Friday, June 26, 2020

Remember Attica Blood in the Water The Attica Prison Uprising of 1971 and Its Legacy by Heather Ann Thompson (Pantheon, 2016) A Review

Remember Attica Blood in the Water The Attica Prison Uprising of 1971 and Its Legacy by Heather Ann Thompson (Pantheon, 2016) A Review

Workers Vanguard No. 1103





13 January 2017
Remember Attica
Blood in the Water
The Attica Prison Uprising of 1971 and Its Legacy
by Heather Ann Thompson
(Pantheon, 2016)
A Review
On the morning of 9 September 1971, nearly 1,300 inmates—predominantly black and Puerto Rican—took over the state prison at Attica, New York. Four days later 29 of them lay dead, cut down in a hail of bullets fired by New York State Police, sheriffs and corrections officers. Governor Nelson Rockefeller gave the order. President Richard Nixon cheered them on. In the aftermath, the surviving prisoners were subjected to hideous torture and later charged with a total of 1,300 crimes. Among these were kidnapping and, most obscenely, unlawful imprisonment based on taking prison guards hostage, ten of whom were gunned down by Rockefeller’s stormtroopers when they retook the prison.
For many years, Democratic and Republican administrations in Albany, along with the courts, have covered up much of the truth of what took place at Attica, assisted by the same capitalist press that peddled the lie that the prisoners shot the guards. A significant part of that shroud has been peeled back by Heather Ann Thompson in her recent book, Blood in the Water: The Attica Prison Uprising of 1971 and Its Legacy. Thompson’s book brings to life the dignity and humanity of the prisoners who were treated as little more than dirt by Rockefeller and his ilk. She describes in vivid detail the dehumanizing conditions that gave rise to the rebellion and the racist venom that ran from the governor’s mansion down to the cops and prison guards who hunted down the uprising’s leaders. Thompson got her own sampling of that venom for naming the prison guards who carried out assassinations and torture.
Thompson’s comprehensive history is a result of her many years of diligent archival research and a bit of good fortune in uncovering key sources that had been suppressed. As she notes, “The most important details of this story have been deliberately kept from the public. Literally thousands of boxes of documents relating to these events are sealed or next to impossible to access.” Regarding the most explosive documents she uncovered, Thompson says, “All of the Attica files that I saw in that dark room of the Erie County courthouse have now vanished.”
For millions around the world, Attica became a potent symbol of rebellion against brutal repression—and a stark emblem of racist state murder. To this day it continues to inspire struggles against the racist degradation of black people inside and outside of prison walls. The first issue of Workers Vanguard (October 1971) led with the headline “Massacre at Attica.” We stated bluntly: “The brutal, bloody murderers of Attica are none other than the ruling class of this society,” saying further:
“Rockefeller cut down the Attica prisoners in the manner of his father and grandfather before him—ruthlessly and to protect the system from which his profits spring. From the murder of the Ludlow miners to the present, this family has carried the policies of the armed fist over the entire globe.... The Rockefeller name and the Rockefeller practice symbolize, more than any other, the American capitalist class—a class that will stop at nothing to extend and protect its profitable holdings.”
Attica was an explosion waiting to happen. The 2,200 men warehoused in a facility built for 1,600 were routinely beaten by guards, locked in cells 16 hours a day, rationed one sheet of toilet paper daily, one bar of soap a month and one shower per week—even in the heat of summer. Among the main grievances was censorship of reading materials—no newspapers, very few books, and nothing at all to read in Spanish. It wasn’t an absolute ban—the prison authorities mocked the prisoners by supplying magazines such as Outdoor LifeField and StreamAmerican Home and House Beautiful.
Hours after the revolt began, L.D. Barkley, a 21-year-old Black Panther Party member imprisoned for violating parole by driving without a license, read out the prisoners’ powerful declaration: “We are men! We are not beasts and we do not intend to be beaten or driven as such.”
The prisoners called for the minimum wage for prison work (they were paid slave wages of between 20 cents and one dollar per day), accompanied by an end to censorship and restrictions on political activity, religious freedom, rehabilitation, education and decent medical care. They expressed solidarity with the Vietnamese workers and peasants as well as others fighting U.S. imperialism. The main demand was amnesty for participating in the rebellion, along with “speedy and safe transportation out of confinement, to a Non-Imperialist country.” Most likely in mind were Cuba, where the capitalist rulers had been overthrown and a bureaucratically deformed workers state led by Fidel Castro established, or Algeria, a capitalist state governed by left nationalists that had given refuge to Black Panthers in exile.
As Thompson points out, many of the prisoners at Attica were veterans of eruptions over similar conditions at Manhattan’s Tombs detention center and the prison in Auburn, New York, the prior year. The bitter anger that was about to explode at Attica was displayed 19 days earlier when word spread through the cells that prison authorities at California’s San Quentin prison had assassinated Black Panther Party member George Jackson on 21 August 1971. The next day, over 800 Attica inmates marched silently into breakfast wearing black armbands and held a fast in protest. California prison officials had targeted Jackson, along with W.L. Nolen and Hugo Pinell, for forging solidarity of black, Latino and white prisoners. New York officials were no less alarmed by the interracial unity growing among Attica’s inmates.
The prison revolt reflected the growing ferment and struggles taking place outside prison walls, not least the “black power” movement and radical protests against the war in Vietnam. Many of the black inmates identified with the Black Panther Party for Self-Defense (BPP) and Puerto Ricans looked to the Young Lords, which was inspired by the Panthers. Playing a leading role in the rebellion was Sam Melville, a white member of the Weather Underground who was serving 18 years for placing explosives in government buildings in protest against the war in Vietnam. As Thompson observes, the presence of such activists “offered Attica’s otherwise apolitical men—like [Frank] Big Black Smith—a new understanding of their discontents and a new language for articulating them.” Smith ended up leading the prisoners’ security force, made up largely of Black Muslims. His group treated the prison guards taken hostage with a humanity that the prisoners had been denied.
For a long time before Blood in the Water, the biggest window into what took place at Attica came from Tom Wicker’s A Time to Die. Wicker, a New York Times reporter, along with radical attorney William Kunstler, was among the outside observers whom the prisoners demanded to negotiate through rather than directly with prison and state authorities. Prison officials granted this one demand, intending to use the observers to convince the prisoners to release the hostages and surrender without amnesty. To his credit, BPP leader Bobby Seale, whom the prisoners also sought as an observer, uniquely refused to be involved in attempts to nudge the inmates toward surrender. Seale made clear the BPP position that “all political prisoners who want to be released to go to non-imperialistic countries should be complied with.”
The retaking of Attica began in the morning of September 13 with a cloud of CN and CS gas dropped from a helicopter that covered every prisoner with a nauseating, incapacitating powder and it ended with a bloodbath. The rebellion’s leadership paid dearly. Barkley, Melville and others were assassinated in the prison yard. Surviving prisoners, including the wounded, were stripped naked, made to crawl through the mud and the blood, then lined up to run a gantlet over broken glass and be beaten by cops and guards wielding what they called their “n----r sticks.” After being threatened with castration, Big Black Smith was forced to lie on a table for five hours with a football tucked under his chin, under threat of being shot if it rolled loose.
For the capitalist ruling class, Attica had to be crushed with particular vengeance because the rebels had begun to see their struggle in political and even revolutionary terms. One of Thompson’s discoveries is Nixon’s celebration of the bloodbath: “I think this is going to have a hell of a salutary effect on future prison riots.... Just like Kent State had a hell of a salutary effect” (referring to the 4 May 1970 National Guard killing of four students protesting the invasion of Cambodia—an extension of U.S. imperialism’s dirty war against the heroic Vietnamese workers and peasants). Nixon added, “They can talk all they want about force, but that is the purpose of force.”
Attica Nation
Thompson, a historian at the University of Michigan and expert on mass incarceration, is particularly motivated by prison reform. She notes that the immediate aftermath of the Attica revolt saw some improvements in food, medical care, clothing, mail censorship and number of showers permitted. However, as she points out, this was followed by an “unprecedented backlash against all efforts to humanize prison conditions in America.”
Inmates today continue to be used as slave labor, face censorship of political literature and conditions at least as dehumanizing and sadistic, including the increasing use of solitary confinement—universally recognized as a form of torture. Brutality by prison guards is a daily fact of life, especially for the black and Latino victims disproportionately singled out for discipline.
The backlash to which Thompson refers is one expression of the bipartisan rollback of the limited democratic gains for black people attained by the liberal-led civil rights movement. Its most glaring manifestation for the past three decades has been the mass incarceration of black people, largely a consequence of the “war on drugs.” This overt war on black people was accompanied by escalating cop terror against the ghettos and barrios.
Today’s plethora of drug laws is an outgrowth of the state repression under the “war on crime” kicked off by Democratic president Lyndon Johnson’s 1968 “Safe Streets Act” and Nixon’s 1970 “Drug Abuse Prevention and Control Act” and carried on by Democratic and Republican administrations since. The number of people languishing in U.S. prisons and jails, 2.2 million, is six times what it was in 1971. The costs of maintaining this vast prison complex have led to calls for easing up on the war on drugs.
Prisons are the concentrated expression of the depravity of this society. They are a key instrument in coercing, torturing and brutalizing those who have been cast off as the useless residue of a system rooted in exploitation and racial oppression. The deindustrialization of much of the U.S. that began in the late 1960s drove millions of black people out of the workforce and into the ranks of the permanently outcast. In the calculations of the American bourgeoisie, a substantial part of the black population, who used to provide labor for the auto plants and steel mills, is simply written off as an expendable population. Having condemned black as well as Latino youth to desperate poverty, the rulers whipped up hysteria painting the ghettoized poor as criminal “superpredators,” whom cops can gun down with impunity, and for whom no sentence is too long, no prison conditions too harsh. This demonization of the black population has served to deepen the wedge between white and black workers in a period of virtually no class struggle.
Marxists support the struggle for any demand that meets the immediate needs of prisoners. But under capitalism no reforms can fundamentally alter the repressive nature of the prisons. Along with the cops, military and courts, prisons are a pillar of the capitalist state, whose basic function is to maintain, through force or threat of force, the rule of the capitalist class and its economic exploitation of the working class. In the U.S., where racial oppression is at the core of the capitalist system, any alleviation of prison conditions must be linked to the fight against black oppression in general. We fight to abolish the prison system, which will be done only when the capitalist order—with its barbaric state institutions—is shattered by a proletarian socialist revolution that establishes a planned, collectivized economy with jobs and quality, integrated housing and education for all.
Thompson’s sympathies clearly lie with the Attica prisoners. Yet she evinces a soft spot for the prison guards, whom she sees as victims as well. Her poster boy for humanizing the guards is Mike Smith, a 22-year-old former machinist apparently liked by the prisoners and sympathetic to their demands. Smith, after being taken hostage by the prisoners, was shot by the cops and grievously wounded. Thompson writes, “Like so many other small town boys who had grown up in rural New York Mike needed to make a living, and prisons were the going industry.” Thompson also gives voice to the guards taken hostage and the families of the ten of them whom Rockefeller’s assassins gunned down, who resent the fact that the surviving Attica prisoners won a paltry monetary settlement from the state after nearly three decades.
As Bolshevik leader Leon Trotsky pointed out 85 years ago, the worker who becomes a policeman in the service of the capitalist state is a bourgeois cop, not a worker, an admonition no less applicable to prison guards. As we noted at the time of the Attica massacre, “These despicable racist guards are despised even by the ruling class that cynically uses them. The governor not only served notice on the prisoners that rebellion does not pay, and rebellion linked with revolutionary ideas means certain death, but he had a message for the guards too: Keep the upper hand or else!”
The basic function of the prisons is lost on the liberal academic Thompson, whose call for prison reform envisions a commonality of interests between inmates and prison guards—a relationship akin to that of slave and overseer. In a 2011 paper, “Rethinking Working-Class Struggle Through the Lens of the Carceral State: Toward a Labor History of Inmates and Guards,” she declares, “It is time once again for the American working class to pay attention to penal facilities as sites of productive labor and wage competition and to recognize that its destiny is tied in subtle but important ways to the ability of inmates as well as prison guards to demand fair pay and safe working conditions.” Thompson lauds the return of prison guards to municipal unions, such as the American Federation of State, County and Municipal Employees (AFSCME).
What, then, are “safe working conditions” for prison guards? In our 1971 article, we sharply criticized Jerry Wurf, the AFSCME president, as he threatened a “slowdown” by union guards after the Attica massacre:
“Wurf demanded more and better riot equipment—helmets, tear gas and masks, to be borrowed from police departments if necessary, and hiring of more guards. Yet he had the effrontery to maintain, ‘We’re not at war with the inmates; the state of New York is at war with them.’ What forces does the state of New York employ to make war on the inmates if not the cops and guards Wurf is happy to represent?... No union can represent both workers and the sworn servants of the capitalist class, the police and prison guards.”
The increasing prominence of cops and prison guards—workers’ class enemies—in the shrinking union movement underscores the need for ousting the pro-capitalist bureaucrats and forging a class-struggle leadership in the basic organs of workers struggle.
Three years before L.D. Barkley read out the Attica Brothers’ powerful declaration, striking black sanitation workers in Memphis, Tennessee, famously walked picket lines with signs declaring, “I am a man.” Today, the racist capitalist ruling class continues to treat black people as if they were less than human and their lives don’t matter. But there is a reservoir of social power in the organized working class, in which black workers, who make up the unions’ most loyal and militant sector, remain disproportionately represented. Under revolutionary leadership, black workers, who form an organic link to the anger of the oppressed ghetto poor, will play a vanguard role in the struggles of the entire U.S. working class. It is the purpose of the Spartacist League to build a workers party that links the fight for black freedom to the struggle for proletarian state power. Workers rule on a world scale will open the road to a communist future in which the modern instruments of incarceration and death will be discarded as relics of a decaying social order that deserved only to perish.
*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Maumin Khabir,( aka Melvin Mayes) 
 
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! 

The Anniversary Of The Summer Of Love, 1967- Jim Morrsion- AND AGAIN-WE WANT THE WORLD, AND WE WANT IT NOW! - The Music Of Jim Morrison And The Doors

The Anniversary Of The Summer Of Love, 1967- Jim Morrsion- AND AGAIN-WE WANT THE WORLD, AND WE WANT IT NOW! - The Music Of Jim Morrison And The Doors






Zack James comment: My oldest brother, Alex, who was in the thick of the Summer of Love along with his corner boys from North Adamsville above all the later Peter Paul Markin who led them out to the Wild West said that the few times that he/they saw The Doors either in Golden Gate Park at free, I repeat, free outdoor concerts or at the Avalon or Fillmore which were a great deal more expensive, say two or three dollars, I repeat two or three dollars that The Doors when they were on, meaning when Jim Morrison was in high dungeon, was in a drug-induced trance and acted the shaman for the audience nobody was better. Having been about a decade behind and having never seen Morrison in high dungeon or as a drug-induced shaman but having listened to various Doors compilations I think for once old Alex was onto something. Listen up.         


From American Left History

Wednesday, December 23, 2009

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

Waiting For The Sun, Jim Morrison and the Doors, Rhino, 2007


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

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

More than one rock critic has argued that at their best the Doors were the best rock and roll band ever created. Those critics will get no argument here. What a reviewer with that opinion has to do is determine whether any particular CD captures the Doors at their best. This reviewer advises that if you want to buy only one Doors CD that would be The Best of the Doors. If you want to trace their evolution other CD’s, like this “Waiting For The Sun” album do an adequate job. Stick outs here include: the anti-war classic "The Unknown Soldier," “Love Street,” and "Spanish Caravan".

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

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

The Unknown Soldier Lyrics

Wait until the war is over
And we're both a little older
The unknown soldier

Breakfast where the news is read
Television children fed
Unborn living, living dead
Bullet strikes the helmet's head

And it's all over
For the unknown soldier
It's all over
For the unknown soldier, uh hu-uh

Hut!
Hut!
Hut ho hee up!
Hut!
Hut!
Hut ho hee up!
Hut!
Hut!
Hut ho hee up!
Comp'nee,
Halt!
Pree-sent arms!

Make a grave for the unknown soldier
Nestled in your hollow shoulder
The unknown soldier

Breakfast where the news is read
Television children fed
Bullet strikes the helmet's head

And, it's all over,
The war is over.
It's all over, war is over.
It's all over, baby!
All over, baby!
All, all over, yeah!
Aah, hah-hah.
All over, all over, babe!
Oh! Oh yeah!
All over, all over!
Ye-e-e-ah…

For The Late Rosalie Sorrels-To An Old Unrepetant Wobblie- Rosalie Sorrels' Farewell To Utah Phillips

For The Late Rosalie Sorrels-To An Old Unrepetant Wobblie- Rosalie Sorrels' Farewell To Utah Phillips



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 REVIEW

Farewell To An Unrepentant Wobblie

Strangers In Another Country, Rosalie Sorrels and various artists, Red Barn records, 2008

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 she 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 musical tribute 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. Here Rosalie takes a wide scattering of Utah’s work from various times and places and gives his songs and storytelling her own distinctive twist.

For example? Well, right from the first song “Starlight On The Trail” about being adrift in America in the later part of the 20th century with its prologue taken from some thoughts on the writings of author Thomas Wolfe (of “You Can’t Go Home Again” fame). Or the stirring “He Comes Like The Rain” a fair description of Utah himself if one thinks about it. Or to get political (and worry about the next generations) “Enola Gay”. And political memory about the forgotten “pre-mature anti-fascist” heroes of the Abraham Lincoln Battalion of the International Brigades that fought in Spain when it counted in “Eddie’s Song”. Finally, how about the appropriate ‘Ashes On The Sea” complete with Kate Wolf/Woody Guthrie story. If there were more than a five star spot here I would click it. Utah, rest easy, Rosalie did good, she did very good by you here. Adieu, old working class warrior.


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

The 60th Anniversary Of Jack Kerouac's "On The Road" (1957)-Ain't Got No Time For Corner Boys, Down In The Streets Making All That Noise”-The Mean Streets Of Working Class Times- “The Fighter”- A Film Review

The 60th Anniversary Of Jack Kerouac's "On The Road"(1957)-Ain't Got No Time  For Corner Boys, Down In The Streets Making All That Noise”-The Mean Streets Of Working Class Times- “The Fighter”- A Film Review



DVD Review

The Fighter, starring Mark Wahlberg, Christian Bale and Melissa Leo, Paramount Pictures, 2010


I know the mean streets of Lowell, Massachusetts, although of late that geographical reference point would center on a more literary sense of the place around the figure of 1950s beat novelist/poet Jack Kerouac. I do not, by the way, mean that I know Lowell from actually growing up in that old-time textile mill town that has seen better days, mainly. I mean I know Lowell because I know the double-deckers, the triple-deckers, the seedy bowling alleys, the back lot gyms, the mom and pop variety stores, the ethnically-tinged bars, biker hang-outs, and flop houses that dot that working class town and form the backdrop to the cultural life of that place. I grew up on the southern side of Boston in North Adamsville. That past its prime working class town (formerly a shipbuilding center rather than Lowell's textile but they shared the same ethos) had its full compliment of tight housing, rundown stores, sparse entertainment possibilities and cramped view of life’s prospects just like Lowell.

I know Mickey Ward (Wahlberg) and, more importantly, I know Dickie Eklund (Bale) and their mother Alice (Leo). I do not mean that I know any of them personally but I know their ilk. See North Adamsville also had its fair share of club fighters (or other sports king wanna-bes), working out of some third floor back door gym that smelled of tiger’s balm and other liniments, looking to make it out of the dead-end town and on to the big tent, whether they actually left North Adamsville or not. And most didn’t and most did not even get a shot at hitting someone like Sugar Ray Leonard down on some matted ring floor like Dickie did. Frankly, I spent most of my time as a youth being attracted too but ultimately trying to run, run very hard, away from the Dickie guys, the street-wise corner boys who fall sort of catching the brass ring. While they may be street-wise corner boys, unlike in this film, they are strictly bad-ass cut your throat for a dime characters best left behind. That was hard lesson to learn back in the day, and as the film makes clear, now too.

That said about the social realities of working class life what is there not to like about a film that highlights, Mickey Ward, one of our own getting out from under by sheer perseverance, wit, and his own sense of street smarts, mainly on his own terms. And to be a bloody stubborn Irishman to boot. Some of the stuff concerning his family connections, his eight million family connections, the “us against the world (you do not air your dirty linen in public, period)” while hard to take at points rang true. As did many of the confrontation scenes with Mickey’s high-flying girlfriend Charlene, when she tried to break her man out of the family’s grip. Finally, the acting from Wahlberg’s conflicted (between family and career, between being a “stepping stone” and a champ) boxer, to Bale’s mad monk ex-boxer who had gone a long way down from those Sugar Ray days (a not uncommon fate for those who are just not good enough to wear the crown, whatever the crown might be) to Leo’s (Alice)one-dimensional family worldview (with nine kids, seven of them girls, that might have been the beginning of wisdom in her case) was uniformly fine. Still, I am glad, glad as hell that I made a left turn away from those corner boys down in the streets making all that noise. But it was a close thing, no question.

When The Winds Of War Do Get Stirred Up- Sir Alfred Hitchcock’s “Foreign Correspondent” (1940)-A Film Review

When The Winds Of War Do Get Stirred Up- Sir Alfred Hitchcock’s “Foreign Correspondent” (1940)-A Film Review




DVD Review

By Sandy Salmon

Foreign Correspondent, starry Lorraine Day, Joel McCrea, Herbert Marshall, directed by Sir Alfred Hitchcock, 1940

Seth Garth and Alden Riley have already gone over in some detail the Sir Alfred Hitchcock problem, no, the problem of heavyweight male movers and shakers in all walks of upscale life, here cinema, and their sexually predatory and in some cases criminal practices toward the women, the professional women, they work with. The problem of placing in some cinematic perspective the relationship between the cultural importance of their work and their gutter-worthy personal lives as they affect other members of the human race. What I want to address is a different Sir Alfred Hitchcock problem, the problem of using his films in the immediate pre-World War II period and beyond, a problem that also affected the extreme bachelor coupling of Sir Sherlock Holmes and Sir John Watson in the same period, of mixing cinematic values with low-rent propaganda for the Allied, no, the British side in that epic war. The film under review could stand alone as a good piece of cinema but is marred toward the end with some “speeches” that could have been written by Sir Winston Churchill’s speech writers in Britannia’s darkest hours.

That is all I have to say about that aspect of the film, Foreign Correspondent, except that looking backward on the plotline the whole thing reeked more than a little as a rebuff to the American Firsters like Charles Lindberg and Homer Martin in order to get America on board the European fiasco. The start is pretty straight forward in a time when commercial newspapers were a major source of news about the greater world and not fighting the culture wars over “fake news,” social media and Everyman’s opinion disguised as reportage. The editor and owner of the New York World     
wanted to know more about the impeding war clouds in Europe than the hand-outs from the various embassies which his current crew of so-called correspondents were spewing forth between cocktails at five. Enter Johnny Reporter, it could be any name, played by winsome Joel McCrea, hungry, raw and ignorant of any of the play in Europe except he had a nose for grabbing some serious news and riding it out like with a storm.    

Assignment one, which our boy Johnny never got past since this turned out to be his Pulitzer moment, find out what some old- time peacenik diplomat thinks is going to happen and what the terms of a peace alliance were all about. No problem as he runs into the guy he needed to see minute one. Except that meeting started a whole series of turns and twists which will lead him on a merry, merry goose chase. See the dippy diplomat got himself “killed” while attending, or going to a attend a world peace conference sponsored by a British national who is running a peace party operation, or so the general naïve public think since there is plenty going on which looks very suspicious after Johnny and another holy goof reporter working his own angel angles and a naïve if attractive daughter of said peace operative trace things to a windmill in the boondocks of Holland, in the outback of the country where the whole fight for peace is taking place.

That dippy diplomat was not killed but had been taken hostage to get a phrase from the secret peace agreement which might just have averted the war. (Ho hum, we have been down that road before when nations are hell-bent on war.) Taken hostage by forces unknown except they all seen to speak German when given a chance and so the chase in on. The twists and turns going running round like some second generation running kind until it becomes inescapable that the peace operative (with that naive but attractive daughter) is pulling all the strings-is an agent of the unnamed fascists like a good many other well-bred and snobbish English gentry who saw Hitler and Mussolini as the saviors against those troublesome workers who were always asking for something or other. Kept order and trains on time not necessarily in that order.   

Here’s the beauty of the whole charade, and the political baloney part as well. Once exposed as a treacherous agent of the night-takers swarming over Europe like vultures our good English gentleman with the nice manners flees London and with naïve if attractive daughter in tow heads to, where else, neutral America, once war is declared on a great looking airplane which seemed like the lap of luxury. Also on board are the dogged Johnny R, and his buddy intrepid reporter. Out in neutral waters the airplane is fired upon by a German destroyer and goes down in the briny drink, the Atlantic. Among the survivors Johnny, Intrepid, Attractive Daughter and Traitor Blue Dad. As a gesture of his suddenly found “patriotism” Traitor Blue Dad slips himself into that briny deep, the Atlantic when the wing of the plane they were floating on couldn’t handle the weight. So that gesture, fake unlike all the stuff he did for the Nazis and their ilk, gets him a pass on the traitor list. Baloney, double baloney.            

When The Blues Was Dues-Howling At The Moon-When Howlin’ Wolf Held Forth

When The Blues Was Dues-Howling At The Moon-When Howlin’ Wolf Held Forth  
  


 From The Pen Of Bart Webber
One night when Sam Eaton and Ralph Morris were sitting in the now long gone  Johnny D’s over in Somerville, over near the Davis Square monster Redline MBTA stop sipping a couple of Anchor Steam beers, a taste acquired by Sam out in Frisco town in the old days on hot nights like that one waiting for the show to begin Ralph mentioned that some music you acquired naturally, you know like kids’ songs learned in school. (The Farmer in the Dell, which forced you a city kid although you might not have designated yourself as such at that age to learn a little about the dying profession of family farmer and about farm machinery, Old MacDonald, ditto on the family farmer stuff and as a bonus the animals of the farm kingdom, Humpty Dumpty, a silly overweight goof who couldn’t maintain his balance come hell or high water although you might not have thought of that expression or used it in the high Roman Catholic Morris household out in Troy, New York where Ralph grew up and still lives, Jack and Jill and their ill-fated hill adventure looking for water like they couldn’t have gone to the family kitchen sink tap for their needs showing indeed whether you designated yourself as a city kid or not you were one of the brethren, etc. in case you have forgotten.)
Music embedded in the back of your mind, coming forth sometimes out of the blue even fifty years later (and maybe relating to other memory difficulties among the AARP-worthy but we shall skip over that since this is about the blues, the musical blues and not the day to day getting old blues).
Or as in the case of music in junior high school as Sam chimed in with his opinion as he thought about switching over to a high-shelf whiskey, his natural drink of late, despite the hot night and hot room beginning to fill up with blues aficionados who have come to listen to the “second coming,” the blues of James Montgomery and his back-up blues band. That “second coming” referring to guys like Montgomery and Eric Clapton, now greying guys, who picked up the blues, especially the citified electric blues after discovering the likes of Muddy Waters, Howlin’ Wolf, Magic Slim and James Cotton back in their 1960s youth, made a decent living out of it and were still playing small clubs and other venues to keep the tradition alive and to pass it on to the kids who were not even born when the first wave guys came out of the hell-hole Delta south of Mister James Crow sometime around or after World War II and plugged  their guitars into the next gin mill electric outlet in places off of Maxwell Street in Chicago, nursing their acts, honing their skills.  
Yeah, that hormonal bust out junior high weekly music class with Mr. Dasher which made Sam chuckle a bit, maybe that third bottle of beer sipping getting him tipsy a little, as he thought about the old refrain, “Don’t be a masher, Mister Dasher” which all the kids hung on him that time when the rhyming simon craze was going through the nation’s schools. Thinking just then that today if some teacher or school administrator was astute enough to bother to listen to what teenage kids say amongst themselves, an admittedly hard task for an adult, in an excess of caution old Mister Dasher might be in a peck of trouble if anyone wanted to be nasty about the implication of that innocent rhyme.  Yeah, Mr. Dasher, the mad monk music teacher, who wanted his charges to have a well-versed knowledge of the American and world songbooks so you were forced to remember such songs as The Mexican Hat Dance and Home On The Range under penalty of being sent up to the front of the room songbook in hand and sing the damn things. Yes, you will remember such songs unto death. (Sam and his corner boys at Doc’s Drugstore found out later that Dasher  was motivated by a desperate rear-guard action to wean his charges away from rock and roll, away from the devil’s music although he would not have called it that because he was too cool to say stuff like that, a struggle in which he was both woefully overmatched by Elvis, Jerry Lee, Chuck, Bo, and the crowd and wasting his breathe as they all lived for rock and roll at Doc’s Drugstore after school where he had a jukebox at his soda fountain.)  
Ralph agreed running through his own junior high school litany with Miss Hunt (although a few years older than Sam he had not run through the rhyming simon craze so had no moniker for the old witch although now he wished he had and it would not be nice either). He added that some of the remembered music  reflected the time period when you were growing up but were too young to call the music your own like the music that ran around in the background of your growing up house on the mother housewife radio or evening record player which in Ralph’s case was the music that got his parents through his father’s soldierly slogging on unpronounceable Pacific islands kicking ass and mother anxiously waiting at home for the other shoe to fall or the dreaded military officer coming up to her door telling her the bad news World War II. You know, Frank (Sinatra, the chairman of the board, that all the bobbysoxer girls, the future mothers of Sam and Ralph’s generation swooned over), The Andrew Sisters and their rums and coca colas, Peggy Lee fronting for Benny Goodman and looking, looking hard for some Johnny to do right, finally do right by her, etc. Other music, the music of their own generation, classic rock and rock came more naturally since that is what they wanted to hear when they had their transistor radios to their ear up in their bedrooms.
That mention of transistor radios got them yakking about that old instrument which got them through many a hard teenage angst and alienation night. That yakking reflecting their both getting mellow on the sweet beer and Ralph thinking that they had best switch to Tennessee sipping whisky when the wait person came by again if they were to make it through both sets that night. This transistor thing by the way for the young was small enough to put in your pocket and put up to your ear like an iPod or MP3 except you couldn’t download or anything like that. Primitive technology okay but life-saving nevertheless. Just flip the dial although the only station that mattered was WJDA, the local rock station (which had previously strictly only played the music that got all of our parents through their war before the rock break-out made somebody at the station realize that you could made more advertising revenue selling ads for stuff like records, drive-in movies, drive-in restaurants, and cool clothes and accessories than refrigerators and stoves to adults).
Oh yeah, and the beauty of the transistor you could take it up to your bedroom and shut out that aforementioned parents’ music without hassles. Nice, right. So yeah, they could hear Elvis sounding all sexy according to one girl Sam knew even over the radio and who drove all the girls crazy once they got a look at him on television, Chuck telling our parents’ world that Mr. Beethoven and his crowd, Frank’s too, that they all had to move over, Bo asking a very candid question about who put the rock in rock and roll and offering himself up as a candidate, Buddy crooning against all hope for his Peggy Sue (or was it Betty Lou), Jerry Lee inflaming all with his raucous High School Confidential  from the back of a flatbed truck, etc. again.
The blues though, the rarified country and electric urban blues of the likes of Son House, Robert Johnson, Muddy Waters, James Cotton, and Howlin’ Wolf was an acquired taste. Acquired by Sam through listening to folk music programs on that very same transistor radio in the early 1960s after flipping the dial one Sunday night once he got tired of what they claimed was rock music on WJDA and caught a Boston station. The main focus was on other types of roots music but when the show would take a break from down home mountain music, western swing ballads, and urban protest music the DJ would play some cuts of country or electric blues. See all the big folkies, Dylan, Tom Rush, Dave Van Ronk, people like that were wild to cover the blues in the search for serious roots music from the American songbook. So somebody, Sam didn’t know who, figured if everybody who was anybody was covering the blues in that folk minute then it made sense to play the real stuff.  (Sam later carried Ralph along on the genre after they had met down in Washington, D.C. in 1971, had been arrested and held in detention at RFK Stadium for trying to shut down the government if it did not shut the Vietnam War, had become life-long friends and Ralph began to dig the blues when he came to Cambridge to visit).
The real stuff having been around for a while, having been produced by the likes of Muddy and Howlin’ Wolf going back to the 1940s big time black migration to the industrial plants of the Midwest during World War II when there were plenty of jobs just waiting. But also having been pushed to the background, way to the background with the rise of rock and roll (although parts of rock make no sense, don’t work at all without kudos to blues chords, check it out). So it took that combination of folk minute and that well-hidden from view electric blues some time to filter through Sam’s brain.
What did not take a long time to do once Sam got “religion” was going crazy over Howlin’ Wolf when he saw him perform. Once Sam had seen him practically eat that harmonica when he was playing that instrument on How Many More Years. There the Wolf was all sweating, running to high form and serious professionalism (just ask the Stones about that polished professionalism when he showed them how to really play Little Red Rooster which they had covered early on in their career as they had covered many other Chess Records blues numbers, as had in an ironic twist a whole generation English rockers in the 1960s) and moving that big body to and fro to beat the band and playing like god’s own avenging angel, if those angels played the harmonica, and if they could play as well as he did. They both hoped that greying James Montgomery, master harmonica player in his own right, blew the roof off of the house as they spied the wait person coming their way and James moving onto the stage getting ready to burn up the microphone. Yes, that blues calling is an acquired taste and a lasting one.