Present At The Creation-Bill Haley And His Comets’ Rock Around The Clock (1955)

Present At The Creation-Bill Haley And His Comets’ Rock Around The Clock (1955)

 

 

 

From The Pen Of Bart Webber

Deep in the dark red scare Cold War night, still brewing then even after Uncle Joe fell down in his Red Square drunken stupor, after he kissed off in his vast red earth, still brewing too when Miss Winot in her pristine glory told each and every one of her fourth grade charges, us, that come that Russkie madness, come the Apocalypse, come the big bad ass mega-bomb (of course being pristine and proper she did not dig down to such terms as “big bad ass” but let’s face it that is what she meant) that each and every one of her charges come that thundering god-awful air raid siren call duck, quickly and quietly, under his or her desk and then place his or his hands, also quickly and quietly, one over the other on the top of his or her head, a small breeze was coming to the land.

Maybe nobody saw it coming, maybe the guys in the White House were too busy worrying about what Uncle Joe’s progeny were doing out in the missile silos of Minsk, maybe the professional television talkers on Meet The Press wanted to discuss the latest turn in national and international politics for a candid world to hear and missed what was happening out in the cookie-cutter neighborhoods, and maybe the academic sociologists and professional criminologists were too wrapped up in figuring out why Marlon Brando was sulking in his corner boy kingdom (and wreaking havoc on a fearful small town world when he and the boys broke out), why  Johnny Spain had that “shiv” ready to do murder and mayhem to the next midnight passer-by, and why well-groomed and fed James Dean was brooding in the “golden age” land of plenty but the breeze was coming.          

And then it came, came like some Kansas whirlwind, came like the ocean churning up the big waves crashing to a defenseless shoreline, came if the truth be known like the “second coming” long predicted and the brethren were waiting, waiting like they had been waiting all their short spell lives. Came in a funny form, or rather ironically funny forms, as it turned out. Came one time, came big as 1954 turned to 1955 and a guy, get this, dressed not in sackcloth or hair-shirt but in a sport’s jacket, a Robert Hall sport’s jacket from the off the rack look of it when he and the boys were from hunger, a little on the heavy side with a little boy’s regular curl in his hair and blasted the whole blessed world to smithereens. Blasted every living breathing teenager, boy or girl, out of his or her lethargy, got the blood flowing. The guy Bill Haley, an old lounge lizard band guy who decided to move the beat forward from cool ass be-bop jazz and sweet romance popular music and make everybody, every kid jump, yeah Big Bill Haley and his Comets, the song Rock Around The Clock.          

 

Here is the funny thing, funny since we were present at the creation, present in spite of every command uttered by Miss Winot against it, declaring the music worse than that Russkie threat if you believed her (a few kids, girls mainly, did). We were just too young to deeply imbibe the full measure of what we were hearing. See this music, music we started calling rock and roll once somebody gave it a name (super DJ impresario Alan Freed as we found out later after we had already become “children of rock and roll”) was meant, was blessedly meant to be danced to which meant in that boy-girl age we who didn’t even like the opposite sex as things stood then were just hanging by our thumbs.

Yeah, was meant to be danced to at “petting parties” in dank family room basements by barely teenage boys and girls. Was meant to be danced to at teenage dance clubs where everybody was getting caught up on learning the newest dance moves and the latest “cool” outfits to go along with that new freedom. Was meant to serve as a backdrop at Doc’s Drugstore’s soda fountain where Doc had installed a jukebox complete with all the latest tunes as boys and girls shared a Coke sipping slowly with two straws hanging out in one frosted glass. Was meant to be listened to by corner boys at Jack Slack’s bowling alley where Jack had set up a small dance floor so kids could dance while waiting for lanes to open. Was meant to be listened to as the sun went down in the west at the local drive-in while the hamburgers and fries were cooking and everybody was waiting for darkness to fall so the real night could begin. Was even meant to be listened to on fugitive transistor radios in the that secluded off-limits to adults and little kids (us) where teens, boys and girls, mixed and matched in the drive-in movie night.               

Yeah, we were just a little too young even if we can legitimately claim to have been present at the creation. But we will catch up, catch up with a vengeance.

Big Joe Turner - Shake, Rattle & Roll

Rocket 88 (Original Version) - Ike Turner/Jackie Brenston

Wynonie Harris - Good Rockin' Tonight

Roy Brown - Good Rockin' Tonight 1947

From Veterans For Peace In Massachusetts-Stop The Damn Endless Wars-Revelations

From Veterans For Peace In Massachusetts-Stop The Damn Endless Wars-Revelations

What VFP Stands For - 

 

 

 

 

 

Revelations-From The Sam Eaton-Ralph Morris Series

From The Pen Of Bart Webber

Ralph Morris had always considered himself a straight-up guy. Straight up when he dealt with customers in his high-precision electrical shop in Troy, New York inherited from his father after he retired before he himself recently retired and turned it over to his youngest son, James, who would bring the operation into the 21^st century with the high tech equipment precision electrical work needs nowadays. Straight up when he confronted the trials and tribulations of parenthood and told the kids that due to his political obligations (of which more in a minute) he would be away and perhaps seem somewhat pre-occupied at times he would answer any questions they had about anything as best he could (and the kids in turn when characterizing their father to me, told me that he was hard-working, distant but had been straight up with them although those sentiments said in a wistful, wondering, wishing more manner like there was something missing in the whole exchange and Ralph agreed when I mentioned that feeling to him that I was probably right but that he did the best he could). Straight up after sowing his wild oats along with Sam Eaton, Pete Markin, Frankie Riley and a bunch of other guys from the working class corners who dived into that 1960s counter-cultural moment and hit the roads, for a short time after the stress of eighteen months in the bush in Vietnam. Meaning sleeping with any young woman who would have him in those care-free days when we were all experimenting with new ways to deal with that fretting sexual issue and getting only slightly less confused that when we got all that god-awful and usually wrong information in the streets where most of us, for good or evil learned to separate our Ps and Qs. After which he promised his high school sweetheart, Lara Peters, who had waited for him to settle down to be her forever man. And straight up with what concerns us here his attitude toward his military service in the Army during the height of the Vietnam War where he did his time, did not cause waves while in the service but raised, and is still raising seven kinds of holy hell, once he became totally disillusioned with the war, with the military brass and with the American government (no “our government” his way of saying it not mine) who did nothing but make thoughtless animals out of him and his buddies.             

Giving this “straight up” character business is important here because Ralph several years ago along with Sam Eaton, a non-Vietnam veteran having been exempted from military duty due to being the sole support of his mother and four younger sisters after his ne’er-do-well father died of a massive heart attack in 1965, joined a peace organization, Veterans For Peace (VFP), in order to work with others doing the same kind of work (Ralph as a  full member, Sam an associate member in the way membership works in that organization although both have full right to participate and discuss the aims and projects going forward) once they decided to push hard against the endless wars of the American government (both Ralph and Sam’s way of putting the matter). Without going into great detail Sam and Ralph had met down in Washington, D.C. on May Day 1971 when they with their respective groups (Sam with a radical collective from Cambridge and Ralph with Vietnam Veterans Against the War) attempted to as the slogan went-“shut down the government if it did not shut down the war.” Unfortunately they failed but the several days they spent together in detention in RFK Stadium then being used as the main detention area cemented a life-time friendship, and a life-time commitment to work for peace. (Sam’s impetus the loss of his best corner boy high school friend, Jeff Mullins, in the Central Highlands of Vietnam in 1968 who begged him to tell everybody what was really going on with war if he did not make it back to tell them himself.)        

That brings us to the Ralph straight up part. He and Sam had worked closely with or been member of for several years in the 1970s VVAW and other organizations to promote peace. But as the decade ended and the energy of the 1960s faded and ebbed they like many others went on with their lives, build up their businesses, had their families to consider and generally prospered. Oh sure, when warm bodies were needed for this or that good old cause they were there but until the fall of 2002 their actions were helter-skelter and of an ad hoc nature. Patch work they called it. Of course the hell-broth of the senseless, futile and about six other negative descriptions of that 2003 Iraq war disaster, disaster not so much for the American government (Sam and Ralph’s now familiar term) as for the Iraqi people and others under the cross-fires of the American military juggernaut (my term). So they, having fewer family and work responsibilities were getting the old time anti-war “religion” fires stoked in their brains once again to give one more big push against the machine before they passed on. They started working with VFP in various marches, vigils, civil disobedience actions and whatever other projects the organization was about (more recently the case of getting a presidential pardon and freedom for the heroic Wiki-leaks whistle –blower soldier Chelsea Manning sentenced to a thirty-five year sentence at Fort Leavenworth for telling the truth about American atrocities in Iraq and Afghanistan). Did that for a couple of years before they joined. And here is really where that straight up business comes into play. See they both had been around peace organizations enough to know that membership means certain obligation beyond paying dues and reading whatever materials an organization puts out-they did not want to be, had never been mere “paper members” So after that couple of years of working with VFP in about 2008 they joined up, joined up and have been active members ever since.        

Now that would be neither here nor there but Ralph had recently been thinking about stepping up his commitment even further by running for the Executive Committee of his local Mohawk Valley  chapter, the Kenny Johnson Chapter. (Sam as an associate member of his local chapter, the James Jencks Brigade is precluded as a non-veterans from holding such offices the only distinction between the two types of membership.) He ran and won a seat on the committee. But straight up again since he was committed to helping lead the organization locally and perhaps take another step up at some point he decided this year to go to the National Convention in San Diego (the geographic location of that site a definitive draw) and learn more about the overall workings of the organization and those most dedicated to its success.

So Ralph went and immersed himself in the details of what is going on with the organization. More importantly he got to hear the details of how guys (and it is mostly guys reflecting the origins of the organization in 1985 a time when women were not encouraged to go into the service), mostly guys from his Vietnam War generation as the older World War II and Korea vets pass on and the Iraq and Afghan war vets are still finding their “voice” came to join the organization. What amazed him was how many of the stories centered on various objections that his fellow members had developed while in whatever branch of the military they were in. See Ralph had kept his “nose clean” despite his growing disenchantment with the war while serving his eighteen months in country. He had been by no means a gung-ho soldier although he had imbibed all the social and political attitudes of his working class background that he had been exposed to concerning doing service, fighting evil commies and crushing anything that got in the way of the American government. He certainly was not a model soldier either but he went along, got along by getting along. These other guys didn’t.

One story stood out not because it was all that unusual in the organization but because Ralph had never run up against anything like it during his time of service from 1967-1970. Not in basic training AIT, not in Vietnam although he had heard stuff about disaffected soldiers toward the end of his enlistment. This guy, Frank Jefferson, he had met at one of the workshops on military resisters had told Ralph when he asked that he had served a year in an Army stockade for refusing to wear the uniform, refusing to do Army work of any kind. At least voluntarily. The rough details of Frank’s story went like this. He had been drafted in late 1968 and was inducted into the Army in early 1969 having had no particular reason not to go in since while he was vaguely anti-war like most college students he was not a conscientious objector (and still doesn’t since he believes wars of national liberation and the like are just and supportable, especially those who are facing down the barrel of American imperialism, was not interested in going to jail like some guys, some draft resisters, from his generation who refused to be inducted an did not even think about the option of Canada or some such exile. Moreover the ethos of his town, his family, his whole social circle was not one that would have welcomed resistance, would not have been understood as a sincere if different way of looking at the world. Add to that two guys had been killed in Vietnam from his neighborhood and the social pressure to conform was too great to buck even if he had had stronger convictions then. 

Three days, maybe less after Frank was deposited at Fort Jackson in South Carolina in January, 1969 for basic training he knew he had made a great mistake, had had stronger anti-war feelings, maybe better anti-military feelings than he suspected and was heading for a fall. This was a period when draftees, those fewer and fewer men who were allowing themselves to be drafted, were being channeled toward the infantry, the “grunts,” the cannon-fodder (words he learned later but not known as he came in) and that was his fate. He was trained as an 11 Bravo, killer soldier. Eventually he got orders to report to Fort Lewis in Washington for transport to Vietnam. On a short leave before he was requested to report Frank went back to Cambridge where he grew up and checked in with the Quakers which somebody had told him to do if he was going to challenge his fate in any way. The counsellor there advised him to put in a CO application at Fort Devens nearby. He did so, was turned down because as a Catholic objector he did not qualify under the doctrine of that church. (And he still held to his “just war” position mentioned above). He tried to appeal that decision through military then civilian channels with help from a lawyer provided by the Quakers (really their American Friends Service Committee) although that was dicey at best. Then, despite some counsel against such actions Frank had an epiphany, a day of reckoning, a day when he decided that enough was enough and showed up at parade field for the Monday morning report in civilian clothes carrying a “Bring The Troops Home” sign. Pandemonium ensued, he was man-handled by two beefy lifer-sergeants and was thrown in the stockade. Eventually he was tried and sentenced to six month under a special court-martial for disobeying orders which he served. He got out after during that stretch and continued to refuse to wear the uniform or do work. So back to the stockade and re-trial getting another six months, again for disobeying lawful orders. Fortunately that civilian lawyer had brought the CO denial case to the Federal Court in Boston on a writ of habeas corpus and the judge ruled that the Army had acted wrongly in denying the application. A few weeks later he was released. Frank said otherwise he still might forty plus years later be doing yet another six month sentence. So that was his story and there were probably others like that during that turbulent time when the Army was near mutiny.

Ralph said to himself after hearing the Jefferson story, yeah, these are the brethren I can work with, guys like Jefferson really won’t fold under pressure. Yeah, that’s right.           

When The Tin Can Bended…. In The Time Of The Late Folk-Singer Dave Van Ronk’s Time

When The Tin Can Bended…. In The Time Of The Late Folk-Singer Dave Van Ronk’s Time

 

 

 

 

 

From The Pen Of Bart Webber

 

Sometimes Sam Lowell and his “friend” (really “sweetie,” long time sweetie, paramour, significant other, consort or whatever passes for the socially acceptable or Census Bureau bureaucratic “speak” way to name somebody who is one’s soulmate, his preferred term) Laura Perkins whose relationship to Sam was just described in parenthesis, and righteously so, liked to go to Crane’s Beach in Ipswich to either cool off in the late summer heat. July when they really would like to go there to catch a few fresh sea breezes not being a period to show up at the bleach white sands beach due to nasty blood-sucking green flies swarming and dive-bombing like some berserk renegade Air Force squadron lost on a spree who breed in the nearby swaying mephitic marshes the only “safe haven” then is to drive up the hill to the nearby Crane Castle to get away from the buggers as the well-to-do have been doing since there were well-to-do and had the where-with-all to escape the summer heat and bugs at higher altitudes. By the way I assume that “castle” is capitalized when it part of a huge estate, the big ass estate of Crane, now a trust monument to the first Gilded Age, not today’s neo-Gilded Age, architectural proclivities of the rich, the guy whose company did, does all the plumbing fixture stuff on half the bathrooms in America including the various incantations of the mansion. 

Along the way, along the hour way to get to Ipswich from Cambridge they had developed a habit of making the time more easy passing by listening to various CDs, inevitably not listened to for a long time folk CDs, so long that the plastic containers needed to be dusted off before brought along, on the car CD player. And is their wont to comment on this or that thing that some song brought to mind, or the significance of some song in their youth.  One of the things that brought them together early on was their mutual interest in the old 1960s folk minute which Sam, a little older and having grown up within thirty miles of Harvard Square, one the big folk centers of that period along with the Village and North Beach out in Frisco town, had imbibed deeply and which Laura, growing up “in the sticks,” in farm country in upstate New York had gotten second-hand through records and a little the fading Cambridge folk scene when she had moved to Boston in the early 1970s to go to graduate school.     

One hot late August day they got into one such discussion about how they first developed an interest in folk music when Sam had said “sure everybody, everybody over the age of say fifty to be on the safe side, knows about Bob Dylan, maybe a little younger too if some hip kids have browsed through their parents’ old vinyl record collections now safely ensconced in the attic although there are stirrings of retro-vinyl revival of late. Some of that over 50 crowd and their young acolytes would also know about how Dylan, after serving something like an apprenticeship under the influence of Woody Guthrie in the late 1950s singing Woody’s songs in his style something  fellow Woody acolytes like Ramblin’ Jack Elliot never quite got over when he moved on but who has actually made a nice workman-like career out of Woody covers, became if not the voice of the Generation of ’68, their generation, which he probably did not seriously aspire in the final analysis, then the master troubadour of the age.”

He continued when Laura said she was not sure about the connection, “troubadour in the medieval sense of bringing news to the people and entertaining them by song and poetry as well if not decked in some officially approved garb like back in those olden days where they worked under a king’s license if lucky, by their wit otherwise but the “new wave” post-beatnik flannel shirt, work boots, and dungarees which connected you with the roots, the American folk roots down in the Piedmont, down in Appalachia, down in Mister James Crow’s Delta. So, yes, that story has been pretty well covered.”  

Laura said she knew all of that although not that Ramblin’ Jack had been an acolyte of Woody’s but she wondered about others, some other folk performers who she listened to on WUMB on Saturday morning when some weeping willow DJ put forth about fifty old time rock and folk things a lot of which she had never heard of back in Mechanicsville outside of Albany where she grew up. Sam then started in again, “Of course that is hardly the end of the story since Dylan did not create that now hallowed folk minute of the early 1960s. He had been washed by it when he came to the East from Hibbing, Minnesota for God’s sake (via Dink’s at the University), came into the Village where there was a cauldron of talent trying to make folk the next big thing, the next big cultural thing for the young and restless of the post-World War II generations. Us, but also those in little oases like the Village where the disaffected could put up on stuff they couldn’t get in places like Mechanicsville or Carver where I grew up. People who I guess, since even I was too young to know about that red scare stuff except to follow your teacher’s orders to put your head under your desk and hand over your head if the nuclear holocaust was coming, were frankly fed up with the cultural straightjacket of the red scare Cold War times and began seriously looking as hard at roots in all its manifestations as our parents, definitely mind, yours were just weird about stuff like that, right, were burying those same roots under a vanilla existential Americanization. How do you like that for pop sociology 101.”

“One of the talents who was already there when hick Dylan came a calling, lived there, came from around there was the late Dave Van Ronk who we have heard several times in person, although unfortunately when his health and well-being were declining. You know he also, deservedly, fancied himself a folk historian as well as musician.”    

 

“Here’s the funny thing, Laura, that former role is important because we all know that behind the “king” is the “fixer man,” the guy who knows what is what, the guy who tells one and all what the roots of the matter were like some mighty mystic (although in those days when he fancied himself a socialist that mystic part was played down). Dave Van Ronk was serious about that part, serious about imparting that knowledge about the little influences that had accumulated during the middle to late 1950s especially around New York which set up that folk minute. New York like I said, Frisco, maybe in small enclaves in L.A. and in precious few other places during those frozen times a haven for the misfits, the outlaws, the outcast, the politically “unreliable,” and the just curious. People like the mistreated Weavers, you know, Pete Seeger and that crowd found refuge there when the hammer came down around their heads from the red-baiters and others like advertisers wo ran for cover to “protect” there precious soap, toothpaste, beer, deodorant or whatever they were mass producing to sell to a hungry pent-ip market.  Boston and Cambridge by comparison until late in the 1950s when the Club 47 and other little places started up and the guys and gals who could sing, could write songs, could recite poetry even had a place to show their stuff instead of to the winos, rummies, grifters and conmen who hung out at the Hayes-Bickford or out on the streets could have been any of the thousands of towns who bought into the freeze.”     

“Sweetie, I remember one time but I don’t remember where, maybe the Café Nana when that was still around after it had been part of the Club 47 folk circuit for new talent to play and before Harry Reid, who ran the place, died and it closed down, I know it was before we met, so it had to be before the late 1970s Von Ronk told a funny story, actually two funny stories, about the folk scene and his part in that scene as it developed a head of steam in the mid-1950s which will give you an idea about his place in the pantheon. During the late 1950s after the publication of Jack Kerouac’s ground-breaking road wanderlust adventure novel that got young blood stirring, not mine until later since I was clueless on all that stuff except rock and roll, On The Road which I didn’t read until high school, the jazz scene, the cool be-bop jazz scene and poetry reading, poems reflecting off of “beat” giant Allen Ginsberg’s Howl the clubs and coffeehouse of the Village were ablaze with readings and cool jazz, people waiting in line to get in to hear the next big poetic wisdom guy if you can believe that these days when poetry is generally some esoteric endeavor by small clots of devotees just like folk music. The crush of the lines meant that there were several shows per evening. But how to get rid of one audience to bring in another in those small quarters was a challenge. Presto, if you wanted to clear the house just bring in some desperate “from hunger” snarly nasally folk singer for a couple, maybe three songs, and if that did not clear the high art be-bop poetry house then that folk singer was a goner. A goner until the folk minute of the 1960s who probably in that same club then played for the “basket.” You know the “passed hat” which even on a cheap date, and a folk music coffeehouse date was a cheap one in those days like I told you before and you laughed at cheapie me and the “Dutch treat” thing, you felt obliged to throw a few bucks into to show solidarity or something.  And so the roots of New York City folk according to the “father.”

Laura interrupted to ask if that “basket” was like the buskers put in front them these days and Sam said yes. And asked about a few of the dates he took to the coffeehouses in those days, just out of curiosity she said, meaning if she had been around would he have taken her there then. He answered that question but since it is an eternally complicated and internal one I have skipped it to let him go on with the other Von Ronk story. He continued with the other funny story like this-“The second story involved his authoritative role as a folk historian who after the folk minute had passed became the subject matter for, well, for doctoral dissertations of course just like today maybe people are getting doctorates in hip-hop or some such subject. Eager young students, having basked in the folk moment in the abstract and with an academic bent, breaking new ground in folk history who would come to him for the “skinny.” Now Van Ronk had a peculiar if not savage sense of humor and a wicked snarly cynic’s laugh but also could not abide academia and its’ barren insider language so when those eager young students came a calling he would give them some gibberish which they would duly note and footnote. Here is the funny part. That gibberish once published in the dissertation would then be cited by some other younger and even more eager students complete with the appropriate footnote. Nice touch, nice touch indeed on that one, right.”

Laura did not answer but laughed, laughed harder as she thought about it having come from that unformed academic background and having read plenty of sterile themes turned inside out.       

“As for Van Ronk’s music, his musicianship which he cultivated throughout his life, I think the best way to describe that for me is that one Sunday night in the early 1960s I was listening to the local folk program on WBZ hosted by Dick Summer, who was influential in boosting local folk musician Tom Rush’s career and who was featured on that  Tom Rush documentary No Regrets we got for being members of WUMB, when this gravelly-voice guy, sounding like some old mountain pioneer, sang the Kentucky hills classic Fair and Tender Ladies. After that I was hooked on that voice and that depth of feeling that he brought to every song even those of his own creation which tended to be spoofs on some issue of the day.”

Laura laughed at Sam and the intensity with which his expressed his mentioning of the fact that he liked gravelly-voiced guys for some reason. Here is her answer, “You should became when you go up to the third floor to do your “third floor folk- singer” thing and you sing Fair and Tender Ladies I hear this gravelly-voiced guy, sounding like some old mountain pioneer, some Old Testament Jehovah prophet come to pass judgment come that day.”

They both laughed. 

Laura then mentioned the various times that had seen Dave Von Ronk before he passed away, not having seen him in his prime, when that voice did sound like some old time prophet, a title he would have probably secretly enjoyed for publicly he was an adamant atheist. Sam went on, “ I saw him perform many times over the years, sometimes in high form and sometimes when drinking too much high-shelf whiskey, Chavis Regal, or something like that not so good. Remember we had expected to see him perform as part of Rosalie Sorrels’ farewell concert at Saunders Theater at Harvard in 2002 I think. He had died a few weeks before.  Remember though before that when we had seen him for what turned out to be our last time and I told you he did not look well and had been, as always, drinking heavily and we agreed his performance was subpar. But that was at the end. For a long time he sang well, sang us well with his own troubadour style, and gave us plenty of real information about the history of American folk music. Yeah like he always used to say-“when the tin can bended …..and the story ended.

As they came to the admission booth at the entrance to Crane’s Beach Sam with Carolyn Hester’s song version of Walt Whitman’s On Captain, My Captain on the CD player said “I was on my soap box long enough on the way out here. You’re turn with Carolyn Hester on the way back who you know a lot about and I know zero, okay.” Laura retorted, “Yeah you were definitely on your soap-box but yes we can talk Carolyn Hester because I am going to cover one of her songs at my next “open mic.” And so it goes.                      

Support The Florida Farmworkers Ahora!

Labor Day picket kicks off fall season for Campaign for Fair Food! CIW Women’s Group member, Ana, at Sunday’s Labor Day picket at Publix “… It is with these very hands that I supply the tomatoes that you use, from which you profit…” On Monday, we shared a powerful reflection on the global movement for workers’ human rights and the Fair Food Program’s worker-driven, market-powered model — but that was not the CIW’s only commemoration of Labor Day 2015!  This past Sunday, Florida farmworkers and their families celebrated the holiday with a lively protest in front of a local Publix supermarket. The high-spirited action was led by the CIW women’s group, and bolstered by the presence of a diverse group of allies from across southwest Florida... Don't miss the powerful messages that the Fair Food Nation had for Publix (and more beautiful photos) over at the CIW website!

The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

 

The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

 

Laura Perkins was talking to her daughter, Emily Andrews one afternoon in April when she went to visit her and the grandkids after returning from Florida where she had spent the winter. (Emily the first born girl from her first of three marriages who now had a couple of kids of her own although she has retained as is the “new style,” post-‘60s new style anyway, of women retaining their maiden name kept  Andrews in the bargain although Laura gave that name up minute one after the divorce which was messy and still a source of hatred when Emily’s father’s name is mentioned and thereafter kept her maiden name through the subsequent two marriages and divorces). During the conversation Laura commented to Emily having not seen her for a while on how long and straight she was keeping her hair these days which reminded her of the old days back in the romantic early 1960s when she used to hang around the Village in New York at the coffeehouses and folk clubs listening to lots of women folksingers like Carolyn Hester, Jean Redpath, Thelma Gordon, Joan Baez, Sissy Dubois and a bunch of others whose names she could just then not remember but whose hair was done in the same style including her own hair then.

Laura looked wistfully away just then touching her own now much shortened hair (and colored, how much and for how long only her hairdresser knew and she was sworn to a secret oath even the CIA and Mafia could admire in the interest of not giving  into age too much) while Emily explained how she came to let her hair grow longer and straighter (and her own efforts to keep it straighter) against all good reason what with two kids, a part-time accounting job and six thousand other young motherhood things demanded of her that would dictate that one needed a hair-do that one could just run a comb through.       

“Ma, you know how you are always talking about the old folk days, about the days in the Village and later in Harvard Square after you moved up here to go to graduate school at BU, minus Dad’s part which I know you don’t like to talk about for obvious reasons. You also know, and we damn made it plain enough although you two never took it seriously, back when we were kids all of us hated the very sound of folk music, stuff that sounded like something out of the Middle Ages [which actually some of it was, at least the rudiments] and would run to our rooms when you guys played the stuff in you constant nostalgia moments. Well one day I was in Whole Foods and I hear this song over their PA system or whatever they call it, you know those CDs they play to get you through the hard-ass shopping you need to do to keep the renegade kids from starvation’s door. The song seemed slightly familiar, folkie familiar, so I asked at the customer service desk who was singing the song and its name which I couldn’t quite remember. Of course the young clerk knew from nothing but a grey-haired guy, an old Cambridge radical type, a professor-type not that I think about probably teaching English Lit, a guy you see in droves when you are in Harvard Square these doddering along looking down at the ground like they have been doing for fifty years, standing in the same line said it was Judy Collins doing Both Sides Now.  

That information, and that tune stuck in my head, got me thinking about checking out the song on YouTube which I did after I got home, unpacked the groceries and unpacked the kids. The version I caught was one of her on a Pete Seeger’s Rainbow Quest series that was on television back then which I am sure you and Dad knew about and she had this great looking long straight hair. I was envious. Then I kind of got the bug, wanted to check out some other folkie women whose names I know by heart, thank you, and noticed that Joan Baez in one clip taken at the Newport Folk Festival along with Bob Dylan singing With God On Our Side, God-awful if you remember me saying that every time you put it on the record-player, had even longer and straighter hair than Judy Collins. There she was all young, beautiful and dark-skinned Spanish exotic, something out of a Cervantes dream with that great hair. So I let mine grow and unlike what I heard Joan Baez, and about six zillion other young women did, including I think you, to keep it straight using an iron I went to Delores over at Flip Cuts in the mall and she does this thing to it every couple of months. And no I don’t want you to give me your folk albums, please, to complete the picture because the stuff still sounds like it was from the Middle Ages.”        

Laura laughed a little at that as Emily went out the door to do some inevitable pressing shopping. After dutifully playing with Nick and Nana for a couple of hours while Emily went to get some chores done at the mall sans the kids who really are a drag on those kinds of tasks and after having stayed for supper when Sean got home from work she headed to her own home in Cambridge (a condo really shared with her partner, Sam Lowell, whom she knew in college, lost track of and then reunited with after three husbands at a class reunion). When she got home Sam, working on some paper of his, something about once again saving the world which was his holy mantra these days now that he was semi-retired from his law practice was waiting, waiting to hear the latest Nick and Nana stories instead she told him Emily’s story. Then they started talking about those old days in the 1960s when both she and he (he in Harvard Square having grown up in Carver about thirty miles south of Boston) imbibed in that now historic folk minute which promised, along with a few other things, to change the world a bit. Laura, as Sam was talking, walked to a closet and brought out a black and white photograph from some folk festival in 1967 which featured Joan Baez, her sister Mimi Farina, who had married Richard Farina, the folk-singer/song-writer and Judy Collins on stage at the same time. All three competing with each other for the long straight hair championship. Here’s part of what was said that night, here’s how Laura put it:    

“Funny how trends get started, how one person, or a few start something and it seems like the whole world follows, or the part of the world that hears about the new dispensation anyway, the part you want to connect with. Remember Sam how we all called folk the “new dispensation” for our generation which had begun back in the late 1950s, early 1960s, slightly before our times when we caught up with it in college in 1964. So maybe it started in reaction to the trend when older guys started to lock-step in gray flannel suits. That funny Mad Men, retro-cool today look, which is okay if you pay attention to who was watching the show. In the days before Jack and Bobby Kennedy put the whammy on that fashion and broke many a haberdasher’s heart topped off by not wearing a soft felt hat like Uncle Ike and the older guys.”

“Funny too it would be deep into the 1960s before open-necks and colors other than white for shirts worked in but by then a lot of us were strictly denims and flannel shirts or some such non-suit or dress combination. Remember even earlier when the hula-hoop fad went crazy when one kid goofing off threw a hard plastic circle thing around his or her waist and every kid from Portland, Maine to Portland, Oregon had to have one, to be tossed aside in some dank corner of the garage after a few weeks when everybody got into yo-yos or Davey Crockett coonskin caps. Or maybe, and this might be closer to the herd instinct truth, it was after Elvis exploded onto the scene and every guy from twelve to two hundred in the world had to, whether they looked right with it or not, wear their sideburns just a little longer, even if they were kind of wispy and girls laughed at you for trying to out-king the “king” who they were waiting for not you. I know I did with Jasper James King who tried like hell to imitate Elvis and I just stepped on his toes all dance when he asked me to dance with him on It’s Alright, Mama.”  

“But maybe it was, and this is a truth which we can testify to when some girls, probably college girls like me, now called young women but then still girls no matter how old except mothers or grandmothers, having seen Joan Baez on the cover of Time (or perhaps her sister Mimi on some Mimi and Richard Farina folk album cover)got out the ironing board at home or in her dorm and tried to iron their own hair whatever condition it was in, curly, twisty, or flippy like mine, whatever  don’t hold me to all the different hairstyles to long and straight strands. Surely as strong as the folk minute was just then say 1962, 63, 64, they did not see the photo of Joan on some grainy Arise and Sing folk magazine cover, the folk scene was too young and small back in the early days to cause such a sea-change.”

 Sam piped up and after giving the photograph a closer look said, “Looking at that photograph you just pulled out of the closet now, culled I think from a calendar put out by the New England Folk Archive Society, made me think back to the time when I believe that I would not go out with a girl (young woman, okay) if she did not have the appropriate “hair,” in other words no bee-hive or flip thing that was the high school rage among the not folk set, actually the social butterfly, cheerleader, motorcycle mama cliques. Which may now explain why I had so few dates in high school and none from Carver High. But no question you could almost smell the singed hair at times, and every guy I knew liked the style, liked the style if they liked Joan Baez, maybe had some dreamy sexual desire thing about hopping in the hay, and that was that.”                   

“My old friend Bart Webber, a guy I met out in San Francisco  when I went out West with old Peter Markin in our hitchhike days with whom if you remember I re-connected with via the “magic” of the Internet a few years ago, told me a funny story when we met at the Sunnyville Grille in Boston one time about our friend Julie Peters who shared our love of folk music back then (and later too as we joined a few others in the folk aficionado world after the heyday of the folk minute got lost in the storm of the British invasion). He had first met her in Harvard Square one night at the Café Blanc when the place had their weekly folk night (before every night was folk night at the place when Eric Von Schmidt put the place on the map by writing Joshua Gone Barbados which he sang and which Tom Rush went big with) and they had a coffee together. That night she had her hair kind of, oh he didn’t know what they called it but he thought something like beehive or flip or something which highlighted and enhanced her long face. Bart thought she looked fine. Bart, like myself, was not then hip to the long straight hair thing and so he kind of let it pass without any comment.”

“Then one night a few weeks later after they had had a couple of dates she startled him when he picked her up at her dorm at Boston University to go over the Club Blue in the Square to see Dave Van Ronk hold forth in his folk historian gravelly-voiced way. She met him at the door with the mandatory straight hair although it was not much longer than when he first met her which he said frankly made her face even longer. When Bart asked her why the change Julie declared that she could not possibly go to Harvard Square looking like somebody from some suburban high school not after seeing her idol Joan Baez (and later Judy Collins too) with that great long hair which seemed very exotic, very Spanish.”

“Of course he compounded his troubles by making the serious mistake of asking if she had her hair done at the beauty parlor or something and she looked at him with burning hate eyes since no self-respecting folkie college girl would go to such a place where her mother would go. So she joined the crowd, Sam got used to it and after a while she did begin to look like a folkie girl, and started wearing the inevitable peasant blouses instead of those cashmere sweaters or starched Catholic school shirt things she used to wear.”     

“By the way Laura let’s be clear on that Julie thing with Bart back in the early 1960s since his Emma goes crazy every time anybody, me, you, Bart, Frankie Riley, Jack Callahan mentions any girl that Bart might have even looked at in those days. Yeah, even after almost forty years of marriage so keep this between us. She and Bart went “Dutch treat” to see Dave Van Ronk at the Club Blue. They were thus by definition not on a heavy date, neither had been intrigued by the other enough to be more than very good friends after the first few dates but folk music was their bond. Just friends despite persistent Julie BU dorm roommate rumors what with Bart hanging around all the time listening to her albums on the record player they had never been lovers. A few years later she mentioned that Club Blue night to me since I had gone with them with my date, Joyell Danforth, as we waited to see Pete Seeger and Arlo Guthrie with us to see if I remembered Van Ronk’s performance and while I thought I remembered I was not sure.

I asked Julie, “Was that the night he played that haunting version of Fair and Tender Ladies with Eric Von Schmidt backing him up on the banjo?” Julie had replied yes and that she too had never forgotten that song and how the house which usually had a certain amount of chatter going on even when someone was performing had been dead silent once he started singing.”

As for the long-ironed haired women in the photograph their work in that folk minute and later speaks for itself. Joan Baez worked the Bob Dylan anointed “king and queen” of the folkies routine for a while for the time the folk minute lasted. Mimi (now passed on) teamed up with her husband, Richard Farina, who was tragically killed in a motorcycle crash in the mid-1960s, to write and sing some of the most haunting ballads of those new folk times (think Birmingham Sunday). Julie Collins, now coiffured like that mother Julie was beauty parlor running away from and that is okay, still produces beautiful sounds on her concert tours. But everyone should remember, every woman from that time anyway, should remember that burnt hair, and other sorrows, and know exactly who to blame. Yeah, we have the photo as proof.           

 

Landmark 9/11 Truth Film Festival to be Live Video Streamed Sept. 10th

Landmark 9/11 Truth Film Festival to be Live Video Streamed Sept. 10th

A Jackman disclaimer:

I place some material in this space which I believe may be of interest to the radical public that I do not necessarily agree with or support. One of the worst aspects of the old New Left back in the 1970s as many turned to Marxism after about fifty other theories did not work out was the freezing out political debate with other opponents on the Left to try to clarify the pressing issues of the day. Those jackboot theories, mainly centered on some student-based movements that were somehow to bring down the beast without a struggle for state power, were theories that I earnestly adhered to sometimes more than one at the same time. Nevertheless by our exclusionism we were replicating the worst habits of the old Old Left (those who came of political age and fought the great class battles of the 1930s when kept their generation above water for a long time but which now despite the importance of studying have run out of steam). That freezing out , more times than I care to mention including my own behavior a few times, included physical exclusion and intimidation. I have since come to believe that the fight around programs and politics is what makes us different, and more interesting. The mix of ideas, personalities and programs, will sort themselves out in the furnace of the revolution as they have done in the past. 

Off-hand, as I have mentioned before, I think it would be easier, infinitely easier, to fight for the socialist revolution straight up than some of the “remedies” provided by the commentators in these various blogs and other networking media. But part of that struggle for the socialist revolution is to sort out the “real” stuff from the fluff as we struggle for that more just world that animates our efforts. So read on. 

THIS YEAR'S FILM FESTIVAL WILL EXPLORE 9/11 AND MORE RECENT SUSPECTED FALSE FLAGS Coming Up Thursday, Sept. 10th at 1:00 PM Pacific * 4:00 PM Eastern * 20:00 GMT You get 9 hours of Live Video Streaming Online and then you have 21 Days afterwards to watch the Video Archives of the Films and Speakers.

Featured Speakers: Dr. Kevin Barrett ---- Are most of the famous "radical Muslim terror" events - including 9/11, Madrid, Bali, London, and now Paris - false flags? And what about the more recent suspected false flags? Is the purpose to maintain the myth of 9/11? David Chandler ---- David became a 9/11 truth hero when he forced NIST to admit that WTC 7 fell at free fall for over 2 seconds. He will be applying the scientific method to the events at the Pentagon on 9/11. FILMS: Behind the Smoke Curtain Preview: The Pentagon Plane Puzzle Premiere: A Very Heavy Agenda Exposing the CIA The 28 Pages in 20 Minutes Firefighter Erik Lawyer ALSO SPEAKING: Ken Jenkins, Robbie Martin, Peter Dale Scott, Peter Phillips & Mickey Huff of Project Censored

Click Here for the full schedule and details of the films and speakers. (in Pacific Time)
Live Stream Broadcast Time: Thursday, September 10, 2015 -- 1pm Pacific * 4pm Eastern * 20:00 GMT

Duration: 9 Hours. -- All the films and speakers will be archived for 21 days after the event so you can watch again or pickup any pieces that you missed during the day.

For 9/11 Film Festival Live Stream Ticket plus 21 Day Archive. You choose the Amount of your Donation. $15 suggested. Any size donation appreciated. Donate more if you can.

CLICK HERE FOR YOUR LIVE-STREAM TICKET OR FOR MORE DETAILS.

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When The Tin Can Bended…. In The Time Of Dave Van Ronk’s Time

When The Tin Can Bended…. In The Time Of Dave Van Ronk’s Time

Sure everybody, everybody over the age of say fifty to be on the safe side, knows about Bob Dylan, maybe younger too if kids have browsed through their parents’ old record collections now safely ensconced in the attic although there are stirrings of retro-vinyl revival of late. Most also would know about how Dylan, after serving something like an apprenticeship under the influence of Woody Guthrie in the late 1950s singing his songs in his style something a fellow acolyte like Ramblin’ Jack Elliot never quite got over when he moved on but who actually made a career out of Woody covers, became if not the voice of the Generation of ’68, my generation, which he probably did not seriously aspire in the final analysis, then the master troubadour of the age. (Troubadour in the medieval sense of bringing news to the people and entertaining them by song and poetry as well.) So, yes, that story has been pretty well covered.

But of course that is hardly the end of the story since Dylan did not create that now hallowed folk minute of the early 1960s but was washed by it when he came to the East, came into the Village where there was a cauldron of talent trying to make folk the next big thing, big cultural thing for the young and restless of the post-World War II generations. People frankly fed up with the cultural straightjacket of the red scare Cold War times and seriously looking as hard at roots in all its manifestations as their parents’ were burying those same roots under a vanilla existential Americanization.  One of the talents who was already there, lived there, came from around there was the late Dave Van Ronk who deservedly fancied himself a folk historian as well as musician.    

That former role is important because we all know that behind the “king” is the “fixer man,” the guy who knows what is what, the guy who tells one and all what the roots of the matter were like some mighty mystic (although in those days when he fancied himself a socialist that mystic part was played down). Dave Van Ronk was serious about that part, serious about imparting that knowledge about the little influences that had accumulated during the middle to late 1950s especially around New York which set up that folk minute. (New York like Frisco, maybe in small enclaves in L.A. and in precious few other places during those frozen time a haven for the misfits, the outlaws, the outcast, the politically “unreliable,” and the just curious. People like the mistreated Weavers, you know, Pete Seeger and that crowd found refuge there when the hammer came down around their heads.   Boston/Cambridge by comparison until late in the 1950s could have been any of the thousands of towns who bought into the freeze.)     

Von Ronk told a funny story, actually two funny stories, about the folk scene and his part in that scene as it developed a head of steam in the mid-1950s which will give you an idea about his place in the pantheon. During the late 1950s after the publication of Jack Kerouac’s ground-breaking road wanderlust adventure novel that got young blood stirring, On The Road, the jazz scene, the cool be-bop jazz scene and poetry reading, poems reflecting off of “beat” giant Allen Ginsberg’s Howl the clubs and coffeehouse of the Village were ablaze with readings and cool jazz, people waiting in line to get in to hear the next big poetic wisdom if you can believe that these days when poetry is generally some esoteric endeavor by small clots of devotees just like folk music. The crush of the lines meant that there were several shows per evening. But how to get rid of one audience to bring in another in those small quarters was a challenge. Presto, if you wanted to clear the house just bring in some desperate “from hunger” snarly nasally folk singer for a couple, maybe three songs, and if that did not clear the high art be-bop poetry house then that folk singer was a goner. A goner until the folk minute of the 1960s who probably in that same club played for the “basket.” (You know the “passed hat” which even on a cheap date, and a folk music coffeehouse date was a cheap one, one felt obliged to throw a few bucks into to show solidarity or something.)  And so the roots of New York City folk.

The second story involved his authoritative role as a folk historian who after the folk minute had passed became the subject matter for, well, for doctoral dissertations of course just like today maybe people are getting doctorates in hip-hop or some such subject. Eager young students, having basked in the folk moment and with an academic bent, breaking new ground in folk history who would come to him for the “skinny”. Now Van Ronk had a peculiar if not savage sense of humor and a wicked snarly cynic’s laugh but also could not abide academia and its’ barren insider language so when those eager young students came a calling he would give them some gibberish which they would duly note and footnote. Here is the funny part. That gibberish once published in the dissertation would then be cited by some other younger and eager students complete with the appropriate footnote. Nice touch, nice touch indeed on that one, Dave .       

As for Van Ronk’s music, his musicianship which he cultivated throughout his life, I think the best way to describe that for me is that one Sunday night in the early 1960s I was listening to the local folk program on WBZ hosted by Dick Summer (who was influential in boosting local folk musician Tom Rush’s career and who is featured on a recent Tom Rush documentary No Regrets) when this gravelly-voice guy, sounding like some old mountain pioneer, sang the Kentucky hills classic Fair and Tender Ladies. After that I was hooked on that voice and that depth of feeling that he brought to every song even those of his own creation which tended to be spoofs on some issue of the day.

I saw him perform many times over the years, sometimes in high form and sometimes when drinking too much high shelf whiskey not so good, and had expected to see him perform as part of Rosalie Sorrels’ farewell concert at Saunders Theater at Harvard in 2003. He had died a few weeks before. I would note when I had seen him for what turned out to be my last time he did not look well and had been, as always, drinking heavily and his performance was subpar. But that is at the end. For a long time he sang well, sang us well with his own troubadour style, and gave us plenty of real information about the history of American folk music.