authoritarian” rhetoric recapitulates the Cold War anti-Communism that the first SDS broke from. SDS originated as the Student League for Industrial Democracy (SLID), the student affiliate of the League for Industrial Democracy (LID). Moribund by 1960, the LID had served as a handmaiden of the U.S. government in the left and the labor movement, peddling the virtues of “democratic,” “anti-authoritarian” capitalism. Populated by “State Department socialists” such as Norman Thomas and Michael Harrington, the LID also counted among its members the labor traitors Victor and Walter Reuther, who rode to power in the United Auto Workers by purging Communists from the union in the 1940s, and Sidney Hook, a former Communist turned “god that failed” supporter of the established order. Hook was a leading light in the Congress for Cultural Freedom—a CIA-funded operation devoted to counteracting the appeal of Communism and the Soviet Union.

Despite posturing as champions of democracy in the Cold War, the U.S. imperialists supported right-wing military dictatorships, reactionary regimes and the remnants of European colonial rule around the world. On the home front, in the American South black people faced legal segregation and were deprived of basic rights—a fact publicized by the Soviet Union. The Southern Jim Crow system was based on police/Klan terror against atomized rural sharecroppers, and it had become increasingly anachronistic as industrialization in the American South during and following World War II drew blacks into the working class. By the mid 1950s, black anger at Jim Crow segregation had given birth to the civil rights movement, shattering the climate of Cold War McCarthyism and increasingly polarizing American society.

Seeking to refurbish its image and in response to early struggles, the U.S. capitalist class made some concessions, notably in the Supreme Court ruling Brown v. Board of Education that mandated the integration of public schools. But implementation of this ruling proceeded at a snail’s pace. Young liberal activists, black and white, came forward courageously in lunch-counter sit-ins and freedom rides. Students from the North, defiant in the face of the murder of young civil rights militants, poured into the South to register black voters. In this changed climate, in January 1960 SLID changed its name to Students for a Democratic Society; its membership began to grow.

Early SDS: Confronting Cold War Anti-Communism

The Cuban Revolution coincided with the civil rights movement, reinforcing the appeal of more radical ideas among young activists. In January 1959, Castro’s rebel army overthrew the brutal, corrupt, U.S.-backed military dictatorship of Fulgencio Batista. A petty-bourgeois nationalist, Castro formed a coalition government with venal local bourgeois forces and pledged to protect their interests. However, Castro’s program of land redistribution and the measures taken against Batista’s police torturers alienated Castro’s Cuban bourgeois supporters and the U.S. imperialists, including Eisenhower’s CIA director Allen Dulles and his brother, Secretary of State John Foster Dulles, both major stockholders in the United Fruit Company. Eisenhower responded with brute economic pressure to bring Castro’s regime to heel. This pushed Castro into the arms of the Soviet Union. By early 1961, the holdings of the National City Bank, United Fruit, Standard Oil, the sugar barons and the Mafia—as well as the Cuban bourgeoisie—had been expropriated, and the Cuban capitalists were either in exile or in prison.

Facing the unrelenting pressure of U.S. imperialism, the Castro government sought the protection of the Soviet Union. It was compelled under these circumstances to liquidate the bourgeoisie as a class, carrying out a social revolution. Cuba became a bureaucratically deformed workers state in which capitalism had been overthrown but political power was held by a parasitic bureaucratic caste fundamentally sharing the nationalist political program of “socialism in one country” with the Stalinist bureaucracy in the Soviet Union. In 1961, newly elected president Kennedy launched the Bay of Pigs invasion, attempting to overthrow the Cuban Revolution and establish a puppet regime. Leftist youth were inspired by the Cubans’ defense of their revolution against U.S. imperialism. However, other guerrilla insurgencies aiming to overthrow right-wing capitalist regimes in Latin America were crushed with murderous repression.

In response to the Bay of Pigs invasion, SDSers posed the question “whether our foreign policy had really changed from its old imperialist ways” (The Port Huron Statement of the Students for a Democratic Society, July 1962). Early SDSers were increasingly at odds with the Cold War-era anti-Communism of their parent organization, which they rightly saw as a loyalty oath to the powers that be. The Port Huron Statement, adopted at SDS’s June 1962 National Convention, sought “to oppose communism without contributing to the common fear of associations and public actions.” It criticized the Cold War as “not sufficient for the creation of appropriate policies with which to relate to and counter communist movements in the world” and argued that “the American military response has been more effective in deterring the growth of democracy than communism.” A delegate of the Communist Progressive Youth Organizing Committee was allowed to attend the convention as an observer.

Even these small steps away from McCarthyism were too much for the LID elders, who hauled the SDS leadership into a trial for not being anti-Communist enough, then cut all funds to SDS and changed the locks on the SDS office. After much organizational wrangling, SDS and the LID patched things up. Although moving away from the dried-up LID social democrats, SDS had not fundamentally broken from lesser-evil Democratic Party pressure politics, drawing disaffected youth back into the two-party shell game and perpetuating illusions in bourgeois democracy. In the 1964 elections, a wing of SDS campaigned to go “part of the way with LBJ,” maintaining that the Democratic Party platform was “superior to any passed by a major national party since the first New Deal” and that a victory by arch-conservative Barry Goldwater would spell disaster (Sale, SDS).

But the times, they were a-changin’. In 1964 at the University of California at Berkeley, the Free Speech Movement (FSM) broke out against the Berkeley administration’s attempts to censor political life on campus by barring reds and other civil rights activists (“outside agitators”) and restricting the activities of student organizations. Facing reprisals from both the liberal campus administration and Democratic governor Pat Brown, FSM activists defended their right to “hear any person speak in any open area of the campus at any time on any subject” (see “The Student Revolt at Berkeley,” Spartacist No. 4, May-June 1965). The FSM’s victory fueled further student radicalization across the country and undermined illusions in the good offices of campus administrations and the Democratic Party.

Meanwhile, the escalation of the imperialist war in Vietnam meant more youth were being drafted, adding a direct material interest against American imperialist aims to the moral outrage felt by student activists. In 1965, SDS initiated the first nationwide protest against the Vietnam War. To many LID liberals, protesting a war against Communism was as bad as supporting the Communists outright. Furthermore, SDS’s call for the march included no anti-Communist exclusion clause. With a rush of new members and continued radicalization, SDS would abolish its anti-Communist exclusion clause at its 1965 summer convention, and soon afterward it split from the LID entirely.

Radicalization: the Civil Rights Movement

When the civil rights movement spread to the North, fighters for black freedom confronted not Southern legal segregation, but the vicious inequality and racial oppression embedded in the American capitalist system. The struggle for fundamental change in the conditions of black life—for real equality, for jobs, decent housing and adequate schools—collided head-on with the realities of American capitalism. The Northern ghettos were exploding in protest. At the 1964 Democratic Party convention, the Johnson/Humphrey machine crushed the attempt by delegates from the anti-racist Mississippi Freedom Democratic Party to unseat the Jim Crow Mississippi delegation.

The civil rights movement was fracturing as young militants broke from the Democratic Party and the liberal pacifism exemplified by Martin Luther King Jr., who said of the Watts ghetto upheaval, “It was necessary that as powerful a police force as possible be brought in to check them” (New York Times, 16 August 1965). As we wrote in “Black Power—Class Power”:

“In contrast to the reform program of the civil rights movement, the demands of the black masses are necessarily and inherently class demands, and demands which the ruling class cannot meet…. It is this transition which is represented by the black power slogan. Its popularization represents the repudiation of tokenism, liberal tutelage, reliance on the federal government, and the non-violent philosophy of moral suasion. In this sense, therefore, black power is class power, and should be supported by all socialist forces.”

—Spartacist West No. 8, 30 September 1966, reprinted in Marxist Bulletin No. 5 (Revised), September 1978

At the same time, we warned of the “black power” slogan, in the absence of a broader class fight:

“It can be used by petty bourgeois black nationalist elements who want to slice the social cake along color rather than class lines and to promote reactionary color mysticism. More seriously, it can be degraded to mean mere support for black politicians operating within the system.”

This was a prescient warning. As struggle ebbed, such was exactly the bill of goods sold to the black masses.

Co-optation was one weapon of the racist rulers; extermination was another. The best elements of radicalized black youth drawn to the Black Panther Party faced a systematic government campaign of assassination, police provocations, frame-ups and imprisonment, including through the FBI’s notorious Counter-Intelligence Program. The Panthers’ glorification of ghetto rage and rejection of the Marxist understanding of the role of the working class left them vulnerable to state repression. In the face of this repression, the Panthers turned to the right, into the orbit of the reformist Communist Party and its lawyers, as well as of the Democratic Party. (See “Rise and Fall of the Panthers: End of the Black Power Era,” Marxist Bulletin No. 5 [Revised], September 1978.)

The Vietnam War

Today, the SDS of the second mobilization displays chauvinist support for the forces of U.S. imperialism. In a grotesque testament to “support our troops” patriotism, the Lancaster, Pennsylvania, chapter of SDS “collected and sent care packages to U.S. soldiers in Iraq and civilians in Iraq and Afghanistan. This is now going to be a monthly event…” (SDS News Bulletin No. 4, May/June 2008). The University of North Carolina-Asheville chapter set out white flags commemorating U.S. soldiers killed in Iraq together with shoes representing Iraqis killed under the American occupation (“UNCA SDS Iraq Body Count,” SDS News Bulletin No. 1, October 2007). SDS’s University of Chicago chapter has close relations with Platypus, an organization known for not opposing the occupation of Iraq (see “Platypus Group: Pseudo-Marxist, Pro-Imperialist, Academic Claptrap,” Workers Vanguard No. 908, 15 February 2008).

We stand for the military defense of the peoples of Iraq and Afghanistan against the brutal U.S. imperialist occupiers. As revolutionary Marxists, we side with oppressed countries against the predatory imperialist powers. But unlike in Iraq and Afghanistan, there was also another element at work during the Vietnam War: there was a socially progressive character to those who fought against the imperialist butchers. The heroic Vietnamese had carried out a social revolution, albeit bureaucratically deformed, overturning capitalism in the North, and they were fighting to extend this to the South. We demanded the immediate and unconditional withdrawal of U.S. forces and called for the military defense of the National Liberation Front and North Vietnamese forces, raising revolutionary slogans, including “Victory for the Vietnamese Revolution…No negotiations!” and “All Indochina must go Communist!”

As U.S. involvement in the Vietnam War escalated, draft resistance spread among militant youth and SDS members. We oppose the draft, demanding “not one man, not one penny” for the imperialist military. But in the event of a draft, as we argued in “You Will Go!”, adapted from a position paper we put forward in SDS, we oppose the voluntary purging of radicals from the army, which would only strengthen the ideological purity and political reliability of the army. Instead, we said young militants should go with the working-class and minority youth and continue their political agitation (see Spartacist No. 11, March-April 1968).

As opposition to the war grew, more and more young activists stopped chanting for “peace” and began calling for “Victory to the NLF!” As we explained in the founding document of our youth organization, Youth, Class and Party (adopted in 1971; reprinted as a pamphlet in December 1974):

“When the liberal establishment backed the imperialist adventure in Vietnam, it drove the radical student movement to the left and opened the path to revolutionary politics.

“As the Vietnam war drove the New Left away from the liberals, the New Left began to re-examine the ‘Communist bloc’ and came to identify with Stalinism in its ‘militant Third World’ form. New Lefters did not consciously identify with the legacy of Stalinism as embodied in the Soviet Union. Instead they created a false dichotomy between the conservatism and opportunism of Soviet Stalinism and the apparent militancy of ‘Third World’ Stalinist governments and leaderships like those of China, Cuba and the NLF.”

Several variants of Maoism would attract a following in SDS. One was Progressive Labor Party (PL), a left split from the pro-Moscow Communist Party. PL put forward a crude working-class line against the blatant petty-bourgeois politics of Mike Klonsky’s wing of SDS, the Revolutionary Youth Movement (RYM), which advanced a petty-bourgeois notion of sectoralist struggle, according to which the Vietnamese would fight for their liberation and independence, blacks in the U.S. for theirs, women for theirs, and so forth. By RYM’s lights, the role of revolutionary-minded students was to act as propaganda bureaus and support groups for these various “vanguards.” Ultimately, this sectoralism was just a “radical” version of standard ward-heeling-type Democratic Party constituency politics, with the working class relegated at best to another “oppressed” constituency rather than the agency for fundamental social change. Various Maoist outfits contended within and emerged from RYM, including what would become today’s Revolutionary Communist Party.

Maoism did not represent a break from Stalinist class collaboration, but rather “Khrushchevism under the gun” of U.S. imperialism. Seeking to win young radicals to a Trotskyist program, we exposed the Chinese Maoists’ repeated attempts to form a reactionary, anti-Soviet bloc with U.S. imperialism at the expense of social struggles around the world. This alliance was sealed by Mao’s 1972 meeting with U.S. war criminal Richard Nixon in Beijing as American warplanes rained death and destruction on Vietnam, and it eventually destroyed the Maoist movement for all intents and purposes within the “belly of the U.S. beast.”

As we stated in Youth, Class and Party: “Only by replacing the Stalinist parties with parties unalterably committed to internationalism can the power of the Sino-Soviet states be used to further the struggle for world socialism. Recognizing that collectivized property and economic planning constitute a major qualitative gain for the workers in the Sino-Soviet states, we unconditionally defend these property forms against imperialist attacks and capitalist encroachment.” Uniquely on the left, today we uphold the same Trotskyist program of unconditional military defense and proletarian political revolution for the remaining bureaucratically deformed workers states of China, North Korea, Vietnam and Cuba.

Student Radicals in Search of Revolutionary Program

By the end of the spring of 1968, universities had been shut down and reopened, administration buildings occupied and then abandoned. This did not stop the Vietnam War—the government escalated troop deployments to Vietnam. Radical youth within SDS were becoming increasingly restive with student-centered politics. Clearly, there was a limit to “student power.” The question was posed: if not students, then what force could bring social change? The French general strike of May 1968 gave an answer. This incipient workers revolution in France exposed the charlatanry of an earlier generation of “post-Marxist” ideologues such as Herbert Marcuse, who had written off the revolutionary potential of the working class. May ’68 forced the New Left to confront the key question of class, laying the basis for new layers of youth to be won to revolutionary Marxism.

SDS’s rejection of the “Old Left” was in large measure a response to the boring reformist politics of the Stalinist Communist Party, which had been deeply ensconced in Democratic Party politics for decades and whose idea of black struggle was to follow the lead of the “respectable,” religious black leaders. The most widely known self-styled Trotskyist organization at the time, the Socialist Workers Party (SWP), was moving rapidly to the right when our founding cadres were expelled as a left-wing opposition in 1963-64. The SWP and its National Peace Action Coalition (NPAC) gave Trotskyism a bad name as they promoted “peaceful, legal” single-issue antiwar peace crawls in order to make a reformist alliance with the defeatist wing of the U.S. bourgeoisie and social-democratic trade-union bureaucrats. The SWP’s alliance with liberal imperialists was sealed in blood when Spartacist supporters along with PLers and SDSers were beaten and expelled from a 1971 NPAC conference for protesting the presence of ruling-class politician Vance Hartke on the platform. (See “The Vietnam Antiwar Movement and the National Peace Action Coalition,” WV No. 920, 12 September 2008).

Our Trotskyist program won a hearing within SDS, and the forebear of today’s Spartacus Youth Clubs was founded as the Revolutionary Marxist Caucus (RMC) in SDS in early 1970. The RMC sought to win radical-minded students to a revolutionary, internationalist and proletarian communist program. This included fighting for an understanding of the lessons of the Russian Revolution of 1917, the world’s first successful workers revolution, which pulled Russia out of the bloody slaughter of World War I, expropriated the capitalist class, and placed Russia’s economy under the control of democratic workers rule through soviets (workers councils). The RMC also sought to lay out Trotsky’s understanding of the material roots of the bureaucratic degeneration of the Russian Revolution (see our pamphlet, The Stalin School of Falsification Revisited).

In the summer of 1969 at the SDS National Convention in Chicago, facing the prospect of Progressive Labor’s positions gaining a majority, a clique within the SDS National Collective (NC), including Bernardine Dohrn and Mike Klonsky, engineered a split, lining up Black Panthers and others to race-bait PL supporters. When PL refused to take the bait, the NC splitters led their followers out of the conference. We remained with the PL-led Worker-Student Alliance (WSA) wing of SDS, based on its orientation, however crude, to the proletariat. But while PL correctly opposed the RYM splitters’ sectoralism, it also advanced (as it continues to do) a line of indifference toward special oppression, for example, racial and sexual oppression. We fought for a proletarian orientation on this question—we issued position papers within SDS, arguing for a Leninist vanguard party to bring the power of the working class to bear in the interests of all the oppressed (see “‘Racial Oppression and Working-Class Politics’,” WV No. 897, 31 August 2007, and “‘The Fight for Women’s Liberation’,” WV No. 910, 14 March 2008).

PL was vulnerable to our Trotskyist criticism, but ultimately they clung to their reformist “minimum/maximum program,” combining “communist” rhetoric with reformist practice. We warned: “By attempting to build on social guilt, moralism, and empiricism, the three most obnoxious and defective characteristics of the American left, PL creates the conditions for its own defeat and the continuous splits to the right…. Without a clearly reasoned theoretical explanation for its break with Stalinist theory, without an institution of real inner party democracy, and without a transitional program which bridges the gap between ‘rubber mats’ [PL’s concrete demands for workers struggle on campus were usually grotesquely minimal] and the dictatorship of the proletariat, PL is bound to create within itself right wing splits and transmit the same process to SDS” (“Final SDS Convention?”, Revolutionary Marxist Caucus Newsletter No. 6, March 1971). Indeed, PL eventually “led” its WSA-SDS in retreat into outright liberal idealism, campus parochialism and ordinary reformism.

Terrorism and Communism

As we wrote in Youth, Class and Party:

“The break-up of the New Left, most evident in the 1969 SDS split, was caused by the inadequacy of New Left politics in the face of the general social crisis of the late ’60’s. With the collapse of the traditional New Left, there remained three general political tendencies on the left. One is an attempt to re-establish the ties between the left and the liberal political establishment, now possible because of the deep split in the ruling class over the Vietnam war. The second is a policy of confrontation with the armed forces of the state and terrorism practiced in the name of Third World nationalism. The third tendency is that of proletarian socialism of which the Revolutionary Communist Youth is an important element.”

Lacking a proletarian strategy, and desperate to do something, some in the RYM wing ended up in the Weather Underground. The Weathermen would conduct acts of individual terror that were self-defeating and, more times than not, far more dangerous to themselves than to the bourgeoisie. Such a program was no break from liberalism, but in fact a logical conclusion, in extremis, of the liberal program of bearing “moral witness” to the government’s crimes. The Weathermen’s strategy was futile; at the same time, their targets were representatives of imperialism and capitalist oppression. As comrade Trotsky wrote of a German youth who had assassinated a Nazi:

“We Marxists consider the tactic of individual terror inexpedient in the tasks of the liberating struggle of the proletariat as well as oppressed nationalities. A single isolated hero cannot replace the masses. But we understand only too clearly the inevitability of such convulsive acts of despair and vengeance. All our emotions, all our sympathies are with the self-sacrificing avengers even though they have been unable to discover the correct road.”

—“For Grynszpan: Against Fascist Pogrom Gangs and Stalinist Scoundrels,” February 1939

While politically in opposition to the Weathermen, we fought for their defense, insisting that they were “an integral part of the radical movement.” We wrote:

“The real crime vis-a-vis terror politics and heroic individualism is that it allows the revolutionary energies of some of the movement’s most talented, dedicated people to be channeled into futile and self-destructive actions. It is our job to seek to redirect these energies into genuinely revolutionary directions.”

—“Terrorism and Communism,” Spartacist (English-language edition) No. 17-18, August-September 1970

Other so-called “socialists” refused to defend the Weathermen and often even joined the witchhunting chorus against them. The Communist Party and Socialist Workers Party both denounced this small, isolated, and persecuted outfit of misguided radical youth. For its part, PL branded the Weathermen “police agents.”

Although the new SDS is divided over whether the Weathermen were heroic, criminal or simply irrelevant, the Weathermen’s politics have a pale echo in the new SDS’s “acts of resistance” which, even at their most militant, lack both the social power and political program required to challenge the class rule of the capitalists. Like much of the “anti-globalization” movement, these protests are based on “the dangerously false idea that the capitalist U.S. is or could be pressured into being a democracy ‘for the people’ if only the anti-globalization youth were determined or creative enough to make the rulers pay attention…. Lacking a perspective of mobilizing the working class against the rule of capital, such confrontations with the cops amount to the streetfighting face of reformism” (“What Strategy to Defeat Imperialism?” WV No. 817, 9 January 2004).

In the Pacific Northwest, SDSers and others have repeatedly blocked military convoys, delaying shipments of war materiel to Iraq. These courageous protesters have been arrested, beaten and pepper-sprayed, but they lack the social power and political program needed to stop the U.S. imperialists’ overwhelming military might. Despite our vast political differences, we revolutionary Marxist youth defend SDS when it runs afoul of the state (see “UCLA: 16 Arrested at SDS/SWF Protest—Drop the Charges! For Free, Quality, Integrated Education for All!” WV No. 918, 1 August 2008, and “Drop Charges Against Evergreen 6! Reinstate Olympia SDS!” WV No. 914, 9 May 2008).

SDS Today: Second Time Farce…

Once the U.S. had been defeated on the battlefield in Vietnam and mass protests had ended, many former SDSers reconciled themselves to the capitalist system. Tom Hayden, for example, went on to become a well-known California Democrat and state senator. Many other leading lights from the “generation of ’68” went to work for Democratic Party mayors who oversee the oppression of the working class and oppressed in major urban centers. Former radicals also people the union bureaucracies and liberal civil liberties outfits, as well as the Democratic Party itself. Most recently, Tom Hayden, Carl Davidson and others got involved in Barack Obama’s presidential campaign. Obama, having been vetted and approved by the ruling class, is about to assume the role of overseer of the whole plantation.

The Republicans had attempted to make electoral hay out of Obama’s acquaintance with former Weather Underground member Bill Ayers, a luminary for many new SDSers. Chicago machine Democrat and mayor Richard M. Daley (whose father unleashed the police on the ’68 protests) testified to Ayers’ “rehabilitation”: “This is 2008, people make mistakes. You judge a person by his whole life” (New York Times, 4 October 2008). It is also the case that a section of the ruling class will never forgive the likes of Ayers and Dohrn, no matter how “rehabilitated” they are by other sections of the bourgeoisie with whom they have made their peace. Even more vicious has been the continuing racist persecution of former Panthers, not least Mumia Abu-Jamal, America’s foremost death row political prisoner (see “D.A. Petitions Supreme Court to Reinstate Death Penalty,” p. 2). The racist rulers have long memories. Believe it: they seek to stamp out even the hint of the militant challenge, however politically flawed, which faced them during the social explosions in the late 1960s and early 1970s.

Our model is not the confused, eclectic radicalism of the 1960s and early 1970s but rather the Bolsheviks who led the 1917 Russian Revolution. Alienated radical students have no social power per se; they can, however, be won to the fight for a revolutionary workers party, one that struggles for the political independence of the working class from all bourgeois parties and for workers’ state power. Today the fight for revolutionary consciousness is surely an uphill battle, but a necessary one. There is a massive gulf between this understanding and that of the liberal politics, including their more “militant” face, of the present SDS.

*Folk Music-The Graduate Course- The Other Folk Historian-Harry Smith

Click on the headline to link to a "YouTube" film clip of Rabbit Brown performing the classic "James Alley Blues".

The Other "Roots" Historian

The Harry Smith Connection: A Live Tribute To “The Anthology Of American Folk Music", various artists, Smithsonian Folkways, 1998

John and Alan Lomax are just famous for their herculean efforts over many years to gather “roots” music from sources all over the American continent, the bayous, the hollows, the mountains and the plains. Not as well known but as worthy of praise is the work of the “roots” historian Harry Smith, the subject of this tribute CD. During the 1940’s and 1950’s Smith was working the highways and byways of the South and elsewhere recording whatever music was at hand with whatever recording device he could put to together. No less a later folk historian that the singer Dan Van Ronk remarked that he learned much of his early folk repertoire from the Harry Smith collection. Others, including Bob Dylan, also "cribbed” from the Smith collection. That tells the tale.

This tribute CD is a treasure trove of songs some familiar and some long forgotten by this reviewer. The most interesting point that always catches my attention on these anthologies is how much crossover there is despite the differences in geography, ethnicity or race. For example, listen to the two versions of “The Coo Coo Bird” here. Or consider “The Butcher Boy” that I have heard under the names “The Railroad Boy” or “In London Town” but which however tell the same old tale of abandoned love and its tragic consequences. And how many versions of “John Henry” have been recorded? The one done here by John Jackson, by the way, is excellent. As is his rendition of “Frankie and Johnnie”.

“John The Revelator” done by Ethel Caffie-Austin is the best version I have heard this side of Son House. The lead vocal by Geoff Muldaur of the Jim Kweskin Jug Band makes “Minglewood Blues” pop. Van Ronk’s “Spike Driver Blues" is vintage Dave as is Jeff Tweedy and company on Rabbit Brown’s “James Alley Blues”. The Fugs’ on “Nothing" is just the kind of tune that old Harry was looking for. To top thing off listen to Pete Stampfel on his Harry Smith tribute song “His Tapes Roll On”. That is the kind of tune that latter day cyberspace “roots” historians will pick on to continue the traditions. Listen on.

James Alley Blues

Times right now ain't nothin' like they used to be
Well times right now ain't nothin' like they used to be
You know I'll tell you all the truth, won't you take my word from me

Well I seen better days, but I ain't puttin' up with these
Well I've seen better days, but I ain't puttin' up with these
I had a lot better time with those women down in New Orleans

Well I was born in the country so she thinks I'm easy to lose
Well I was born in the country so she thinks I'm easy to lose
She wants to hitch me to a wagon and drive me like a mule

I bought her a gold ring and I pay the rent
I bought her a gold ring and I pay the rent
She tried to get me to wash her clothes but I got good common sense

Well if you don't want me then why don't you just tell me so?
Well if you don't want me then why don't you just tell me so?
It ain't like I'm a man that ain't got nowhere else to go

I give you sugar for sugar, but all you want is salt for salt
I give you sugar for sugar, but all you want is salt for salt
Well if you can't get along with me, then it's your own fault

Well, you want me to love you, but then you just treat me mean
Yea, you want me to love you, but then you just treat me mean
You're my daily thought and you're my nightly dream

Well, sometimes I think that you're just too sweet to die
Ah, sometimes I think that you're just too sweet to die
And other times I think that you ought to be buried alive


found on: The Harry Smith Connection: A Live Tribute

words: Rabbit Brown (traditional)

U.S. Stop Military Aid To Israel Now!!

Commentary

Repost of December 29, 2008 Entry

Israel Hands Off Gaza!-Military Victory To Hamas!

At this moment there is no need for some greatly detailed analysis of who or what went wrong in the Middle East that has caused Israel to rain hell down on the Palestinian people in Gaza. Now is the time to outline an anti-imperialist policy toward this unfolding struggle. As I write this entry Israeli bombs are falling on Gaza causing several hundred deaths, many injuries and much physical destruction, as can be expected when an advanced capitalist country puts the hammer down militarily on essentially defenseless people. Israel, moreover, appears to be preparing to launch ground forces into Gaza. I believe that that military possibility is only a matter of time. Israel Hands Off Gaza! Meanwhile American policy continues, as it has been throughout the Bush Administration, to let Israel run the show on its own terms (except, as was shown in Lebanon in 2006, on that little issue of America providing military materials to Israel on the fast track when things got tight).

I have mentioned before that a just solution to the Palestinian questions today seems far beyond any possible solution. That understanding, however, does not mean we have no policy when, as today, the Palestinian people are under the gun. Today we call, as we did in Lebanon with Hezbollah, for military victory to Hamas, even if we do so holding our noses. We have some things to settle with the Islamic fundamentalists of Hamas but that is for another day. Today, let’s be clear, the main enemy of the Palestinian people is Israel. An Israeli military victory, especially in the context of a new American presidential administration coming into power in a few weeks, only postpones a just solution to the national question in that area of the world. Military Victory To Hamas! More later.

Posted December 30, 2008

I should add a slogan here for anti-imperialist militants worldwide to take up. This is an episodic slogan appropriate now that Israel appears to be going full bore toward invasion of Gaza. U.S. Stop Military Aid To Israel Now! I would also add that our trade union friends should be raising the question of ‘hot-cargoing’ military shipments to Israel.

Note: As always when the question of Palestine takes center stage the local Zionists here in America are plowing ahead with their uncritical support for any and all Israeli military actions in Gaza (and elsewhere). Of particular notice is a comment made by one such supporter. When asked by a local reporter what his solution to the festering Palestinian question should be he answered-“I would drop an atomic bomb on Gaza and get rid of those bastards”. Well, that is plain enough. Not only does it tell us how far away a just solution is to the question but that yesterday’s former oppressed population, the Jews, are capable, or at least one of them is and I fear he is not alone, of working out their own xenophobic nationalist “final solution”. I would only add that the person interviewed should check his geography and, perhaps, a little physics, because an atomic bomb dropped in Gaza is going to have “blow back” into Israel. Big time. Of course, nationalists of every stripe can never be accused of rational thought when they are on their little hobbyhorses. More later.

Defend The Palestinian People!- Israel Hands Off Gaza!

Commentary

Ironically, and sadly, the entry originally scheduled for this space today was review of the film "The Visitor" a story of a Palestinian diaspora immigrant (from Syria)and his travails with the American immigration authorities. That film will be reviewed on January 11, 2009.

Israel Hands Off Gaza!-Military Victory To Hamas!

At this moment there is no need for some greatly detailed analysis of who or what went wrong in the Middle East that has caused Israel to rain hell down on the Palestinian people in Gaza. Now is the time to outline an anti-imperialist policy toward this unfolding struggle. As I write this entry Israeli bombs are falling on Gaza causing several hundred deaths, many injuries and much physical destruction, as can be expected when an advanced capitalist country puts the hammer down militarily on essentially defenseless people. Israel, moreover, appears to be preparing to launch ground forces into Gaza. I believe that that military possibility is only a matter of time. Israel Hands Off Gaza! Meanwhile American policy continues, as it has been throughout the Bush Administration, to let Israel run the show on its own terms (except, as was shown in Lebanon in 2006, on that little issue of America providing military materials to Israel on the fast track when things got tight).

I have mentioned before that a just solution to the Palestinian questions today seems far beyond any possible solution. That understanding, however, does not mean we have no policy when, as today, the Palestinian people are under the gun. Today we call, as we did in Lebanon with Hezbollah, for military victory to Hamas, even if we do so holding our noses. We have some things to settle with the Islamic fundamentalists of Hamas but that is for another day. Today, let’s be clear, the main enemy of the Palestinian people is Israel. An Israeli military victory, especially in the context of a new American presidential administration coming into power in a few weeks, only postpones a just solution to the national question in that area of the world. Military Victory To Hamas! More later.

*An Encore, My Arky Angel- The Music Of Iris DeMent-"My Life"

Click on title to link to YouTube's film clip of Iris DeMent performing "He Reached Down".

CD Review

My Life, Iris DeMent, Warner Brothers, 1994

Well, everyone by now knows that I love Iris Dement (see review of her “Infamous Angel”) so we need not get back on that track. I am, however, due to that unrequited love, in the process trying to find every Iris CD I can get my hands on. That search brings me to this Warner Brother produced CD from 1994 “My Life”. Does this effort measure up to the others? No. Does it have any songs with the power of “Walking Home Alone”, “A Wall In Washington”, “These Hills Of Home” or “After Laughter”. Hell no. I believe that it is probably due to the fact that it is a little over-produced.

Iris’ voice left with a simple guitar, or better yet, piano as accompaniment can carry her rich and thoughtful lyrics. Again, as is her forte she sings of loves lost (or misunderstood), spiritual longing (she might argue religious but I will not quibble) and those long ago formed and fastened roots to family, home and hearth. Although no song here took my breath away “You’ve Done Nothing Wrong” was evocative. “Childhood Memories” was fine and also evoked a response in me to my very different childhood.

The winner here though is clearly “Easy’s Getting Harder Every Day”. The story line (Is it somewhat autobiographical?) and Iris’ Arkie twang drive home a very strong message about the hard struggle to keep one’s head up that many, too many people face on a day to day basis. Oh, yes. Iris, don’t forget that proposal I made in my review of “Infamous Angel” if you tire of Greg. It is still on the table.






LIFELINE- IRIS DEMENTFlariella Records - 2004
I'VE GOT THAT OLD TIME RELIGION (Hurdist Milsap)
Stamps-Baxter Music, (BMI)

I’m glad Jesus came, glory to His name oh what a Friend is He
He so freely gave, His own life to save. From bonds of sins set free.

CHORUS
And I’ve got that old time religion in my heart
And its way down inside.
I’ve got that new kind of feeling in my heart
Real love abides
Nobody knows what it means to me
Nobody knows but my God and me
I’ve got that old time religion in my heart
And it’s way down inside.

What a joy to know one who loves us so
He is so kind and true
He has changed my life from all sin and strife
He’ll do the same for you.

BLESSED ASSURANCE (Fanny J. Crosby)
Public Domain

Blessed assurance, Jesus is mine!
O what a fortaste of glory divine!
Heir of salvation, purchase of God,
Born of His Spirit, washed in His blood.

ChorusThis is my story, this is my song, Praising my Saviour all the day long;This is my story, this is my song, Praising my Saviour all the day long;
Perfect submission, perfect delight, Visions of rapture now burst on my sight.Angels descending bring from above, Echoes of mercy, whispers of love.
Perfect submission, all is at rest, I in my Saviour am happy and blest.Watching and waiting, looking above, Filled with His Goodness, lost in His love
FILL MY WAY WITH LOVE (George W. Sebren)Public DomainLet me walked blessed Lord, in the way Thou hast gone, Leading straight to the land above;Giving cheer ev'rywhere, to the sad and the lone, Fill my way ev'ry day with loveChorusFill my way ev'ry day with love (with love), As I walk with the heavn'ly Dove;Let me go all the while, with a song and a smile, Fill my way ev'ry day with love.
Keep me close to the side of my Saviour and Guide, Let me never in darkness rove;Keep my path free from wrath, and my soul satisfied, Fill my way eve'ry day with love.
Soon the race will be o'er and I'll travel no more, But abide in my home above;Let me sing blessed King, all the way to the shore, Fill my way ev'ry day with love.


LET THE MYSTERY BE (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP
Infamous Angel

Everybody's wonderin' what and where they they all came from
everybody's worryin' 'bout where they're gonna go
when the whole thing's done
but no one knows for certain
and so it's all the same to me
I think I'll just let the mystery be

Some say once you're gone you're gone forever
and some say you're gonna come back
Some say you rest in the arms of the Saviour
if in sinful ways you lack
Some say that they're comin' back in a garden
bunch of carrots and little sweet peas
I think I'll just let the mystery be

Everybody's wonderin' what and where they they all came from
everybody's worryin' 'bout where they're gonna go
when the whole thing's done
but no one knows for certain
and so it's all the same to me
I think I'll just let the mystery be

Some say they're goin' to a place called Glory
and I ain't saying it ain't a fact
but I've heard that I'm on the road to purgatory
and I don't like the sound of that
I believe in love and I live my life accordingly
but I choose to let the mystery be

Everybody is wondering what and where they they all came from
everybody is worryin' 'bout where they're gonna go
when the whole thing's done
but no one knows for certain
and so it's all the same to me
I think I'll just let the mystery be
I think I'll just let the mystery be



THESE HILLS (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

Far away I've traveled
to stand once more alone
and hear my memories echo
through these hills that I call home

As a child I roamed this valley
I watched the seasons come and go
I spent many hours dreaming
on these hills that I call home

The wind is rushing through the valley
and I don't feel so all alone
When I see the dandelions blowing
across the hills that I call home

Like the flowers I am fading
into my setting sun
Brother and sister passed before me
Mama and Daddy they've long since gone

The wind is rushing through the valley
and I don't feel so all alone
When I see the dandelions blowing
across the hills that I call home
These are the hills that I call home



HOTTER THAN MOJAVE IN MY HEART (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

Well, I've heard them say there's one for everybody
and I just knew somehow that you'd be the one for me
'cause making love with you's not just a hobby
no, it's the flame that burnt the forest down in me

And darling was it day or was it nighttime
were them whippoorwills a-moaning through the trees,
through the trees
I don't remember just what you said but ooh, right from the start
you made me hotter than Mojave in my heart

Well baby, I could stay this way forever
just passing time at ninety-nine degrees
'cause loving you's my favorite kind of weather
oh, forever let the flame burn down in me

And I'll not prepare my heart for the change of season
and I'll whip old Winter Wind there if she blows, if she blows
Well, God bless the day that you came along
and you tipped my apple cart
and you made me hotter than Mojave in my heart

And I'll not prepare my heart for the change of season
and I'm a-gonna whip old Winter Wind there if she blows, if she blows
Well, God bless the day that you came along
and you tipped my apple cart
you made me hotter than Mojave in my heart
Now it's hotter than Mojave in my heart



WHEN LOVE WAS YOUNG (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

Look at you, look at me
my heart breaks as I read our sad story
Never thought that I'd be
here with you wishing I was free
I never dreamed today would come
when love was young

There was nothing I would not do
for the chance to see your face
How could I have known back then
that today I'd hesitate
When you hold me in your arms
I don't yearn for that charm
I never dreamed today would come
when love was young

Look at how our curtain fell
Guess it's true only time can tell
'bout an ending
Kids are grown, we've had our day
Guess it's time now to go away
I never dreamed today would come
when love was young

There was nothing I would not do
for the chance to see your face
How could I have known back then
that today I'd hesitate
When you hold me in your arms
I don't yearn for that charm
I never dreamed today would come
when love was young

I never dreamed today would come
when love was young



OUR TOWN (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

And you know the sun's settin' fast
and just like they say nothing good ever lasts
Well, go on now and kiss it goodbye but hold on to your lover
'cause your heart's bound to die
Go on now and say goodbye to our town, to our town
Can't you see the sun's settin' down on our town, on our town
goodnight

Up the street beside that red neon light
that's where I met my baby on one hot summer night
He was the tender and I ordered a beer
It's been forty years and I'm still sitting here

But you know the sun's settin' fast
and just like they say nothing good ever lasts
Well, go on now and kiss it goodbye but hold on to your lover
'cause your heart's bound to die
Go on now and say goodbye to our town, to our town
Can't you see the sun's settin' down on our town, on our town
goodnight

It's here I had my babies and I had my first kiss
I've walked down Main Street in the cold morning mist
Over there is where I bought my first car
it turned over once but then it never went far

And I can see the sun settin' fast
and just like they say nothing good ever lasts
Well, go on now and kiss it goodbye but hold on to your lover
'cause your heart's bound to die
Go on now and say goodbye to our town, to our town
Can't you see the sun's settin' down on our town, on our town
goodnight

I buried my Mama and I buried my Pa
They sleep up the street beside that pretty brick wall
I bring them flowers about every day
but I just gotta cry when I think what they'd say

If they could see how the sun's settin' fast
and just like they say nothing good ever lasts
Well, go on now and kiss it goodbye but hold on to your lover
'cause your heart's bound to die
Go on now and say goodbye to our town, to our town
Can't you see the sun's settin' down on our town, on our town
goodnight

Now I sit on the porch and watch the lightning-bugs fly
but I can't see too good, I got tears in my eyes
I'm leaving tomorrow but I don't wanna go
I love you my town, you'll always live in my soul

But I can see the sun's settin' fast
and just like they say nothing good ever lasts
Well, go on I gotta kiss you goodbye but I'll hold to my lover
'cause my heart's 'bout to die
Go on now and say goodbye to my town, to my town
Can't you see the sun's settin' down on my town, on my town
Goodnight, goodnight

* Once More, My Arkie Angel-The Music Of Iris Dement-"The Way I Should"

Click on title to link to YouTube's film clip of Iris DeMent performing "Sweet Is The Melody".

CD Review

The Way I Should, Iris Dement, Warner Brothers Records, 1996

I first heard Iris DeMent doing a cover of a Greg Brown tribute to Jimmy Rodgers, the old time Texas yodeller, on Brown's tribute album, "Driftless". I then looked for this album and for the most part was blown away by the power of DeMent's voice, her piano accompaniment and her lyrics (which are contained in the liner notes, read them, please). It is hard to type her style. Is it folk? Is it Country Pop? Is it semi-torch songstress? Well, whatever it may be you are in for a listening treat, especially if you are in a sentimental mood.

Stand outs here include- "There is a Wall in Washington" about the Vietnam Memorial probably one of the best anti-war songs you will ever hear. It is fairly easy to write a "Give Peace a Chance" or "Where Have All the Flowers Gone?" type of anti-war song. It is another to capture the pathos of what happened to too many families when we were unable to stop that war. "When My Morning Comes" hits home with all the baggage working class kids have about their inferiority when they screw up in this world. Lastly- "Walking Home Alone" evokes all the humor, bathos, pathos and sheer exhilaration of saying one was able to survive, and not badly, after growing up poor amid the riches of America. Listen on. Yo will be glad you did.


“Walkin' Home”

I'm walkin' home tonight
The streets are glowing 'neath the pale moonlight
I look around, there's not a soul in sight
and I'm walkin' home
Once again I hear my mother's voice
and all us kids making a bunch of noise
If I'm not careful I might start to cry
Just walkin' home tonight

I turn my head and hear the screen door slam
and there he is, that tall and dark-haired man
He looks my way but all alone he stands
and I am walkin' home
He's my Dad, you know I was his girl
He taught me all he knew about this world
and then he traveled right on out of sight
and I'm just walkin' home tonight

I'm walkin' home tonight
The streets are glowing 'neath the pale moonlight
I look around, there's not a soul in sight
and I am walkin' home

Old worn-out couches and a bunch of kids
Four to a bedroom and all Mom's plates were chipped
but I never knew about the things I missed
and I'm walkin' home
You see, it's just the place where I come from
and, good or bad, it's where the deal was done
Mom and Dad, their daughters and their sons
and I'm just walkin' home tonight

I'm walkin' home tonight
The streets are glowing 'neath the pale moonlight
I look around, there's not a soul in sight
and I'm walkin' home
Once again I hear my mother's voice
and all us kids making a bunch of noise
If I'm not careful I might start to cry
Just walkin' home tonight


No Time To Cry lyrics Y

My father died a year ago today.
The rooster started crowing when they carried Dad away.
There beside my mother, in the living room, I stood,
With my brothers and my sisters, knowing Dad was gone for good.

Well, I stayed at home just long enough,
To lay him in the ground and then I,
Caught a plane to do a show up north in Detroit town.
Because I'm older now and I've got no time to cry.

I've got no time to look back, I've got no time to see,
The pieces of my heart that have been ripped away from me.
And if the feeling starts to coming, I've learned to stop 'em fast.
`Cause I don't know, if I let 'em go, they might not wanna pass.
And there's just so many people trying to get me on the phone.
And there's bills to pay, and songs to play,
And a house to make a home.
I guess I'm older now and I've got no time to cry.

I can still remember when I was a girl.
But so many things have changed so much here in my world.
I remember sitting on the front yard when an ambulance went by,
And just listening to those sirens I would breakdown and cry.

But now I'm walking and I'm talking,
Doing just what I'm supposed to do.
Working overtime to make sure that I don't come unglued.
I guess I'm older now and I've got no time to cry.

I've got no time to look back, I've got no time to see,
The pieces of my heart that have been ripped away from me.
And if the feeling starts to coming, I've learned to stop 'em fast.
`Cause I don't know, if I let 'em go, they might not wanna pass.
And there's just so many people trying to get me on the phone.
And there's bills to pay, and songs to play,
And a house to make a home.
I guess I'm older now and I've got no time to cry.

Now I sit down on the sofa and I watch the evening news:
There's a half a dozen tragedies from which to pick and choose.
The baby that was missing was found in a ditch today.
And there's bombs a'flying and people dying not so far away.

And I'll take a beer from the 'fridgerator,
And go sit out in the yard and with a cold one in my hand,
I'm gonna bite down and swallow hard.
Because I'm older now: I've got no time to cry.

I've got no time to look back, I've got no time to see,
The pieces of my heart that have been ripped away from me.
And if the feeling starts to coming, I've learned to stop 'em fast.
`Cause I don't know, if I let 'em go, they might not wanna pass.
And there's just so many people trying to get me on the phone.
And there's bills to pay, and songs to play,
And a house to make a home.
I guess I'm older now and I've got no time to cry.

I guess I'm older now: I just ain't got no time to cry.

No time to cry.

No time to cry.

No time to cry.

*My Arkie Angel- The Music Of Iris DeMent-"Infamous Angel"

Click on title to link to YouTube's film clip of Iris DeMent performing "Our Town"

CD REVIEW

Infamous Angel, Iris Dement, Rounder Records, 1992

Frankly, and I admit this publicly for the first time in this space, I love Ms. Iris Dement. Not personally, of course, but through her voice, her lyrics and her musical presence. This ‘confession’ may seem rather startling coming from a reviewer who is as likely here to go on and on about Bolsheviks, ‘Che’, Leon Trotsky, high communist theory and the like. Especially, as well given Ms. Dement’s seemingly simple quasi- religious themes and commitment to paying homage to her rural background in song. All such discrepancies though go out the window here. Why?

Well, for one, this old radical got a lump in his throat the first time he heard “These Hills”. Okay, that happens sometimes-once- but why did he have the same reaction on the fifth and twelfth hearings? Explain that. I can easily enough. If, on the very, very remotest chance, there is a heaven then I know one of the choir members. Enough said. By the way give a listen to “Sweet Forgiveness” and “After You’ve Gone” (with that great line about 'knowing' every line in her man's face. Then you too will be in love with Ms. Iris Dement. Iris, here is my proposal. If you get tired of fishing the U.P., or wherever, with Mr. Greg Brown, get bored with his endless twaddle about old Iowa farms or going on and on about Grannma's cellar just whistle. Better yet just yodel like you did on “Jimmie Rodgers Going Home” on that “Driftless” CD.

INFAMOUS ANGEL (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

Last night before I went to sleep my knees dropped to the floor
I turned me eyes up to the sky and I prayed "Please help me, Lord,
you know I've sowed my wild oats and now the fun's all gone"
and then I heard these tender words
and I put them in my song:

"Infamous Angel come on home
to someone who loves you and knows you needed to roam
Grab your things, a ticket's waiting at the bus depot
for: Infamous Angel, Destination: Home"

I heard heaven's choir rejoicing as the tears broke from my eyes
and all at once it lifted the weight from my past life
I found a pen and I left a note on the dresser drawer
"Infamous Angel, she don't live here anymore"

Infamous Angel come on home
to someone who loves you and knows you needed to roam
Grab your things, a ticket's waiting at the bus depot
for: Infamous Angel, Destination: Home

Then I hurried out the back door as quickly as I could
I went flying down two flights of stairs 'til on the street I stood
and there I took that final look at my old neighbourhood
Then I ran down the street proclaiming "Angel gone for good"

Infamous Angel going home
to someone who loves her and knows she needed to roam
She grabbed her things and claimed the ticket at the bus depot
for: Infamous Angel, Destination: Home
Infamous Angel, Destination: Home



SWEET FORGIVENESS (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

Sweet forgiveness, that's what you give to me
when you hold me close and you say "That's all over"
You don't go looking back,
you don't hold the cards to stack,
you mean what you say.

Sweet forgiveness, you help me see
I'm not near as bad as I sometimes appear to be
When you hold me close and say
"That's all over, and I still love you"

There's no way that I could make up for those angry words I said
Sometimes it gets to hurting and the pain goes to my head

Sweet forgiveness, dear God above
I say we all deserve a taste of this kind of love
Someone who'll hold our hand,
and whisper "I understand, and I still love you"



AFTER YOU'RE GONE (Iris DeMent)
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

There'll be laughter even after you're gone
I'll find reasons to face that empty dawn
'cause I've memorized each line in your face
and not even death can ever erase the story they tell to me

I'll miss you, oh how I'll miss you
I'll dream of you and I'll cry a million tears
but the sorrow will pass and the one thing that will last
is the love that you've given to me

There'll be laughter even after you're gone
I'll find reason and I'll face that empty dawn
'cause I've memorized each line in your face
and not even death could ever erase the story they tell to me



MAMA'S OPRY (Iris DeMent)
[note: harmony vocals provided by Emmylou Harris]
(c) 1992 Songs of Iris/Forerunner Music, Inc. ASCAP

She grew up plain and simple in a farming town
Her daddy played the fiddle and use to do the calling
when they had hoedowns
She said the neighbors would come
and they'd move all my grandma's furniture 'round
and there'd be twenty or more there on the old wooden floor
dancing to a country sound

The Carters and Jimmy Rodgers played her favourite songs
and on Saturday nights there was a radio show
and she would sing along
and I'll never forget her face when she revealed to me
that she'd dreamed about singing at The Grand Ol' Opry

Her eyes, oh how they sparkled when she sang those songs
While she was hanging the clothes on the line
I was a kid just a humming along
Well, I'd be playing in the grass,
to her what might've seemed obliviously
but there ain't no doubt about it, she sure made her mark on me

She played old gospel records on the phonograph
She turned them up loud and we'd sing along
but those days have passed
Just now that I am older it occurs to me
that I was singing in the grandest opry

And we sang Sweet Rose of Sharon, Abide With Me
'til I ride The Gospel Ship to Heaven's Jubilee
and In That Great Triumphant Morning my soul will be free
and My Burdens Will Be Lifted when my Saviour's face I see
So I Don't Want to Get Adjusted to This World below
but I know He'll Pilot Me 'til it comes time to go
Oh, nothing on this earth is half as dear to me
as the sound of my Mama's Opry

And we sang Sweet Rose of Sharon, Abide With Me
'til I ride The Gospel Ship to Heaven's Jubilee
and In That Great Triumphant Morning my soul will be free
and My Burdens Will Be Lifted when my Saviour's face I see
So I Don't Want to Get Adjusted to This World below
but I know He'll Pilot Me 'til it comes time to go
Oh, nothing on this earth is half as dear to me
as the sound of my Mama's Opry



HIGHER GROUND (Iris DeMent)
[note: lead vocal by Flora Mae DeMent, backing vocals by "The Infamous Angel Choir" (Iris, etc.)]
Traditional, public domain

[Spoken intro by Iris: "No voice has inspired me more than my mother's. She showed me that music is a pathway to higher ground".]

I'm pressing on the upward way
New heights I'm gaining every day
Still praying as I'm onward bound
Lord, plant my feet on higher ground

Lord, lift me up and let me stand
by faith on Heaven's table land
A higher plain than I have found
Lord, plant me feet on higher ground

My heart has no desire to stay
where doubts arise and fears dismay
Though some may dwell where these abound
my prayer, my aim, is higher ground

Lord, lift me up and let me stand
by faith on Heaven's table land
A higher plain than I have found
Lord, plant me feet on higher ground

I want to scale the utmost heights
and catch a gleam of glory bright
but still I'll pray 'til heaven I've found
Lord, lead me on to higher ground

Lord, lift me up and let me stand
by faith on Heaven's table land
A higher plain than I have found
Lord, plant me feet on higher ground

Lord, lift me up and let me stand
by faith on Heaven's table land
A higher plain than I have found
Lord, plant me feet on higher ground

A Rage For Pigskin- College Division

Commentary

In post- World War II America, the time of this writer’s youth, television and its seemingly infinite possibilities settled on mass sport entertainment as one of its pillars, a wise decision from a revenue producing perspective, if not from a cultural one. Needless to say sports like football that had previously had small, stadium-bound audiences for the most part soaked up the American television airwaves. That all by way of introducing this writer’s life-long fascination with the trials and tribulations of college football and the quest of the 'mythical' national college football championship that has provided fodder for endless arguments over the fairness of the system to produce a real champion in face-to-face combat.

Who knows when a kid first becomes conscious of sports and the difference between them. Maybe in some elementary school physical education class. Maybe in front of the television on some misbegotten Saturday or Sunday afternoon watching a half understood game that is beyond the realm of recollection today. Maybe it was some late night viewing of "The Knute Rockne Story" with Pat O’Brian as Knute and the late, unlamented Ronald Reagan as the heroic George Gipp. One thing is clear it was not from a shared experience with my father. This hard-pressed, harried man was too busy trying to make ends meet (and failing) to have the luxury of watching some esoteric game like football. So we will have to leave the genesis of my football mania as undetermined. Not unlike a lot of life’s habits.

Another source that we can eliminate was an ability to master the game or to perform it at any level short of the ridiculous. There may have been earlier tag football experiences but the first clear recollection of my lack of athletic prowess in an organized team situation was in the seventh grade in those days in my part of the country the first year of junior high school (now, generally, called middle school). There were actually very few sports opportunities at that grade level and football was it in the fall. I thus dutifully and, if I am not mistaken in the fog of history here, somewhat passionately went out for the team. Not knowing much about any of the positions I tried out for center. I think the assumption there was that since I handled the ball that was the key position.

The only problem with my theory was that I was probably even then something like forty or fifty pounds too light for that position. But I remained intrepid and stuck it out as about the fourth-string center that season. Oh yes, in the spirit of good fellowship, sportsmanship or whatever the coach let me go and strut my stuff that season-for one play. The opposing defensive player lifted me about ten feet off the ground with his straight-armed tackle. Needless to say I went abjectly went back the bench full of feelings and foreboding that this was not my sport. Of course in the whirl of today’s sports frenzy I would not have been allowed on the team, even in middle school. Perhaps we can trace the demise of a sense of good sportsmanship and fair play not from the fields of Eton, as in the old days, but in the football fields of America’s middle schools. In any case that was my last team sport experience, my sense of social solidarity and collective work came from other sources.

Let’s go back to that "Knute Rockne" movie for a moment. Although it is probably not the source for my love of college football it does play into the why of my love of college football rather than professional football. I have written elsewhere that as a youth I was somewhat agnostic about my Irish heritage (on my mother’s side) due to the overwhelming problems of existence that confronted our poor bedraggled nuclear family. However, and take this for what it is worth, I very early on attached myself to Notre Dame as a team that I followed. Why? It could have been as small a reason that their team nickname was “The Fighting Irish”. Whatever the reason from middle school to this day, during football season, I scan the newspaper scoreboard to see how the lads have done. In my youth, until 1964 (and for about 20 years now as well) they were not a very good team, certainly not the stuff of the Rockne/Gipp legend. But that is how allegiances get formed.


Like many another red-blooded American high school student in the early 1960’s (or now, for that matter, but you can speak for yourselves), aside for a passion for politics, I was as devoted as anyone to my high school football team. I believe that I went to virtually every game, home or away. That was a sign, among others, of being cool. It also cleared the path a little for my odd-ball political positions. Like being very strongly for the civil rights struggle in the South in a high school that was purposefully all white (even though black neighborhoods, although not in the town itself, were only a few miles away). Or being one of the few people in the town square on Saturday morning with a placard calling for unilateral nuclear disarmament. If that protest had been on Saturday afternoon during football season what would I have done? I will leave that to the imagination of the reader.

By a quirk of fate the publicly-funded college that I attended did not have its own football team. Thus, that Notre Dame allegiance got full play. Of course, although I had not been aware of it earlier this allegiance was not some personal aberration but a significant factor in the popularity of that team. There was, and perhaps there still is, a term for it called “subway” fans meaning that urban Irish types were devoted to the team from South Bend. There were certain bars in the Boston area that one did not go into on Saturday afternoon unless one was a Notre Dame fan, passionate or lukewarm. A highlight was the famous Michigan State/ Notre Dame game that the Irish won 10-10 (oops, tied- these disputes die hard).

After college my devotion continued although not for the "Fighting Irish" (except as they, occasionally, entered the national championship mix). I have spent many a misbegotten hour putting parlays together based on that Top 10 (in the old, old days), Top 20 (more recently) and Top 25 (now). There are infinite combinations that one can place bets on. My favorite (after picking the national champion straight up in pre-season which I have not been particularly successful at) is the top four combinations based on the Coaches and AP Polls. Also top eight and the top 25 (that last is more of an interesting bet than anything else and I got creamed last year with my ill-conceived selections). Enough said.

Doin' His Midnight Creep- The Howlin' Wolf Story

DVD REVIEW
Doin' His Midnight Creep- The Howlin' Wolf Story

The Howlin’ Wolf Story, Howlin’ Wolf and various artists and commentators, Productions, 2004

I have reviewed several of Howlin’ Wolf’s CDs in this space previously and had expected that this documentary about the life, the times and the influence of this incredible blues performer would merely be an appetizer for further reviews of his music. Not so. This well-done, lovingly put together and extremely informative documentary is a worthy viewing for the novice and old Wolf aficionados like me. Thus, rather than placing this commentary as a tail to some other Wolf entry it is worthy of separate entry here.

In this presentation filled, as always in this kind of work, with the inevitable “talking heads” we go from Wolf‘s roots down in the Mississippi Delta, cotton country and nothing else, in the 1920’s and 1930’s through to the first stop up the Mississippi at Memphis on to the Mecca Chicago in the post- World War II period and finally to international renown in the blues revival started by the likes of The Rolling Stones and Eric Clapton the mid-1960s. In short we are treated to a view of the trajectory of Wolf’s life; unlike let us say Son House with whom Wolf worked with in the old days who stuck with the country roots, from country blues of the back road jukes to the electricity of the urban ghetto that made those old blues jump for, at first, migratory urban blacks and then young whites like this reviewer. Along the way many of the musicians that worked with Wolf like Hubert Sumerlin, a blues guitarist legend in his own right, and Sam Lay as well as Wolf’s daughters, the Chess Record producer Marshall Chess and others give some amusing stories and anecdotes on the life of the great bluesman. And seemingly as always when blues or rock and roll are mentioned little segments with the ubiquitous Sam Phillips of the well-known Sun Recording studio in Memphis.

I do not generally comment on (or for that matter look at) the special features sections of DVD. Not doing so here would be a mistake. There is some nice home movie footage, some interesting Wolf stories by his companions and rivals, a nice segment on the rivalry between Wolf and Muddy Waters to be “King of The Chicago Blues” and a recording of a radio broadcast of Wolf doing "Little Red Rooster". Damn, I flipped out the first time I heard that song when it was covered by The Rolling Stones in the early 1960’s. I also flipped out when I first heard a Wolf recording of it. I don’t know what I would have done had I heard it on my radio then. Probably started hitchhiking for Chicago.

All of this information is nice but I am sure the reader is just as interested to know about the music. Oh yes there is some great footage of classic Wolf efforts. Of course for this reviewer number one is always Wolf’s "Little Red Rooster". Christ, he is practically eating the harmonica by the end of the song. "Lovin’ Spoonful", "Moaning at Midnight" and a host of other songs get their usual professional Wolf treatment. That is a point to be underscored, he was a professional in his approach to the music, its presentation and the way that he could influence a genre that he practically build (along with his competitor Muddy Waters) from scratch. If you need an hour of the Wolf doin’ his Midnight Creep then you really have to see this documentary. Kudos to the filmmakers on this one.

*Folk Music 101- There Are Many Rooms In That Mansion

CD REVIEWS

Troubadours Of The Folk Era, Volumes One, Two And Three, Rhino Records, 1992

The generic parts of this review, relating to the 1960's folk revival, have been used in other reviews of musicians from this period.

My musical tastes were formed, as were those of many 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 at some other level. 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 influence on the times.

My leftist political consciousness, painfully fought for in my troubled 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 this two volume compilation of songs by the best musicians of the early folk period.

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. The artists here, for the most part, stayed within the broad parameters of the term folk. There are, indeed, many rooms in that mansion as this compilation will demonstrate to the attentive listener. Some of the artists listed here, like Pete Seeger, I have reviewed previously elsewhere in this space. Others, like Eric Von Schmidt, I will do individual reviews of in the future. As a general observation the producers of this CD 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. For those too young to have heard it then you have been given a reprieve- use it.

Highlights of Volume One are Joan Baez on "Silver Dagger"; Eric Andersen on "Violets of Dawn", the late Odetta on "John Henry"; Jesse Colin Young on "Four In The Morning": Donovan on "Catch The Wind" and an incredible rendition by the late Eric Von Schmidt of his "Wasn't That A Mighty Storm" (about a flood in Galveston, Texas in the early part of the 20th century).

Highlights on Volume Two are Tom Rush on "The Circle Game"; Judy Collins on " Who Knows Where The Time Goes"; Tom Paxton on "Ramblin' Boy"; and, Jim Kweskin & The Jug Band (that's with Geoff Muldaur and Maria Muldaur along with Jim, by the way) on a very well done version of the old blues classic "Don't You Leave Me Here".

Highlights on Volume Three, which is a little less worthwhile than the first two volumes and, frankly, reflects inclusions of some 'space fillers', are Leadbelly's "Goodnight, Irene"; Woody Guthrie's "Hard, Ain't It Hard" and Sonny Terry's "Rider".

*****

500 Miles by Hedy West

If you miss the train Im on, you will know that I am gone
You can hear the whistle blow a hundred miles,
A hundred miles, a hundred miles, a hundred miles, a hundred miles,
You can hear the whistle blow a hundred miles.

Lord Im one, lord Im two, lord Im three, lord Im four,
Lord Im 500 miles from my home.
500 miles, 500 miles, 500 miles, 500 miles
Lord Im five hundred miles from my home.

Not a shirt on my back, not a penny to my name
Lord I cant go a-home this a-way
This a-away, this a-way, this a-way, this a-way,
Lord I cant go a-home this a-way.

If you miss the train Im on you will know that I am gone
You can hear the whistle blow a hundred miles.

Once I Was- Tim Buckley

Once I was a soldier
And I fought on foreign sands for you
Once I was a hunter
And I brought home fresh meat for you
Once I was a lover
And I searched behind your eyes for you
And soon therell be another
To tell you I was just a lie

And sometimes I wonder
Just for a while
Will you remember me

And though you have forgotten
All of our rubbish dreams
I find myself searching
Through the ashes of our ruins
For the days when we smiled
And the hours that ran wild
With the magic of our eyes
And the silence of our words

And sometimes I wonder
Just for a while
Will you remember me

Ramblin' Boy
Words and Music by Tom Paxton

He was a man and a friend always
He stuck with me in the hard old days.
He never cared if I had no dough
We rambled 'round in the rain and snow.

[Chorus]

And here's to you my ramblin' boy
May all your ramblin' bring you joy
And here's to you my ramblin' boy
May all your ramblin' bring you joy.
In Tulsa town we chanced to stray
We thought we'd try to work one day
The boss said he had room for one
Says my old pal, "We'd rather bum!"

[Chorus]

Late one night in a jungle* camp
The weather it was cold and damp
He got the chills and he got 'em bad
They took the only friend I had.
[Chorus]

He left me here, to ramble on
My ramblin' pal, is dead and gone
If when we die, we go somewhere
I'll bet you a dollar, he's ramblin' there.

[Chorus]

The Circle Game by Joni Mitchell

Yesterday a child came out to wonder
Caught a dragonfly inside a jar
Fearful when the sky was full of thunder
And tearful at the falling of a star
Then the child moved ten times round the seasons
Skated over ten clear frozen streams
Words like, when youre older, must appease him
And promises of someday make his dreams
And the seasons they go round and round
And the painted ponies go up and dawn
Were captive on the carousel of time
We cant return we con only look behind
From where we came
And go round and round and round
In the circle game.

Sixteen springs and sixteen summers gone now
Cartwheels turn to car wheels thru the town
And they tell him,
Take your time, it wont be long now
Till you drag your feet to slow the circles down
And the seasons they go round and round
And the painted ponies go up and dawn
Were captive on the carousel of time
We cant return we can only look behind
From where we came
And go round and round and round
In the circle game

So the years spin by and now the boy is twenty
Though his dreams have lost some grandeur
Coming true
Therell be new dreams, maybe better dreams and plenty
Before the last revolving year is through.
And the seasons they go round and round
And the painted ponies go up and down
Were captive on the carousel of time
We cant return, we can only look behind
From where we came
And go round and round and round
In the circle game

THIS LAND IS YOUR LAND
words and music by Woody Guthrie

Chorus:

This land is your land, this land is my land
From California, to the New York Island
From the redwood forest, to the gulf stream waters
This land was made for you and me

As I was walking a ribbon of highway
I saw above me an endless skyway
I saw below me a golden valley
This land was made for you and me

Chorus

I've roamed and rambled and I've followed my footsteps
To the sparkling sands of her diamond deserts
And all around me a voice was sounding
This land was made for you and me

Chorus

The sun comes shining as I was strolling
The wheat fields waving and the dust clouds rolling
The fog was lifting a voice come chanting
This land was made for you and me

Chorus

As I was walkin' - I saw a sign there
And that sign said - no tress passin'
But on the other side .... it didn't say nothin!
Now that side was made for you and me!

Chorus

In the squares of the city - In the shadow of the steeple
Near the relief office - I see my people
And some are grumblin' and some are wonderin'
If this land's still made for you and me.

Chorus (2x)

©1956 (renewed 1984), 1958 (renewed 1986) and 1970 TRO-Ludlow Music, Inc. (
BMI)

TOMORROW IS SUCH A LONG TIME lyrics
(Bob Dylan)

If today was not an endless highway
If tonight was not a crooked trail
If tomorrow wasn't such a long time
then lonesome would mean nothing to you at all

Ah but only if my own true love is waitin'
Yes and if I could hear her heart a softly poundin'
only if she were lying by me
would I rest in my bed once again

I can't see my reflection in the mirror
I can't speak the sounds that show no pain
I can't hear the echoes of my footsteps
and can't remember the sound of my own name

Ah but only if my own true love is waitin'
Yes and if I could hear her heart a softly poundin'
only if she were lying by me
would I rest in my bed once again

There's beauty in the silver singin' river
There's beauty in the sunlight in the sky
But none of these, and nothing else
can steal the beauty
that I remember in my true love's eyes

Ah but only if my own true love is waitin'
Yes and if I could hear her heart a softly poundin'
only if she were lying by me
would I rest in my bed once again

JOHN HENRY, STEEL DRIVING MAN

1. John Henry was a railroad man,
He worked from six 'till five,
"Raise 'em up bullies and let 'em drop down,
I'll beat you to the bottom or die."

2. John Henry said to his captain:
"You are nothing but a common man,
Before that steam drill shall beat me down,
I'll die with my hammer in my hand."

3. John Henry said to the Shakers:
"You must listen to my call,
Before that steam drill shall beat me down,
I'll jar these mountains till they fall."

4. John Henry's captain said to him:
"I believe these mountains are caving in."
John Henry said to his captain: "Oh, Lord!"
"That's my hammer you hear in the wind."

5. John Henry he said to his captain:
"Your money is getting mighty slim,
When I hammer through this old mountain,
Oh Captain will you walk in?"

6. John Henry's captain came to him
With fifty dollars in his hand,
He laid his hand on his shoulder and said:
"This belongs to a steel driving man."

7. John Henry was hammering on the right side,
The big steam drill on the left,
Before that steam drill could beat him down,
He hammered his fool self to death.

8. They carried John Henry to the mountains,
From his shoulder his hammer would ring,
She caught on fire by a little blue blaze
I believe these old mountains are caving in.

9. John Henry was lying on his death bed,
He turned over on his side,
And these were the last words John Henry said
"Bring me a cool drink of water before I die."

10. John Henry had a little woman,
Her name was Pollie Ann,
He hugged and kissed her just before he died,
Saying, "Pollie, do the very best you can."

11. John Henry's woman heard he was dead,
She could not rest on her bed,
She got up at midnight, caught that No. 4 train,
"I am going where John Henry fell dead."

12. They carried John Henry to that new burying ground
His wife all dressed in blue,
She laid her hand on John Henry's cold face,
"John Henry I've been true to you."

Reno Nevada

It's a long long way down to Reno Nevada
It's a long long way to your home
And the change in your pocket it's beginning to crumble
And you reap just about what you sow
You can walk down the street
Pass your face in a window
You can go on foolin' around
You can work night and day take a chance on promotion
You can fall through a hole in the ground

Well there ain't no game like the game that you're playing
When you've got a little something to lose
And there ain't no time like the time that you're wasting
And you waste just about what you choose
There's a man at the table and you know he's been able
To return all the odds that you lay
And you can't feed your hunger
And you ain't getting younger
And your tongue it's got nothing to say

It's a long long way down to Reno Nevada
It's a long long way to your home
And the ground underneath you it's beginning to crumble
And the sky up above you has grown
There's a time to be grievin' and a time to be screamin'
And a time just to scroll on the wall
And you ain't got the double
And it ain't worth the trouble
You're feeling you're going nowhere at all

COCAINE BLUES

Cocaine, cocaine,
'Round my heart and runnin' 'round my brain,
Cocaine, aw, you ol' cocaine.

I woke up this mornin', Lord, I had a hunger pain.
And all I want for breakfast is my good cocaine,
Cocaine, aw you ol' cocaine.

Jump out of bed, Mama, run downtown;
Take along the money and look all around.
Find the man, the man that sells cocaine.

Come here, Mama, come here quick;
That ol' coke's got me and I'm feelin' sick.
Cocaine, aw you ol' cocaine.

Get out of here, Mama, I thought you understood;
You got no connections then you're no damn good.
Cocaine.

Well, coke's for horses, Lord, it ain't for men.
They say it kills you, but they don't say when.

C'mon, Mama, let's rent us a boat.
We'll sail down that Gibraltar moat;
Shed a tear every time we pass Tangiers.

Cocaine, cocaine,
'Round my heart and runnin' 'round my brain,
Cocaine, aw, you ol' cocaine.

Donovan » Catch The Wind Lyrics

In the chilly hours and minutes,
Of uncertainty, I want to be,
In the warm hold of your loving mind.

To feel you all around me,
And to take your hand, along the sand,
Ah, but I may as well try and catch the wind.

When sundown pales the sky,
I wanna hide a while, behind your smile,
And everywhere I'd look, your eyes I'd find.

For me to love you now,
Would be the sweetest thing, 'twould make me sing,
Ah, but I may as well, try and catch the wind.

When rain has hung the leaves with tears,
I want you near, to kill my fears
To help me to leave all my blues behind.

For standin' in your heart,
Is where I want to be, and I long to be,
Ah, but I may as well, try and catch the wind.

*Hello In There- The Music Of John Prine

Click on the headline to link to a YouTube film clip of John Prine performing his classic, "Angel From Montgomery".

CD/DVD REVIEWS

Great Days: The John Prine Anthology, John Prine, Rhino Records, 1993

Over the last several months I have done more musically-oriented reviews that I had expected to on this site in order to flesh out the role of some of the 1960's cultural icons on the times. One of the themes that have kept cropping up is that for some folk/blues-oriented musical artists like Bob Dylan my attachment was immediate, long time and on-going. For other artists like John Prine it has been more of a recently acquired taste. In fact, my first acquaintance with the work of John Prine, at least that I was aware of, was several years ago when I was requested to get a couple of his CDs for a friend for Christmas. Upon listening to those albums, including this compilation, we both agreed that the best bet was to return them and get something else. Go figure.

I had, obviously, heard Bonnie Raitt do Prine's “Angel From Montgomery” long ago but I never associated his name with that song. Then a couple of years ago I happened to listen to his “Hello In There” and “Sam Stone”. Anyone whose has been affected by the Vietnam War experience in any way will gasp after hearing this very personal take of the destructiveness of that war for many of those who fought it, found hard drugs and found the black hole as a result. If you want to hear a real anti-war song rather than something wistful like “Where have All The Flowers Gone?” and the like then listen to this one. Yes, this guy Prine had something to say that I wanted to (and on some songs, needed to) hear.

This compilation represents a very wide selection of his best work, arguably the best representation of that work in one location that you could get. Mr. Prine is a good guitar player, a very, very good wordsmith who has produced some poetic turns of phrases here that will have you thinking for a while. Moreover on, for example, “Dear Abby” he can show his “silly”, nonsensical side. He also frankly, has the wry sense of humor (in the classical Greek sense of that word) of a man who has been pushed around by life, has pushed back; has taken his beatings, dusted himself off and gotten back up again. You know, just the kind of guy that I, and I am sure other guys and gals of a certain age, very definitely can relate to, and in some cases like that above-mentioned “Hello In There” need to relate to. If you have just one John Prine album to get this is the one. Then start saving your dough to get the others.

In addition to the songs mentioned above listen to his cover of “Killing The Blues” and Steve Goodman’s “Souvenirs”. Also Unwed Fathers”, “The Late John Garfield Blues” and “Sweet Revenge”.

The Missing Years, John Prine, Oh Boy Records, 2002

This is a later compilation after his, hopefully, successful bout with cancer. Believe me the above remarks mentioned in the review of 'Great Days" still apply. So what is good here? Listen to "The Sins Of Memphisto", "Picture Show" Train" and "Jesus The Missing Years". Then you will know what I mean by that remark about his wordsmanship mentioned above in the review of “Great Days”.

John Prine At Sessions At West 54th, John Prine with Iris Dement and various artists, OnBoy Records, 2001

Over the last several months I have done more musically-oriented reviews that I had expected. One of the themes that keep cropping up is that for some folk/blues-oriented musical artists like Bob Dylan my attachment was immediate, long time and on-going. For other artists like John Prine it has been more of a recently acquired taste. I had, obviously, heard Bonnie Raitt do his "Angel From Montgomery" but I never associated his name with that song. Then a couple of years ago I happened to listen to his "Hello In There" and "Sam Stone". Yes, this guy has something to say that I wanted to (on some songs, needed to) hear.

This concert represents a small selection of some of his work, although with the exception of "Sam Stone", "Lake Marie" and "Hello in There" not much in the way of classics, at least that I am familiar with. This concert would thus only rate as a pretty fair performance except that on a few songs like "When Two World Collide" he is accompanied by Iris Dement (a powerful singer in her own right who I have reviewed elsewhere in this space. She is also the wife of singer songwriter Greg Brown who is also reviewed elsewhere here). Iris is also a recent acquisition. I would travel very far to hear that voice of hers (and have done so). Incidentally, I have seen both these performers in person over the past couple of years- they still have it. Still this is not the DVD that YOU need to understand either talent, but you may want it.

*An Appreciation of R & B's Ike Turner

Click On Title To Link To YouTube's Film Clip Of Ike Turner And His Kings of Rhythm In A 1959 Rock Out.

CD REVIEW

The Sun Sessions By Ike Turner and His Kings of Rhythms, Ike Turner, Sun Records, 1959

Needless to say the late Ike Turner’s reputation as a performer has suffered from the revelations about his sexual abuse of the currently still performing Tina Turner (and still wowing audiences with her raucous soulful energies). Tina's revelations in her biography and through the movie "What's Love Got To Do With It" have all but erased any popular knowledge of Ike's seminal role in the R&B aspect of the creation of Rock 'n' Roll in the early 1950's. While one needs to pay due respect to political correctness in this matter and all one's sympathies are with Tina it is nevertheless necessary to pay homage to Ike's pivotal role in that development, warts and all.

One needs to start from Ike's work on 1951's "Rocket 88" (often considered the first rock 'n' roll record although readers of this space know that my preferred candidate is Big Joe Turner's "Shake, Rattle and Roll"), to his piano backings for Little Milton and Junior Parker and his twangy, pre-funk heavy guitar playing throughout the 50s (for Loma, among others). Turner was there, contributing ideas and stretching existing sounds into the new cosmos (and new white teenage music market). However, we all know it always has to get back to that Sun studio in Memphis (and the pervasive Sam Phillips). Right? But where is that classic "Rocket 88" here? Although it is readily available elsewhere it should be in this compilation. I went crazy recently when I heard it for the first time in a long time. That was a time when men and women played hard-driving R&B for keeps.


As others have pointed out and I am beholding to here for the remaining comments as a recording artist Turner hopped around quite a bit, recording for (or having his recordings leased to) a variety of labels throughout the 50s, including RPM, Modern, Chess and Sun. His nomadic wanderings make a label-centric compilation such as this more like a snapshot than a coherent view of his pre-Ike & Tina work. Even the liner notes (from Bill Dahl) have a difficult time providing context for these tracks without alluding to coincidental tracks (on other labels) that aren't here.
Of the actual Sun-cut tracks, there are many stand-outs, including several that weren't released at the time of their waxing. Billy "The Kid" Emerson vocalizes on several of the disc's highlights, including his Sun debut, the tremelo-and-blues "No Teasing Around." Here he mixes R & B crooning (of the sort peaking with Specialty artists like Percy Mayfield and Joe Liggins) with a bit of the rockabilly swagger that would soon flourish. His follow-up, "The Woodchuck," features a lyric that riffs on the childhood rhyme, and is powered by a generous helping of Turner's stinging guitar.

After leaving Memphis and cutting sides for Federal in '56 and '57, Turner self-produced recordings in St. Louis in 1958 and sold them to Sun. New lead vocalist Tommy Hodge had great style, and the Louis Jourdan-like jump-blues of "I'm Gonna Forget About You Baby (Matchbox)" is very catchy. Carlson Oliver's rocking sax solo is a real standout, and Turner's whammy bar gets a full workout on "How Long Will It Last."

Note: Many of the songs by the various artists featured here have been placed on other Sun-related compilations, especially the work of Billy Emerson. However, it is nice to have Ike's early Sun work in one place except that mandatory "Rocket 88".

FDR And The New Deal- The Last Gasp The Last Time

DVD REVIEW

FDR: American Experience, four part series, PBS, 1994

The economic news of the past several months has created a virtual cottage industry of commentators whose comparative references to the Great Depression of the 1930’s has made it almost a commonplace. Also common are comparisons of the tasks that confronted the subject of this documentary, the 32nd President of The United States Franklin Delano Roosevelt (hereafter FDR), and those that confront the 2008 election victor the President-elect Barack Obama, who seemingly has that same kind of broad mandate as FDR did to make major economic moves. Thus, as is my habit, I went scurrying to find a suitable documentary that would refresh my memory about the decisive role that FDR played back then as the last gasp “savior” of the American capitalist economic system.

An added impetus to do that search was the recent passing of the legendary oral historian, Studs Terkel, whose bread and butter was to capture the memories of the generation that was most influenced by FDR’s policies and whose oral histories have been the subject of many reviews of late by this writer. A biographic refresher on FDR thus seemed to be written in the stars. I found, for a quick overview of this subject, the perfect place to start is this American Experience four- part production on the life, loves, trials, tribulations and influence of this seminal American bourgeois politician.

That said, if one is looking for an in-depth analysis of the role that FDR played in saving the capitalist system in America in the 1930’s, or the concurrent rise of the imperial presidency under his guidance, or the increased role of the federal government through its various executive agencies or the role of his “brain trust” (Rexford Tugwell, Harry Hopkins, Harold Ickles, etc.) in formulating policy then one should, and eventually must, look elsewhere. However, if one wants to capture visually the sense of the times and FDR’s (and of his wife Eleanor’s, who is worthy of separate series in her own right) influence on them then this is the right address.

As is almost universally the case with American Experience productions one gets a technically very competent piece of work that moreover gets a boost here from the always welcome grave narrative skills of David McCullough, who as a historian in his own right has a grasp of the sense of such things. Of course, as always with PBS you get more than the necessary share of “talking heads” commentators who give their take on the meaning of each signpost in the long FDR trail to the presidency and beyond. Of note here is the commentary of historian Doris Kearns Goodwin whose recent book on the Lincoln presidency “Team Of Rivals” has received much notice in the lead-up to the Obamiad.

And what are those signposts of FDR’s life that might have given an inkling that he was up to the task of the times? Other than the question of class (in his case upper class, old New York money) FDR’s appetite to be president is not an unfamiliar one, if somewhat unusual from someone of that New York set at the turn of the 20th century. Except for this little twist in FDR’s case- when one’s relative, if a distant one, was an idolized Teddy Roosevelt who was President as he entered into manhood. That, at least as presented in this film, is a key source of FDR’s presidential “fire in the belly” drive.

The unfolding of the saga of FDR’s “fire in the belly” ambitions takes up the first two parts of the series. Here we find out the early family history, the various schoolboy pursuits, the private schools, the obligatory Ivy League education (Harvard), the courtship of the sublime distant cousin (and Teddy favorite) Eleanor, his first stab at elective office in New York, his apprenticeship in Washington as Assistant Secretary of the Navy during the Wilson presidency, his little extramarital love affairs, his selection as Vice Presidential candidate in 1920, the seemingly political career-ending bout with polio and the fight against its physical restrictions, the successful efforts to hide this from the public, thereafter the successful return to politics as Governor of New York and, finally, the nomination and election as the 32nd President of The United States. Plenty of material for thought here.

But that is only prelude. FDR faced a capitalist system that had like today 'lost', although for different specific reasons, its moorings and was in need of deep repair (or overthrow). It is not unfair, I do not believe, to say as I have said in the headline of this entry that FDR’s effort was the last gasp effort of capitalism to survive (although his fellow capitalists and their intellectual, political and media hangers-on shortsightedly called him a “traitor to his class”). The most glaring contrast in the whole documentary is that between an overwhelmed President Hoover’s abject defeatism and FDR’s strident confidence (a like comparison could be made, at least of the defeated presidential part, with the current Bush).

Although we now know that the ultimate way out of that Great Depression was World War II in 1933 FDR applied, piecemeal and as triage, a whole series of economic programs to jump start the system, most famously the National Recovery Act (NRA, later declared unconstitutional by the Supreme Court). FDR’s first two terms were basically a fight to find ways, virtually any ways to keep the economy moving and get people back to work. He was running out of time and the public’s patience when the rumblings of WWII came on to the horizon in Europe.

The hard-bitten fight by FDR to get America into the European War against a public opinion that was essentially isolationist, mainly as a result of the WWI experience, takes up the last part of the series. The various efforts to surreptitiously aid England are highlighted here, including the various visits by and with British war time leader Prime Minister Winston Churchill, the fight to get America militarily mobilized including imposition of a military draft, the various conferences of the Big Three (the Soviet Union being the third) to carve up the post-war world and FDR’s final illness round out the story. In our house when I was a kid the mere mention of the name FDR was said, by one and all, with some reverence for his efforts to pull America out of the Great Depression and for guiding it to victory in war. For a long time this writer has not had that youthful reverence but if you want to see why my parents and why I as a youth whispered that name with reverence watch here.

“I Said, Who Do You Love”- An Encore-The Raucous Music Of George Thorogood And The Destroyers

Click on the title to link to "YouTube"'s film clip of George Thorogood and The Destroyers performing their version of "Madison Blues".

CD Review

Live, George Thorogood and the Destroyers, Capitol, 1990

A couple of years ago when Bo Diddley died I mentioned in a review of his work that many latter musicians, particularly white musicians were influenced by his songs, and covered them like crazy. That is the case with George Thorogood, with or without his Destroyers. Although he is probably best known for his bad boy anthem, “Bad To The Bone” Thorogood cut his teeth on doing covers of Bo, John Lee Hooker, Muddy Waters and the other greats of the blues and early rock and roll. That is how we should measure his work, as an exponent of a certain kind or of rock and R&B.

This album delivers extended versions of his master works including: the afore-mentioned “Bad To The Bone,” the classic Bo Diddley tune “Who Do You Love,” “Madison Blues,” and the classic Hooker song “One Scotch, One Bourbon, One Beer”. This album is close to the best versions technically and will give an idea of what old George and boys could do on a hot night. Yes, indeed.


Blues Lyrics - George Thorogood
Madison Blues

All rights to lyrics included on these pages belong to the artists and authors of the works.
All lyrics, photographs, soundclips and other material on this website may only be used for private study, scholarship or research.

by
Elmore James
recording of 1977
from
George Thorogood & The Destroyers (Rounder CD-3013)
&
Live (EMI E 2-46329)

Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
I know a gal her name is Lindsey Lou
She told me she loved me but I know it ain't true
Put on your Madison shoes
Put on your Madison blue shoes
I got the Madison blues
Now put on your Madison blue shoes
Ah you cats talking about your Madison shoes
We do the thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues
Ah you babes talk about your Madison shoes
We got a thing we call the Madison blues
We do the Madison blues
We do the Madison blues
We do the Madison blues baby
Rock away your blues

A Larry McMurtry Potpourri

Leaving Las Vegas

The Desert Rose, Larry McMurtry, Simon and Schuster, New York, 1983

The last time, I believe, that it I mentioned Las Vegas in this space was regarding a review of the late Hunter Thompson’s classic “gonzo” piece "Fear and Loathing in Las Vegas" that used that city as the backdrop for his drug-addled adventures spoofing the rubes. The last time that I mentioned the author of the book under review, Larry McMurtry, was just recently praising his Texas trilogy that was based on his classic 1950’s coming of age tale "The Last Picture Show". In a sense McMurtry tackles the scenes that the drug-rattled Thompson failed to get- a view of those who actually live and work in Vegas 24/7/365. That story has a certain pathos that McMurtry is able to milk. Maybe not in the definitive way that he can milk small-town Texas for a story but he milks it nevertheless.

Hollywood and Las Vegas have stood culturally in America as meccas for generations of young girls from places like Oklahoma and guys from Kansas as places to achieve fame, if only for that proverbial 'fifteen minutes'. That is one of the strands that McMurtry weaved into his tale of the loves, dreams, losses and forfeitures of Las Vegas showgirl extra-ordinaire Harmony and her ill-fated marriage to that Kansas boy, Ross.

This is also a story of generations as the product of the marriage, Pepper, although only a teenager seems destined to avoid most of the mistakes that “mom” made by having more talent - for picking right guys, rejecting bad guys and being a dancing prodigy rather than a mere showgirl. The problem, however, is that for Pepper to rise Harmony must fall. The two cannot share center stage in the casinos or in life. Moreover, in a youth-crazed culture epitomized to the nth degree in Vegas aging “mom” cannot fight the fates, even if she had the capacity to do so. That is the drama that centrally drives this little piece.

Along the way we get to look at the lives and loves of the people who hold Las Vegas together (if not themselves). We get to view lifelong Vegas denizens, the inevitable gay wardrobe guy, assorted talented or talentless showgirls and their trials and tribulations, sundry backstage types who share the dreams of the spotlight. Is this a McMurtry work that you must read? No, I already told you that "Last Picture Show" trilogy is a must read. But if you have a few hours, and want to read about what Thompson missed on his sojourn, then read this little novel.


Portrait Of A Writer As A Young Man

All My Friends Are Going To Be Strangers. Larry McMurtry, Simon and Schuster, New York, 1972.

As is usually the case when I get excited about an author’s work I tend to delve into all the work in order to see which way he or she is heading. That is the case here with Larry McMurtry. I have just finished reading his "The Last Picture Show" trilogy ("The Last Picture Show"; "Texasville"; and, "Duane’s Depressed") about coming of age in small town Texas, having one’s mid-life crisis there and, in the end, struggling against the strains of mortality there as well. The cumulative effect of this work was a five-star review. Here we step back to early McMurtry and while the promise is certainly there as well as his quirky look at modern life this is the work of a rising star writer not of a master writer.

Why? Well, for one thing the subject matter. All fictional writing in the final analysis may be autobiographical, consciously or unconsciously, but here the trials and tribulations of a young Texas writer who heads to California to find himself after the budding prominence of the publication of his first book and a movie offer is, well, just a little too precious. Moreover, the inevitable romantic problems of twenty-something males (and, by now in the 2000s, females) has been done to death. Nothing really jumps out here other than some cogent observations about the foibles of human nature as strained through the California mill. My advice to Danny, the protagonist writer here is –Go east, young man, go east back to Texas. That’s where your pot of gold is. Do you need to read this book? If you have time. Do you need to read "The Last Picture Show" trilogy. Damn right. That’s the different in a nutshell.