Wednesday, June 28, 2017

In Boston 7/04 10th Annual Anti-Imperialist Picnic-Join and Build the Resistance



Anti-Imperialist Picnic Tuesday July 4th. Noon to 4 PM (A tradition
since 2008)

Are you sick of all those boring July Fourths you've suffered through?
Too much red, white, and blue? Have you had enough of that July 4th
American jingoism? But you still do love grilling and relaxing with
friends, don't you?

Well then, the Anti-Imperialist Picnic is for you! On July 4th at noon
to 4PM come on out to the Allston Brighton riverside. It will be right
next to the canoe and kayak rental place.

Here are detailed directions:
http://www.paddleboston.com/boston/directions.php

Potluck We will be grilling many things like hamburgers, hotdogs.There
will be food and drink for all! If you can please bring food, drinks,
footballs, Frisbees, or other things to share. Vegan food a plus!

People will meet up to have a picnic and NOT partake in the July 4th
spectacle. We meet on this day to say NO to the U.S. government's
imperial intentions, its war on working people worldwide, and its
exploitative economic system. We come together to show solidarity with
people who are
fighting against capitalism, colonialism, imperialism, patriarchy,
xenophobia, and all other forms of oppression!

For many years radicals have come out on this day to relax with friends
and comrades and to show our opposition to the imperial intentions of
the US government.

Directions: Head west on Soldiers Field Road. The Charles river will be
on your right. After the Eliot Bridge, look for the first parking area
to pull off the road. We will be near the Kayak rental area.
If you are coming by public transportation, take bus 70 to Western Ave.
and Everett St. It's about a 10 minute walk. Go down Everett St and turn
right at Soldiers Field Road.
It's about 1.3 miles from the Harvard Square T stop
Here's a map: http://tinyurl.com/jqrcrzz

Facebook Link
<https://www.facebook.com/events/445790252447397/?acontext=%7B%22ref%22%3A%222%22%2C%22ref_dashboard_filter%22%3A%22calendar%22%2C%22action_history%22%3A%22null%22%7D>

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*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- The Omaha Three’s -Mondo We Langa, We (David Rice)


*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- The Omaha Three’s -Mondo We Langa, (David Rice) RIP



http://www.thejerichomovement.com/prisoners.html



A link above to more information about the class-war prisoner honored in this entry.

Make June Class-War Prisoners Freedom Month

Markin comment (reposted from 2010)


In “surfing” the National Jericho Movement Website recently in order to find out more, if possible, about class- war prisoner and 1960s radical, Marilyn Buck, whom I had read about in a The Rag Blog post I linked to the Jericho list of class war prisoners. I found Marilyn Buck listed there but also others, some of whose cases, like that of the “voice of the voiceless” Pennsylvania death row prisoner, Mumia Abu-Jamal, are well-known and others who seemingly have languished in obscurity. All of the cases, at least from the information that I could glean from the site, seemed compelling. And all seemed worthy of far more publicity and of a more public fight for their freedom.

That last notion set me to the task at hand. Readers of this space know that I am a longtime supporter of the Partisan Defense Committee, a class struggle, non-sectarian legal and social defense organization which supports class war prisoners as part of the process of advancing the international working class’ struggle for socialism. In that spirit I am honoring the class war prisoners on the National Jericho Movement list this June as the start of what I hope will be an on-going attempt by all serious leftist militants to do their duty- fighting for freedom for these brothers and sisters. We will fight out our political differences and disagreements as a separate matter. What matters here and now is the old Wobblie (IWW) slogan - An injury to one is an injury to all.

Note: This list, right now, is composed of class-war prisoners held in American detention. If others are likewise incarcerated that are not listed here feel free to leave information on their cases in the comment section. Likewise any cases, internationally, that come to your attention. I am sure there are many, many such cases out there. Make this June, and every June, a Class-War Prisoners Freedom Month- Free All Class-War Prisoners Now!



  • From The Pages Of The Socialist Alternative Press-On The Anniversary Of Stonewall- The Stonewall Riots - 1969 — A Turning Point in the Struggle for Gay and Lesbian Liberation

    From The Pages Of The Socialist Alternative Press-On The Anniversary Of Stonewall- The Stonewall Riots - 1969 — A Turning Point in the Struggle for Gay and Lesbian Liberation



    --------------------------------------------------------------------------------

    The Stonewall Riots - 1969 — A Turning Point in the Struggle for Gay and Lesbian Liberation

    Jul 1, 1999
    Lionel Wright

    Originally appeared in Socialism Today No. 40, July 1999

    Something unremarkable happened on June 27, 1969 in New York's Greenwich Village, an event which had occurred a thousand times before across the U.S. over the decades. The police raided a gay bar.


    At first, everything unfolded according to a time-honored ritual. Seven plain-clothes detectives and a uniformed officer entered and announced their presence. The bar staff stopped serving the watered-down, overpriced drinks, while their Mafia bosses swiftly removed the cigar boxes which functioned as tills. The officers demanded identification papers from the customers and then escorted them outside, throwing some into a waiting paddy-wagon and pushing others off the sidewalk.


    But at a certain point, the "usual suspects" departed from the script and decided to fight back. A debate still rages over which incident sparked the riot. Was it a 'butch' lesbian dressed in man's clothes who resisted arrest, or a male drag queen who stopped in the doorway between the officers and posed defiantly, rallying the crowd?


    Riot veteran and gay rights activist Craig Rodwell says: "A number of incidents were happening simultaneously. There was no one thing that happened or one person, there was just... a flash of group, of mass anger."


    The crowd of ejected customers started to throw coins at the officers, in mockery of the notorious system of payoffs - earlier dubbed "gayola" - in which police chiefs leeched huge sums from establishments used by gay people and used "public morals" raids to regulate their racket. Soon, coins were followed by bottles, rocks, and other items. Cheers rang out as the prisoners in the van were liberated. Detective Inspector Pine later recalled, "I had been in combat situations, but there was never any time that I felt more scared than then."


    Pine ordered his subordinates to retreat into the empty bar, which they proceeded to trash as well as savagely beating a heterosexual folk singer who had the misfortune to pass the doorway at that moment. At the end of the evening, a teenager had lost two fingers from having his hand slammed in a car door. Others received hospital treatment following assaults with police billy clubs.


    People in the crowd started shouting "Gay Power!" And as word spread through Greenwich Village and across the city, hundreds of gay men and lesbians, black, white, Hispanic, and predominantly working class, converged on the Christopher Street area around the Stonewall Inn to join the fray. The police were now reinforced by the Tactical Patrol Force (TPF), a crack riot-control squad that had been specially trained to disperse people protesting against the Vietnam War.


    Historian Martin Duberman describes the scene as the two dozen "massively proportioned" TPF riot police advanced down Christopher Street, arms linked in Roman Legion-style wedge formation: "In their path, the rioters slowly retreated, but - contrary to police expectations - did not break and run ... hundreds ... scattered to avoid the billy clubs but then raced around the block, doubled back behind the troopers, and pelted them with debris. When the cops realized that a considerable crowd had simply re-formed to their rear, they flailed out angrily at anyone who came within striking distance.


    "But the protestors would not be cowed. The pattern repeated itself several times: The TPF would disperse the jeering mob only to have it re-form behind them, yelling taunts, tossing bottles and bricks, setting fires in trash cans. When the police whirled around to reverse direction at one point, they found themselves face-to-face with their worst nightmare: a chorus line of mocking queens, their arms clasped around each other, kicking their heels in the air Rockettes-style and singing at the tops of their sardonic voices:


    'We are the Stonewall girls
    We wear our hair in curls
    We wear no underwear
    We show our pubic hair...
    We wear our dungarees
    Above our nelly knees!'


    "It was a deliciously witty, contemptuous counterpoint to the TPF's brute force." (Stonewall, Duberman, 1993) The following evening, the demonstrators returned, their numbers now swelled to thousands. Leaflets were handed out, titled "Get the Mafia and cops out of gay bars!" Altogether, the protests and disturbances continued with varying intensity for five days.


    In the wake of the riots, intense discussions took place in the city's gay community. During the first week of July, a small group of lesbians and gay men started talking about establishing a new organization called the Gay Liberation Front. The name was consciously chosen for its association with the anti-imperialist struggles in Vietnam and Algeria. Sections of the GLF would go on to organize solidarity for arrested Black Panthers, collect money for striking workers, and link the battle for gay rights to the banner of socialism.


    During the next year or so, lesbians and gay men built a Gay Liberation Front (GLF) or comparable body in Canada, France, Britain, Germany, Belgium, Holland, Australia, and New Zealand.


    The word "Stonewall" has entered the vocabulary of lesbians, gay men, bisexuals, and transgendered (LGBT) people everywhere as a potent emblem of the gay community making a stand against oppression and demanding full equality in every area of life.


    The GLF is no more, but the idea of Gay Power is as strong as ever. Meanwhile, in many countries and cities the concept of "gay pride" literally marches on each year in the form of an annual Gay Pride march.


    The present generation of young LGBT people and many of today's gay rights activists were born or grew up after 1969. And over the intervening decades, politics in the U.S. have passed through a very different period. While there have been huge advances in the struggle for LGBT rights, there is still a long way to go to achieve full liberation as the growing attacks by the religious right makes very clear.


    Developing Subculture
    Why did the Stonewall events happen when they did? How did the initial actions of fewer than 200 people lead to both a wider protest and then the birth of Gay Liberation?


    In his 1983 book Sexual Politics, Sexual Communities, the historian John D'Emilio has revealed the pre-history of Stonewall. The author shows how the process of industrialization and urbanization, and the movement of workers from plantations and family farms to wage labor in the cities, made it easier for Americans with same-sex desires to explore their sexuality. By the 1920s, a homosexual subculture had crystallized in San Francisco's Barbary Coast, the French quarter of New Orleans, and New York's Harlem and Greenwich Villages.


    People with same-sex desires have existed throughout history. What has varied is the way society has viewed them, and how the people we now describe as LGBT regarded themselves at different stages.


    The significance of the social change described above, and the emergence of a subculture, for the development of a gay rights movement is that an increasing number of individuals with same-sex desires were able to break out of isolation in small and rural communities. However discreetly, they learned of the existence of large numbers of other gay people and started to feel part of a wider gay community.


    In society at large, the penalties for homosexuality were severe. State laws across the country criminalized same-sex acts, while simple affectionate acts in public such as two men or women holding hands could lead to arrest. Even declaring oneself as a gay man or lesbian could result in admission to a mental institution without a hearing.


    Within the embryonic subculture, there were fewer places for lesbians than gay men because women generally had less economic independence, and it was therefore harder for a woman to break free from social norms and pursue same-sex interests. During the Second World War, all this changed. With the set routines of peacetime broken, gays and lesbians found more opportunities for freer sexual expression.


    Women entered both the civilian workforce and the armed services in large numbers, and also had new-found spending power with which to explore their sexuality. In the documentary film Before Stonewall, a lesbian ex-servicewoman called Johnnie Phelps relates how she was called in with another female NCO to see the general-in-command of her battalion - which she estimated was "97% lesbian."


    General Eisenhower told her he wanted to "ferret out" the lesbians from the battalion, and instructed her to draw up a list to that end. Both Phelps and the other woman politely informed the General that they would be pleased to make such a list, provided he was prepared to replace all the file clerks, drivers, commanders, etc. and that their own names would be at the top of the list! Eisenhower rescinded the order. A few years later as U.S. president, however, Eisenhower would get lists aplenty during the McCarthy witch-hunts that were unleashed against thousands of both suspected Communists and "sexual perverts."


    Renewed Repression
    With the return to peacetime conditions, the millions of Americans who had encountered gay people and relationships in the services or war economy saw this temporary opening-up of U.S. society come to an end. Most of the new wartime gay venues closed their doors, as service people were demobilized and the bulk of the new women workers were sent home from the factories.


    The lid of sexual orthodoxy came crashing down, and a dark age was about to dawn for gay people. But the genie of lesbian and gay experimentation had been let out of the bottle. Things could never be quite the same again. One of the enduring effects of the war was the large number of lesbian and gay ex-service people who decided to stay in the port cities to retain some sexual freedom, away from their families and the pressure to marry.


    In the 1940s and 1950s, post-war reconstruction and the shift to consumer production, taking place against the background of the Cold War, resulted in the authorities heavily promoting the model of the orthodox nuclear family to buttress the social and economic system of capitalism. The other side of the coin was a clampdown on those who stepped out of the magic circle of matrimony, parenthood, and homemaking by engaging in same-sex relationships.


    The inquiries of the House Un-American Activities Committee led to thousands of homosexuals losing their jobs in government departments. The ban on the employment of homosexuals at the federal level remained in place until 1975. In the District of Columbia alone, there were 1,000 arrests each year in the early 1950s. In every state, local newspapers published the names of those charged together with their place of work, resulting in many workers getting fired. The postal service opened the mail of LGBT people and passed on names. Colleges maintained lists of suspected gay students.


    The Birth of Gay Rights
    It was against this hostile background that the gay rights movement in the U.S. came into existence. In 1948, Harry Hay, a gay man and long-standing member of the U.S. Communist Party (CP), decided to set up a homosexual rights group. This was the first chapter in what gay people at the time described as the "homophile" movement.


    Like all Communist Parties around the world, the U.S. party claimed to uphold the tradition of the October Revolution in Russia. One of the early measures of the Bolsheviks had been to end the criminalization of gay people. But by the 1930s, the rise of the Stalinist bureaucracy had resulted in the resumption of anti-gay policies both in the Soviet Union and world Communist Parties.


    In this situation, determined to pursue his project, Hay asked to be expelled from the CP. In view of his long service, the party declined his request. Together with a small group of collaborators including other former CP members, Hay launched the Mattachine Society (MS) in 1950. This took its name from a mysterious group of anti-establishment musicians in the Middle Ages, who only appeared in public in masks, and were possibly homosexual.


    D'Emilio describes the program of the Mattachine Society as unifying isolated homosexuals, educating homosexuals to see themselves as an oppressed minority, and leading them in a struggle for their own emancipation. The MS organized local discussion groups to promote "an ethical homosexual culture." These argued that "emotional stress and mental confusion" among gay men and lesbians was "socially conditioned."


    Notwithstanding the Stalinist degeneration of the CP in which Hay had received two decades of training, the MS founders clearly applied Marxist methods to understand the position of gay people and chart a way forward. For the structure of Mattachine, Hay utilized the methods of secrecy which the CP had employed in the face of attacks by the authorities, but which also developed against the background of the undemocratic methods of Stalinism in the workers' movement.


    To combat the persecution facing gay people, the Mattachine Society was based on a network of cells arranged in five tiers, or "orders." Hay and the other leaders comprised the fifth order, but would be unknown to members at first and second "order" levels. For three years, the MS steadily expanded its network of discussion groups. Growth accelerated in 1952 after MS won a famous victory over the police when charges against a Mattachine member in Los Angeles were dropped, following a campaign of fliers by a front organization called the "Citizens Committee to Outlaw Entrapment."


    However, the following year, after a witch-hunting article by a McCarthyite journalist in Los Angeles, the fifth order decided to organize a "democratic convention." When this took place, the Hay group was criticized from the floor by conservative and anti-Communist elements who demanded that the MS introduce loyalty oaths, which was a standard McCarthyite tactic. The radical leadership managed to defeat all the opposition resolutions, and the demand for a loyalty oath never gained a majority in Mattachine.


    Nevertheless, Hay and his comrades decided not to stand for positions in the organization they had established and built. This effectively handed the group over to the conservatives. Many who had supported the original aims left in disgust, and it took two years for the membership to be built up again. If the Hay group had stayed active, it could have offered a pole of attraction for militant LGBT people. As it was, the movement was thrown back and a decade was lost.


    Whereas the Mattachine founders had advocated an early version of "gay pride," the new leadership reflected the social prejudice prevalent against homosexuals. The new MS president, Kenneth Burns, wrote in the Society journal, "We must blame ourselves for our own plight ... When will the homosexual ever realize that social reform, to be effective, must be preceded by personal reform?"


    The position of the new leadership was that gay people could not fight for changes in U.S. society but had to look to "respectable" doctors, psychiatrists, etc. through whom to ingratiate themselves with the authorities in the hope of more favorable treatment. But the problem was that the vast majority of such figures advocated the idea that homosexuality was a sickness.


    Towards the end of this period, when a professional named Albert Ellis told a homophile conference that "the exclusive homosexual is a psychopath," someone in the audience shouted: "Any homosexual who would come to you for treatment, Dr. Ellis, would have to be a psychopath!"


    The Rise of Gay Activism
    It is thought that many LGBT people who had yet to "come out" (publicly identify themselves as homosexual) became workers in the black civil rights campaign that began in the 1950s. By the following decade, the influence of the civil rights movement was making itself felt within the homophile movement. The "accommodationist" establishment of people such as Burns increasingly came under attack from a fresh generation of militant activists.


    Eventually, in both the Mattachine Society and a similarly conservative lesbian group called the Daughters of Bilitis (DOB), the leadership chose to dissolve the national structure rather than see the organization fall into the hands of radicals. Individual MS and DOB branches then continued on a free-standing basis. In these and other city-based groups, militant leaders managed to win majorities, often after colossal battles.


    Within this process, an influential figure was astronomer Frank Kameny, who had been fired from a government job in the anti-gay purges. After unsuccessfully fighting victimization in the courts, he concluded that the U.S. government "had declared war on" him and decided to become a full-time gay rights activist. Kameny was scathing about the old leadership of the homophile movement in their craven deference towards the medical establishment: "The prejudiced mind is not penetrated by information, and is not educable." The real experts on homosexuality were homosexuals, he said.


    Referring to the organizations of the black civil rights movement, Frank Kameny noted: "I do not see the NAACP and CORE worrying about which chromosome and gene produced a black skin, or about the possibility of bleaching the Negro." As the struggles of U.S. blacks produced slogans such as "Black is Beautiful," Kameny coined the slogan "Gay is Good" and eventually persuaded the homophile movement to adopt this in the run-up to Stonewall.


    The militant homophile campaigners started public picketing with placards and other direct actions, and mounted an offensive against the police and government over criminal entrapment, the employment ban, and a range of other issues.


    Twenty years after Harry Hay had first conceived the idea of the Mattachine Society, U.S. society had undergone a transformation. The rise of a women's movement (with lesbians prominent among the organizers), the shift among black people from a civil rights to a black power movement (parts of which embraced socialist ideas), a revolt against the U.S. war in Vietnam on American campuses influenced by the May 1968 events in France, plus the side effects of other developments such as a rebellion against establishment values in dress and personal relationships among groups such as the hippies, all contributed to gay and lesbian rights campaigns moving into a more militant phase.


    One of the strands within the Gay Liberation Front argued that a revolutionary struggle against capitalism to build a socialist society was needed to finally end the oppression of gay people.


    Craig Rodwell concludes: "There was a very volatile active political feeling, especially among young people ... when the night of the Stonewall Riots came along, just everything came together at that one moment. People often ask what was special about that night ... There was no one thing special about it. It was just everything coming together, one of those moments in history that if you were there, you knew, this is it, this is what we've been waiting for."

    Tuesday, June 27, 2017

    The 50th Anniversary Of The Summer Of Love, 1967-The “Blues Mama” Of “The Generation Of ‘68”- The Music Of Janis Joplin

    The 50th Anniversary Of The Summer Of Love, 1967-The “Blues Mama” Of “The Generation Of ‘68”- The Music Of Janis Joplin









    Zack James’ comment June, 2017:
    Sometimes you just have to follow the bouncing ball like in those old time sing along cartoons they used to have back in say the 1950s,the time I remember them from, on Saturday afternoon matinees at the old now long gone Stand Theater in my growing up town of North Adamsville. Follow me for a minute here I won’t be long. Earlier this spring my oldest brother, Alex, took attended a conference in San Francisco which he has done periodically for years. While there he noticed an advertisement on a bus for something called the Summer of Love Experience at the de Young Museum in Golden Gate Park. That ad immediately caught his attention he had been out there that year and had participated in those events at the urging of his friend Peter Paul Markin who was something of a holy goof (a Jack Kerouac term of art), a low rent prophet, and a street criminal all in one. When Alex got back to the East after having attended the exhibition he got in contact with me to help him, and the still standing corner boys who also had gone out West at Markin’s urging to put together a tribute booklet honoring Markin and the whole experience.
    After completing that project, or maybe while completing it I kept on thinking about the late Hunter S. Thompson who at one time was the driving force behind gonzo journalism and had before his suicide about a decade ago been something of a muse to me. At first my thoughts were about how Thompson would have taken the exhibition at the de Young since a lot of what he wrote about in the 1960s and 1970s was where the various counter-cultural trends were, or were not, going. But then as the current national political situation in America in the Trump Age has turned to crap, to craziness and straight out weirdness I began to think about how Thompson would have handled the 24/7/365 craziness these days since he had been an unremitting searing critic of another President of the United States who also had low-life instincts, one Richard Milhous Nixon.
    The intertwining of the two stands came to head recently over the fired FBI director James Comey hearings where he essentially said that the emperor had no clothes. So I have been inserting various Thompson-like comments in an occasional series I am running in various on-line publications-Even The President Of The United States Sometimes Must Have To Stand Naked-Tales From The White House Bunker. And will continue to overlap the two-Summer of Love and Age of Trump for as long as it seems relevant. So there you are caught up. Ifs not then I have included hopefully for the last time the latest cross-over Thompson idea.           
    ************      
    Zack James comment, Summer of 2017                

    Maybe it says something about the times we live in, or maybe in this instance happenstance or, hell maybe something in the water but certain things sort of dovetail every now and again. I initially started this commentary segment after having written a longest piece for my brother and his friends as part of a small tribute booklet they were putting together about my and their takes on the Summer of Love, 1967. That event that my brother, Alex, had been knee deep in had always interested me from afar since I was way too young to have appreciated what was happening in San Francisco in those Wild West days. What got him motivated to do the booklet had been an exhibit at the de Young Art Museum in Golden Gate Park where they were celebrating the 50th anniversary of the events of that summer with a look at the music, fashion, photography and exquisite poster art which was created then just as vivid advertising for concerts and “happenings” but which now is legitimate artful expression.
    That project subsequently got me started thinking about the late Hunter Thompson, Doctor Gonzo, the driving force behind a new way of looking at and presenting journalism which was really much closer to the nub of what real reporting was about. Initially I was interested in some of Thompson’s reportage on what was what in San Francisco as he touched the elbows of those times having spent a fair amount of time working on his seminal book on the Hell’s Angels while all hell was breaking out in Frisco town. Delved into with all hands and legs the high points and the low, the ebb which he located somewhere between the Chicago Democratic Convention fiasco of the summer of 1968 and the hellish Rollins Stones Altamont concert of 1969.     
    Here is what is important today though, about how the dots get connected out of seemingly random occurrences. Hunter Thompson also made his mark as a searing no holds barred mano y mano reporter of the rise and fall, of the worthy demise of one Richard Milhous Nixon at one time President of the United States and a common low-life criminal of ill-repute. Needless to say today, the summer of 2107, in the age of one Donald Trump, another President of the United States and common low-life criminal begs the obvious question of what the sorely missed Doctor Gonzo would have made of the whole process of the self-destruction of another American presidency, or a damn good run at self-destruction. So today and maybe occasionally in the future there will be some intertwining of commentary about events fifty years ago and today. Below to catch readers up to speed is the most recent “homage” to Hunter Thompson. And you too I hope will ask the pertinent question. Hunter where are you when we need, desperately need, you.       
    *******
    Zack James comment, Summer of 2017 

    You know it is in a way too bad that “Doctor Gonzo”-Hunter S Thompson, the late legendary journalist who broke the back, hell broke the neck, legs, arms of so-called objective journalism in a drug-blazed frenzy back in the 1970s when he “walked with the king”’ is not with us in these times. (Walking with the king not about walking with any king or Doctor King but being so high on drugs, your choice, that commin clay experiences fall by the way side. In the times of this 50th anniversary commemoration of the Summer of Love, 1967 which he worked the edges of while he was doing research (live and in your face research by the way) on the notorious West Coast-based Hell’s Angels. His “hook” through Ken Kesey and the Merry Pranksters down in Kesey’s place in La Honda where many an “acid test” took place, where many walked with the king, if you prefer, and where for a time the Angels, Hunter in tow, were welcomed. He had been there in the high tide, when it looked like we had the night-takers on the run and later as well when he saw the ebb tide of the 1960s coming a year or so later although that did not stop him from developing the quintessential “gonzo” journalism fine-tuned with plenty of dope for which he would become famous before the end, before he took his aging life and left Johnny Depp and company to fling his ashes over this good green planet. He would have “dug” the exhibition, maybe smoked a joint for old times’ sake (oh no, no that is not done in proper society, in high art society these days) at the de Young Museum at the Golden Gate Park highlighting the events of the period showing until August 20th of this year.   

    Better yet he would have had this Trump thug bizarre weirdness wrapped up and bleeding from all pores just like he regaled us with the tales from the White House bunker back in the days when Trump’s kindred one Richard Milhous Nixon, President of the United States and common criminal was running the same low rent trip before he was run out of town by his own like some rabid rat. He would have gone crazy seeing all the crew deserting the sinking U.S.S. Trump with guys like fired FBI Director Comey going to Capitol Hill and saying out loud the emperor has no clothes and would not know the truth if it grabbed him by the throat. Every day would be a feast day. But perhaps the road to truth these days, in the days of “alternate facts” and assorted other bullshit would have been bumpier than in those more “civilized” times when simple burglaries and silly tape-recorders ruled the roost. Hunter did not make the Nixon “hit list” (to his everlasting regret for which he could hardly hold his head up in public) but these days he surely would find himself in the top echelon. Maybe too though with these thugs who like their forbears would stop at nothing he might have found himself in some back alley bleeding from all pores. Hunter Thompson wherever you are –help. Selah. Enough said-for now  


    CD REVIEW

    Janis Joplin: 18 Essential Songs, Janis Joplin with Big Brother and The Holding Company, Columbia Records, 1995

    It is virtually a truism that every generation has its own cultural icons, for better or worst. The 1960’s, the time of this reviewer’s “Generation of ‘68”, was no exception. Although there were no official creeds in the matter, in fact we scorned such thinking, a rough translation of what we thought we were about then could be summed up as follows- live fast, live young and live forever. Other, later generations have put their own imprint on that theme although I sense without our basically naïve and hopeful expectations of that phrase. All this is by way of saying that the artist under review, urban white blues and soul singer Janis Joplin, was one of our icons. That she crashed and burned well before her time, and well before forever, only adds poignancy to her fate.

    The role of “blues mama” for a generation is certainly no task for the faint-hearted, as Janis’s life, life style, and fame attest to. That she was able to translate the black blues idiom and style of the likes of her idol “Big Mama” Thornton, of necessity, had to take its toll on that tiny hard scrabble Texas-raised body. But that is the fundamental tragedy (and beauty) of the blues. Not only must you ‘pay your dues’ but this genre cannot be faked. If you have not lived a hard scrabble existence, faced the depths of what society has to offer and come out swinging you flat-out cannot convey that message the way it is suppose to be done. Janis could. Other white women blues singers as fine performers as they are, like Tracey Nelson and Rory Block, approximate that sound but there is just a little too much “refinement” in the voice to pass this test.

    So what did Janis (and her fellow musicians of Big Brother and The Holding Company who generally rose to the occasion and created great sounds to go with that Joplin voice) leave us? Well, as contained in this above average CD compilation of her work, most of the essential woman’s blues numbers of the 1960’s that will stand the test of time. Not bad, right? Start off, as always, with ‘Big Mama’s” “Ball and Chain” (that blew them away at the Monterrey Pops Festival). Move on to the classic Gershwin tune “Summertime”. Feast on her own “I Need A Man To Love” and “Kozmic Blues”. And close out with Kris Kristofferson’s 1960’s traveling anthem “Me And Booby McGee”. And in between a dozen more memorable tunes. I defy anyone to find a song in this compilation that is less than above average. And that kind of says it all. Janis Joplin’s star burned out far too quickly and those of us from her generation are now coming to terms with the fact that, despite our youthful beliefs, we will not live forever. Her music, however, will.

    Ball And Chain lyrics

    Sittin’ down by my window,
    Honey, lookin’ out at the rain.
    Oh, Lord, Lord, sittin’ down by my window,
    Baby, lookin’ out at the rain.
    Somethin’ came along, grabbed a hold of me, honey,
    And it felt just like a ball and chain.
    Honey, that’s exactly what it felt like,
    Honey, just dragging me down.

    And I say, oh, whoa, whoa, now hon’, tell me why,
    Why does every single little tiny thing I hold on to go wrong ?
    Yeah it goes wrong, yeah.
    And I say, oh, whoa, whoa, now babe, tell me why,
    Does every thing, every thing.
    Hey, here you gone today, I wanted to love you,
    I just wanted to hold you, I said, for so long,
    Yeah! Alright! Hey!

    Love’s got a hold on me, baby,
    Feels like a ball and chain.
    Now, love’s just draggin’ me down, baby,
    Feels like a ball and chain.
    I hope there’s someone out there who could tell me
    Why the man I love wanna leave me in so much pain.
    Yeah, maybe, maybe you could help me, come on, help me!

    And I say, oh, whoa, whoa, now hon’, tell me why,
    Now tell me, tell me, tell me, tell me, tell me, tell me why, yeah.
    And I say, oh, whoa, whoa, whoa, when I ask you,
    When I need to know why, c’mon tell me why, hey hey hey,
    Here you’ve gone today,
    I wanted to love you and hold you
    Till the day I die.
    I said whoa, whoa, whoa!!

    And I say oh, whoa, whoa, no honey
    It ain’t fair, daddy it ain’t fair what you do,
    I see what you’re doin’ to me and you know it ain’t fair.
    And I say oh, whoa whoa now baby
    It ain’t fair, now, now, now, what you do
    I said hon’ it ain’t fair what, hon’ it ain’t fair what you do.
    Oh, here you gone today and all I ever wanted to do
    Was to love you
    Honey you can still hear me rock and roll the best,
    Only it ain’t roll, no, no, no, no, no.

    Sittin’ down by my window,
    Lookin’ out at the rain.
    Lord, Lord, Lord, sittin’ down by my window,
    Lookin’ out at the rain, see the rain.
    Somethin’ came along, grabbed a hold of me,
    And it felt like a ball and chain.
    Oh this can’t be in vain
    And I’m gonna tell you one more time, yeah, yeah!

    And I say oh, whoa whoa, now baby
    This can’t be, no this can’t be in vain,
    And I say no no no no no no no no, whoa,
    And I say whoa, whoa, whoa, whoa, whoa
    Now now now now now now now now now no no not in vain
    Hey, hope there is someone that could tell me
    Hon’, tell me why love is like
    Just like a ball
    Just like a ball
    Baaaaaaalllll
    Oh daddy, daddy, daddy, daddy, daddy, daddy, daddy, daddy
    And a chain.
    Yeah.

    Call On Me lyrics

    Well, baby, when times are bad,
    Now call on me, darling, and I’ll come to you.
    When you’re in trouble and feel so sad,
    Well, call on me, darling, come on call on me, and I’ll help you.
    Yeah!

    A man and a woman have each other, baby,
    To find their way in this world.
    I need you, darling, like the fish needs the sea,
    Don’t take your sweet, your sweet love from me.

    Baby, when you’re down and feel so blue,
    Well, no, you won’t drown, darling, I’ll be there too.
    You’re not alone, I’m there too,
    Whatever your troubles, honey, I don’t care.

    A man and a woman have each other, baby,
    To find their way in this world.
    I need you, darling, like the fish needs the sea,
    Don’t take your sweet, sweet love from me!

    Please! So baby, when times are bad,
    Call on me, darling, just call on me.

    I Need A Man To Love lyrics

    Whoa, I need a man to love me.
    Don’t you understand me, baby ?
    Why, I need a man to love.
    I gotta find him, I gotta have him like the air I breathe.
    One lovin’ man to understand can’t be too much to need.

    You know it
    Can’t be now
    Oh no
    Can’t be now
    Oh no
    Can’t be now
    Oh no
    Can’t be now
    Oh no
    Can’t be now
    Oh no
    Can’t be this loneliness
    Baby, surrounding me.

    No, no, know it just can’t be
    No it just can’t be
    There’s got to be some kind of answer.
    No it just can’t be
    And everywhere I look, there’s none around
    No it just can’t be
    Whoa, it can’t be
    No it just can’t be, oh no!
    Whoa, hear me now.

    Whoa, won’t you let me hold you ?
    Honey, just close your eyes.
    Whoa, won’t you let me hold you, dear ?
    I want to just put my arms around ya, like the circles going ‘round the sun.
    Let me hold you daddy, at least until the morning comes.

    Because it
    Can’t be now
    Oh no
    Can’t be now
    Oh no
    Can’t be now
    Oh no
    Can’t be now
    Oh no
    Can’t be now
    Oh no
    Can’t be this loneliness
    Baby, surrounding me.
    No, no, no it just can’t be.
    No it just can’t be
    Oh, baby, baby, baby, baby, just can’t be.
    No, no, no
    No it just can’t be

    And why can’t anyone ever tell me, now ?
    No it just can’t be
    I wake up one morning, I realize
    No it just can’t be
    Whoa, it can’t be.
    No it just can’t be
    Now go!

    Whoa, I need a man to love me
    Oh, maybe you can help me, please.
    Why, I need a man to love.
    But I believe that someday and somehow it’s bound to come along
    Because when all my dreams and all my plans just cannot turn out wrong.

    You know it
    Can’t be now Oh no
    Can’t be now Oh no
    Can’t be now Oh no
    Can’t be now Oh no
    Can’t be now Oh no
    Can’t be just loneliness
    Baby, surrounding me

    No, no, no, it just can’t be
    No it just can’t be
    Oh, baby, baby, baby, baby, it just can’t be
    No it just can’t be
    And who could be foolin’ me ?
    No it just can’t be
    I’ve got all this happiness
    No it just can’t be
    Come, come, come on, come on, come on, and help me now.
    No it just can’t be
    Please, can’t you hear my cry ?
    No it just can’t be
    Whoa, help ...


    Newly Found Photos Show Janis Joplin's Final Concert — 45 Years Ago At Harvard

    sounds


    Peter Warrack's photo of Janis Joplin performing at Harvard Stadium, August 12, 1970. (House of Roulx)
    Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)
    The evening of Aug. 12, 1970, was a warm one. Harvard Stadium had been transformed into a concert arena with the addition of rows upon rows of seats onto the field. An estimated 40,000 spectators were crammed inside. After it was discovered that some sound equipment had been stolen, the show was delayed. According to several accounts, the crowd was restless, near rioting.
    They were waiting for Janis Joplin.
    “Oddly, while we were sitting there—and the crowd was getting into something, it became very smoky and sweet there, let’s put it that way—we could see, straight ahead, the open-scaffolding stage,” says Kevin McElroy, who was seated near the front with his boyfriend, Peter Warrack. “Janis was underneath. And she had a bottle of Southern Comfort, and she was just in a world of her own there. She just was doing what she wanted to do in the moment. After another hour-and-a-half or so—it was really quite a delay—she literally burst onto the stage. It was just electric.”
    Peter Warrack's photo of Janis Joplin performing at Harvard Stadium, August 12, 1970. (House of Roulx)
    Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)
    Two months later, Joplin was dead. That near-disaster concert at Harvard Stadium, it turned out, was her last public performance.
    It was a special night for Warrack as well. An amateur photographer who liked to photograph celebrities and collect autographs, he shot almost a whole roll of film from down in the front, a telephoto lens aimed upward at the star as she threw herself across the stage. Concerts weren’t documented as thoroughly back then as they are now, thanks to Instagram and Twitter and a camera on every smartphone, so those 24 black-and-white close-ups are, seemingly, some of the few existing relics of the historic concert.
    The Liverpool-born Warrack died in 2008, but nearly his entire collection of photographs—around 15,000—remained unpublished during his lifetime. Until recently they languished in a vast collection of binders in several closets at McElroy’s residence in Boston’s South End. House of Roulx—a Danvers-based operator of an online boutique selling celebrity photos, reproductions of funny sci-fi art and copies of curious old photos—acquired the entire collection this year. Individual prints as well as a limited edition box set of the Joplin series are available for purchase on the House of Roulx website.
    Peter Warrack's photo of Janis Joplin performing at Harvard Stadium, August 12, 1970. (House of Roulx)
    Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)
    “This wasn’t just a guy who was celebrity star-struck who snapped pictures, he was actually a really good photographer,” says House of Roulx’s Jared Gendron. “Because there’s a difference between someone who just runs around snapping pictures paparazzi-style in the 1970s, versus somebody who has that artistic eye.”
    Taken together, Warrack’s photographs of Joplin are like a flip-book of the 27-year-old singer that capture a few fleeting, candid moments onstage. They are portraits, really, set against a black background, zoomed in close enough to count the bracelets on her wrist. In one shot, she holds a finger pensively to her lips. In another, she radiates, smiling as she looks over her shoulder. One photo captures her in motion, a blur of sweat and song.
    “She was feeling no pain, literally,” says McElroy. “She was interacting with the audience in almost a—well, it wasn’t almost, it was, it was a sexual banter back and forth. They were calling up to her, they wanted her, and she wanted them. At one point in time she says, ‘Yeah, I’ll take you on. One at a time. One at a time.’ That was part of who she was.”
    Peter Warrack's photo of Janis Joplin performing at Harvard Stadium, August 12, 1970. (House of Roulx)
    Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)
    When Joplin died on Oct. 4, 1970, Reuters ran an obituary that spent as much time detailing her boozy, contentious persona as her actual musicianship. In the years since, she has become something of a feminist icon, in addition to a bona fide rock ‘n’ roll legend. Her voice—that gravelly, SoCo-soaked voice—epitomizes the capacity of a rare kind of greatness to translate pain into art.
    “I think people today might not understand—you know, Janis was young, she was only 20-odd, and she was one of our current rock stars,” says McElroy. “She was just somebody who was touring, and somebody who was good, and somebody you wanted to see. Over the last 45 years, Janis has become something else, in a way most people who die young do become. And I think young people today would look at Janis and not see her in the same light that we did.”
    In McElroy’s telling, Warrack’s work was driven by a fascination with both the glamour of celebrity as well as the humanity behind it. The photographs of Joplin, he says, show a side of her that has been largely erased by her iconic status and all that she symbolizes now.
    “I think we see something different when we look back,” says McElroy. “I don’t think we see just Janis herself. [That night] was just Janis, performing. It was wonderful.”
    Peter Warrack's photo of Janis Joplin performing at Harvard Stadium, August 12, 1970. (House of Roulx)
    Peter Warrack’s photo of Janis Joplin performing at Harvard Stadium, Aug. 12, 1970. (House of Roulx)

    For The Late Rosalie Sorrels-A Rosalie Sorrels Potpourri- Utah Phillips, Idaho, Cafe Lena, Childhood Dreams and Such

    For The Late Rosalie Sorrels-A Rosalie Sorrels Potpourri- Utah Phillips, Idaho, Cafe Lena, Childhood Dreams and Such





    If I Could Be The Rain I Would Be Rosalie Sorrels-The Legendary Folksinger-Songwriter Has Her Last Go Round At 83

    By Music Critic Bart Webber

    Back the day, back in the emerging folk minute of the 1960s that guys like Sam Lowell, Si Lannon, Josh Breslin, the late Peter Paul Markin and others were deeply immersed in all roads seemed to lead to Harvard Square with the big names, some small too which one time I made the subject of a series, or rather two series entitled respectively Not Bob Dylan and Not Joan Baez about those who for whatever reason did not make the show over the long haul, passing through the Club 47 Mecca and later the Café Nana and Club Blue, the Village down in NYC, North Beach out in San Francisco, and maybe Old Town in Chicago. Those are the places where names like Baez, Dylan, Paxton, Ochs, Collins and a whole crew of younger folksingers, some who made it like Tom Rush and Joni Mitchell and others like Eric Saint Jean and Minnie Murphy who didn’t, like  who all sat at the feet of guys like Woody Guthrie and Pete Seeger got their first taste of the fresh breeze of the folk minute, that expression courtesy of the late Markin, who was among the first around to sample the breeze.

    (I should tell you here in parentheses so you will keep it to yourselves that the former three mentioned above never got over that folk minute since they will still tell a tale or two about the times, about how Dave Van Ronk came in all drunk one night at the Café Nana and still blew everybody away, about catching Paxton changing out of his Army uniform when he was stationed down at Fort Dix  right before a performance at the Gaslight, about walking down the street Cambridge with Tom Rush just after he put out No Regrets/Rockport Sunday, and about affairs with certain up and coming female folkies like the previously mentioned Minnie Murphy at the Club Nana when that was the spot of spots. Strictly aficionado stuff if you dare go anywhere within ten miles of the subject with any of them -I will take my chances here because this notice, this passing of legendary Rosalie Sorrels a decade after her dear friend Utah Phillips is important.)

    Those urban locales were certainly the high white note spots but there was another important strand that hovered around Saratoga Springs in upstate New York, up around Skidmore and some of the other upstate colleges. That was Caffe Lena’s, run by the late Lena Spenser, a true folk legend and a folkie character in her own right, where some of those names played previously mentioned but also where some upstarts from the West got a chance to play the small crowds who gathered at that famed (and still existing) coffeehouse. Upstarts like the late Bruce “Utah” Phillips (although he could call several places home Utah was key to what he would sing about and rounded out his personality). And out of Idaho one Rosalie Sorrels who just joined her long-time friend Utah in that last go-round at the age of 83.

    Yeah, came barreling like seven demons out there in the West, not the West Coast west that is a different proposition. The West I am talking about is where what the novelist Thomas Wolfe called the place where the states were square and you had better be as well if you didn’t want to starve or be found in some empty arroyo un-mourned and unloved. A tough life when the original pioneers drifted westward from Eastern nowhere looking for that pot of gold or at least some fresh air and a new start away from crowded cities and sweet breathe vices. A tough life worthy of song and homage. Tough going too for guys like Joe Hill who tried to organize the working people against the sweated robber barons of his day (they are still with us as we are all now very painfully and maybe more vicious than their in your face forbear)Struggles, fierce down at the bone struggles also worthy of song and homage. Tough too when your people landed in rugged beautiful two-hearted river Idaho, tried to make a go of it in Boise, maybe stopped short in Helena but you get the drift. A different place and a different type of subject matter for your themes than lost loves and longings.  

    Rosalie Sorrels could write those songs as well, as well as anybody but she was as interested in the social struggles of her time (one of the links that united her with Utah) and gave no quarter when she turned the screw on a lyric. The last time I saw Rosalie perform in person was back in 2002 when she performed at the majestic Saunders Theater at Harvard University out in Cambridge America at what was billed as her last go-round, her hanging up her shoes from the dusty travel road. (That theater complex contained within the Memorial Hall dedicated to the memory of the gallants from the college who laid down their heads in that great civil war that sundered the country. The Harvards did themselves proud at collectively laying down their heads at seemingly every key battle that I am aware of when I look up at the names and places. A deep pride runs through me at those moments)

    Rosalie Sorrels as one would expect on such an occasion was on fire that night except the then recent death of another folk legend, Dave Von Ronk, who was supposed to be on the bill (and who was replaced by David Bromberg who did a great job banging out the blues unto the heavens) cast a pall over the proceedings. I will always remember the crystal clarity and irony of her cover of her classic Old Devil Time that night -yeah, give me one more chance, one more breathe. But I will always think of If I Could Be The Rain and thoughst of washing herself down to the sea whenever I hear her name. RIP Rosalie Sorrels 


    CD REVIEWS

    Music For The Long Haul

    If I Could Be The Rain, Rosalie Sorrels, Folk-Legacy Records, 2003 (originally recorded in 1967)

    The first paragraph here has been used in reviewing other Rosalie Sorrels CDs in this space.


    “My first association of the name Rosalie Sorrels with folk music came, many years ago now, from hearing the recently departed folk singer/storyteller/ songwriter and unrepentant Wobblie (IWW) Utah Phillips mention his long time friendship with her going back before he became known as a folksinger. I also recall that combination of Sorrels and Phillips as he performed his classic “Starlight On The Rails” and Rosalie his also classic “If I Could Be The Rain” on a PBS documentary honoring the Café Lena in Saratoga, New York, a place that I am also very familiar with for many personal and musical reasons. Of note here: it should be remembered that Rosalie saved, literally, many of the compositions that Utah left helter-skelter around the country in his “bumming” days.”

    That said, what could be better than to have Rosalie pay an early musical tribute (1967) to one of her longest and dearest folk friends, her old comrade Utah Phillips, someone who it is apparent from this beautiful little CD was on the same wavelength as that old unrepentant Wobblie as well as a few of her own songs. I have reviewed Rosalie’s recent (2008) tribute CD to the departed Utah “Strangers In Another Country” elsewhere in this space. Here Rosalie takes a scattering of Utah’s work from various times and places and gives his songs her own distinctive twist. Those efforts include nice versions of “If I Could Be The Rain”, “Goodbye To Joe Hill” and “Starlight On The Rails”. From her own work “One More Next Time” and “Go With Me” stick out. And here is the real treat. Rosalie’s voice back in the old days was just as strong as it was in 2008 on “Strangers”. Nice.

    If I Could Be The Rain-"Utah Phillips"

    Everybody I know sings this song their own way, and they arrive at their own understanding of it. Guy Carawan does it as a sing along. I guess he thinks it must have some kind of universal appeal. To me, it's a very personal song. It's about events in my life that have to do with being in love. I very seldom sing it myself for those reasons.



    If I could be the rain, I'd wash down to the sea;
    If I could be the wind, there'd be no more of me;
    If I could be the sunlight, and all the days were mine,
    I would find some special place to shine.

    But all the rain I'll ever be is locked up in my eyes,
    When I hear the wind it only whispers sad goodbyes.
    If I could hide the way I feel I'd never sing again;
    Sometimes I wish that I could be the rain.

    If I could be the rain, I'd wash down to the sea;
    If I could be the wind, there'd be no more of me;
    If I could hide the way I feel I'd never sing again;
    Sometimes I wish that I could be the rain.

    Copyright ©1973, 2000 Bruce Phillips


    THE TELLING TAKES ME HOME
    (Bruce Phillips)


    Let me sing to you all those songs I know
    Of the wild, windy places locked in timeless snow,
    And the wide, crimson deserts where the muddy rivers flow.
    It's sad, but the telling takes me home.

    Come along with me to some places that I've been
    Where people all look back and they still remember when,
    And the quicksilver legends, like sunlight, turn and bend
    It's sad, but the telling takes me home.

    Walk along some wagon road, down the iron rail,
    Past the rusty Cadillacs that mark the boom town trail,
    Where dreamers never win and doers never fail,
    It's sad, but the telling takes me home.

    I'll sing of my amigos, come from down below,
    Whisper in their loving tongue the songs of Mexico.
    They work their stolen Eden, lost so long ago.
    It's sad, but the telling takes me home.

    I'll tell you all some lies, just made up for fun,
    And the loudest, meanest brag, it can beat the fastest gun.
    I'll show you all some graves that tell where the West was won.
    It's sad, but the telling takes me home.

    And I'll sing about an emptiness the East has never known,
    Where coyotes don't pay taxes and a man can live alone,
    And you've got to walk forever just to find a telephone.
    It's sad, but the telling takes me home.

    Let me sing to you all those songs I know
    Of the wild, windy places locked in timeless snow,
    And the wide, crimson deserts where the muddy rivers flow.
    It's sad, but the telling takes me home.


    --------------------------------------------------------------------------------
    STARLIGHT ON THE RAILS
    (Bruce Phillips)

    I can hear the whistle blowing
    High and lonesome as can be
    Outside the rain is softly falling
    Tonight its falling just for me

    Looking back along the road I've traveled
    The miles can tell a million tales
    Each year is like some rolling freight train
    And cold as starlight on the rails

    I think about a wife and family
    My home and all the things it means
    The black smoke trailing out behind me
    Is like a string of broken dreams

    A man who lives out on the highway
    Is like a clock that can't tell time
    A man who spends his life just rambling
    Is like a song without a rhyme