Monday, January 14, 2019
Sunday, January 13, 2019
Saturday, January 12, 2019
Wednesday, November 21, 2018
|Labor Movement Organizer and Songwriter Jim Connell|
In a column that first appeared in the British Socialist Party's newspaper, The Call, in 1920, a labor movement organizer and songwriter named Jim Connell recalled how he wrote the lyrics to a classic labor song and protest folk song, "The Red Flag" in 1889, when Connell was 37 years old, by writing the following:
"...The song was first published in the Christmas number of Justice [a UK socialist newspaper] 1889, which was then edited by Harry Quelch, and it immediately became popular. Justice then was published on Thursday, and the following Sunday the song was sung in both Liverpool and Glasgow...I may...try to explain how the song came to be written...
"1889 was the year of the London Dock Strike. It was the biggest thing of its kind that occurred up to that date, and its leaders, H.H. Champion, Tom Mann and John Burns, aroused the whole of England by the work they did and the victory they won. Much occurred, however, before that to elevate me.
"Not many years previously the Irish Land League aroused the democracy of all countries. I am proud to be able to say that I founded the first branch of the Land League which was established in England...I remained its secretary until the League was suppressed...
"About the same time the Russian Nihilists, the parents of the Bolsheviks, won the applause of all lovers of liberty and admirers of heroism. Under the rule of the Czar,...the best men and women of Russia were deported to Siberia at the rate of 20,000 a year. Young lady students were taken from their classrooms and sent to work in horrible mines where their teeth fell out and their hair fell off their heads in a few months. Nobody could possibly fight this hellish rule with more undaunted courage than the Nihilists, women as well as men.
"It was my privilege to know Stepniak...His book Underground Russia, produced a greater effect on me than any `revelation' ever produced on a devotee. I was indeed `raised above myself' by the dauntless courage of Vera Sassulitch and the `endless abnegation' of Sophie Perovskaya. There happened also in 1887, the hanging of the Chicago Anarchists. Their innocence was afterwards admitted by the Governor of the State of Illinois. The widow of one of them, Mrs. Parsons, herself more than half a Red Indian, made a lecturing tour of this country soon afterwards. On one occasion, I heard her tell a large audience that, when she contemplated the service rendered to humanity, she was glad her husband had died as he did. Yes, I heard Mrs. Parsons say that. The reader may now understand how the souls of all true Socialists were elevated, and how I got into the mood which enabled me to write `The Red Flag.'
"...In a train between Charing Cross and New Cross, during a 15-minute journey, the first two stanzas, including the chorus, were completed, and I think I may say the whole of the song mapped out. After I got home, I wrote more, and little remained to be done after that. Next day, I made some slight additions and alterations, and the following day I sent it on to Quelch.
"As far as I remember, I never wrote a song in such a short time before or since...Did I, when I wrote it, think that my song would live? Yes. The last line shows I did. `This song shall be our parting hymn.'
"I hesitated a considerable time over the last line. I asked myself whether I was not assuming too much. I reflected, however, that in writing the song I gave expressions to not only my own best thoughts and feelings, but the very best thoughts and feelings of every genuine socialist I knew, Anarchists, of course included. I decided that the last line should stand."
Jim Connell's "The Red Flag" protest folk song lyrics:
"Then raise the scarlet standard high!
Within its shade we'll live and die!
Though cowards flinch and traitors sneer
We'll keep the red flag flying here!"
"The people's flag is deepest red;
It shrouded oft' our martyred dead,
And ere their limbs grew stiff and cold
Their hearts' blood dyed its ev'ry fold.
"Look round--the Frenchman loves its blaze;
The sturdy German chants its praise;
In Moscow's vaults its hymns are sung;
Chicago swells its surging throng!
"It waved above our infant might,
When all ahead seemed dark as night;
It witnessed many a deed and vow;--
We must not change its colour now!
"It well recalls the triumphs past;
It gives the hope of peace at last.
The banner bright, the symbol plain
Of human right and human gain.
"It suits today the weak and base,
Whose minds are fixed on pelf and place,
To cringe before the rich man's frown,
And haul the sacred emblem down.
"With heads uncovered swear we all
To bear it onward till we fall!
Come dungeon dark, or gallows grim
This song shall be our parting hymn!"
Thursday, November 1, 2018
As a now-deceased early 1960s Congress of Racial Equality [CORE] activist Suze Rotolo once recalled:
"Robert Shelton's [Sept. 29, 1961 New York Times] review, without a doubt, made Dylan's career, because that brought the Establishment. He couldn't have gotten the Columbia thing, in a way, without that. That review was unprecedented. Shelton had not given a review like that for anybody...He [Dylan] always said he was going to be very big...What was shocking was seeing him became part of the Establishment--Carnegie Hall, Columbia Records..."
|NY Times Folk Music Critic Robert Shelton with Dylan in 1964|
"Bob Shelton helped by writing an article [Bob Dylan: A Distinctive Folk Song Stylist,' published Sept. 29, 1961 in the New York Times--ed.]--talked around--someone from Elektra came down but nothing happened. Bob Shelton been like a friend for a long time...The article came out on Thursday night...Showed the article to John Hammond [of Columbia Records]--Come in and see me. I did. And he is recording me..."
And in a March 27, 1965 interview a few years after he became "part of the Establishment," whose text appeared in the Sept. 17, 1965 issue of the Los Angeles Free Press underground newspaper, that also was included in the 2018 Dylan on Dylan book, Dylan told Paul Jay Robins the following:
"...I'm not going to tell them I'm the Great Cause Fighter...Because I'm not, man. Why mislead them. That's all just Madison Avenue, that's just selling. Sure Madison Avenue is selling me..."
So, not surprisingly, on May 5, 1965 antiwar protest folk singer and protest folk songwriter Joan Baez wrote a letter to her now-deceased sister, Mimi Baez Farina, from the Savoy Hotel in London, which appeared in David Hajdu's 2001 book, Positively 4th Street, that stated:
"We're leaving Bobby's entourage...He doesn't speak to me, or anyone, really, unless it's `business,' how many records he's selling, will his record be #1, etc. It's shocked me completely out of my senses and I'm fed up...Joanie."
Also not surprisingly, when most hip young people in the USA were protesting against the U.S. Establishment's decision to escalate its war in Vietnam during the 1960s, Hip Capitalist Multi-Millionaire Musician Dylan apparently attempted to discourage his fans from both listening to protest folk songs or from protesting against the U.S. Establishment's militaristic foreign policy by saying, in an interview with writer Nat Hentoff whose text appeared in the March 1966 issue of Playboy magazine, that's included in the 2018 Dylan on Dylan book, the following:
"Folk music is a word I can't use. Folk music is a bunch of fat people...Songs like `Which Side Are You On?'...they're not folk-music songs, they're political songs. They're already dead...Everybody knows that I'm not a folk singer...`Protest' is not my word. I've never thought of myself as such...Message songs...are a drag. It's only college newspaper editors and single girls under 14 that could possibly have time for them...My older songs, to say the least, were about nothing...
"...I haven't lost any interest in protest since then...I just didn't have any interest in protest to begin with...Sure, you can go around trying to bring up people who are lesser than you, but then don't forget, you're messing around with gravity. I don't fight gravity...People that march with slogans and things tend to take themselves a little too holy...It's pointless to dedicate yourself to the cause; that's really pointless..."
|Hip Capitalist Manager Albert Grossman With Dylan In Early 1960s|
Saturday, September 29, 2018
How Hip Capitalist Multi-Millionaire Musician Dylan Obtained Melody For "The Ballad of Emmett Till" Protest Folk Song
Over 56 years ago a now-longtime hip capitalist multi-millionaire musician, whose stage name was Bob Dylan, wrote the lyrics to a protest folk song about the murder of 14-year-old Emmett Till in Mississippi on August 28, 1955, titled "The Ballad of Emmett Till."
But the melody for "The Ballad of Emmett Till" was apparently created not by Dylan, but by an early 1960s African-American protest folk songwriter and protest folk singer named Len Chandler.
In a February 1, 1962 entry contained in Izzy Young's Notebook that appeared in the Chicago Review Press's 2018 book that Jeff Burger edited, titled Dylan On Dylan: Interviews and Encounters, the then-nearly 21 year-old Dylan is quoted as saying the following:
"Wrote a song the other night Ballad of Emmett Till. After I wrote it someone said another song was written but not like it. I wrote it for CORE--I'm playing it February 23 . I think it's the best thing I've written. Only song I play with a capo. Stole the melody from Len Chandler--a song he wrote about a Colorado bus driver...Getting some money from Columbia. I'm supposed to be making all kinds of money, I seem...I'm sort of disconnecting myself from the folk music scene..."
And in the text of a March 1962 interview with Cynthia Gooding, that the Pacifica Foundation's listener-sponsored WBAI radio station in New York City aired, which also was included in the 2018 Dylan On Dylan book which Jeff Burger edited, the then-nearly 21 year-old Dylan is quoted as saying the following:
"Well, I just wrote songs...You wanna hear one?...Well, let me see. What kind do you wanna hear? I got a new one I wrote...Yeah, I got a new one. This one's called `Emmett Till.' Oh, by the way, I stole the melody from Len Chandler. And he's a funny guy. He's a folksinger guy. He uses a lot of funny chords when he plays and he always wants me to use some of these chords, trying to teach the new chords all the time. Well, he played me this one. He said, `Don't those chords sound nice??' And I said. `They sure do.' So I stole the whole thing...Yeah...Melody's his...Wait till Chandler hears the melody, though..."