Thursday, August 03, 2006

Hungry Blues Has MOVED

This blog now lives at


http://hungryblues.net


Please update your bookmarks, blogrolls, rss feeds, etc. accordingly.

All comments and trackbacks on this site are now closed.

All existing content, including comments, has been migrated to the new site.

I will continue to maintain this site until I finish the long, tedious process of manually updating all of the internal links on the new site. Until that process is complete, internal links on older posts may take you back to this site.

If you want to comment on a post you have found here, copy and paste the title of that post into the search box in the sidebar of the new site. The search result should take you to the post in the new site.

For more on the site migration see this page on hungryblues.net.

Monday, July 03, 2006

Hung Out To Dry


Independence Day, originally uploaded by Acreepingmalaise.

Substantive challenges to Bush's rampant abuses of executive power have become so rare that it was truly a shock to learn the US Supreme Court ruled that military tribunals at Guantanamo Bay are illegal, under both military law and the Geneva Convention.

The same day the Supreme Court issued its ruling, another revelation hit the press with much less of a splash. On Thursday, Salon.com broke Mark Benjamin's story about an important document found among the thousands of pages of Defense Department pages obtained by the ACLU in a Freedom of Information Act request.

In his article "Torture Teachers," Benjamin explains the special function of the Survival, Evasion, Resistance, and Escape (SERE) school at Fort Bragg, NC. Officially, the SERE school provides training to elite US troops in how to resist torture. Benjamin's evidence shows that SERE instructors have also been teaching students how to be effective torturers.

A March 22, 2005, sworn statement by the former chief of the Interrogation Control Element at Guantánamo said instructors from SERE also taught their methods to interrogators of the prisoners in Cuba.

"When I arrived at GTMO," reads the statement, "my predecessor arranged for SERE instructors to teach their techniques to the interrogators at GTMO ... The instructors did give some briefings to the Joint Interrogation Group interrogators...."

There are striking similarities between the reported detainee abuse at both Guantánamo and Abu Ghraib and the techniques used on soldiers going through SERE school, including forced nudity, stress positions, isolation, sleep deprivation, sexual humiliation and exhaustion from exercise.


Leonard Rubenstein, executive director of Physicians for Human Rights, said, "This is the missing link," proving that "that the SERE training was in fact used, for a time at least, as a basis for interrogations at Guantánamo." [Disclosure: I am an employee of Physicians for Human Rights.]

This missing link--this evidence that US torture practices were cultivated in an elite military training program at Fort Bragg, NC--ought to make it clear the extent to which the horrors of Abu Ghraib and Guantanamo are the function of concerted US policies in the US War on Terror.

The missing link should also be occasion to counter again what Naomi Klein has called "Our Amnesiac Torture Debate," the glossing over by liberals and conservatives, alike, of the long history of the use of torture by the US. Klein cites, as one example,  the evidence, gathered by Alfred McCoy, of how

monstrous CIA-funded experiments on psychiatric patients and prisoners in the 1950s turned into a template for what he calls "no-touch torture," based on sensory deprivation and self-inflicted pain. McCoy traces how these methods were field-tested by CIA agents in Vietnam as part of the Phoenix program and then imported to Latin America and Asia under the guise of police training programs.

The significance of the Supreme Court ruling in Hamdan v. Rumsfeld is therefore not that the judicial branch is finally beating back the executive excesses the Bush administration (though the legal victory is important for those reasons).

When torture is covertly practiced but officially and legally repudiated, there is still the hope that if atrocities are exposed, justice could prevail.

Klein's point is, essentially, that the rule of law provides seekers of justice with a vehicle for demanding that our governments live up to objective standards of behavior. The Hamdan ruling provides some hope for the rule of law in the US.

I'd like to find the spot behind the White House, where they've got the flag hung out to dry. I'll wave it this Fourth of July the same as I always do: in celebration of the patriots who believe enough in this country--in its people--to demand, often at great risk to themselves, that the US live up to its stated values. A country that produces such seekers of justice--that's something to wave a flag for.


~
NOTES:

  • The almost lost version of the song, above, can be found on this.
  • Photo is by Eddy.
  • This post was partly inspired by Rachel's question.

Sunday, January 08, 2006

"Diggin' coals so the world can run / And operators can have their fun"

I started to post Pete Seeger's rendition of Malvina Reynolds' "Mrs. Clara Sullivan's Letter," as a tribute to the twelve miners who died after the explosion that trapped them in the Sago Mine on Monday. But I stopped myself because I thought that it might be a stretch to apply the words of the song to this particular situation. This disaster was in West Viriginia; the Reynolds song is about Perry County, KY. This disaster is about safety violations and bad oversight; the Reynolds song is about other labor problems, like "goons on the picket line" who intimidate striking workers.

Turns out there was no reason to hesitate. In one of yesterday's Portside mailings, Jack Radey wrote:

If you really like Dramamine, the NPR reporting on the Sago Disaster was truly charming. They prattled on and on about how the news media got the story wrong, how did this happen? How were the wrong headlines printed?How were people put on this emotional roller coaster?

Then they interviewed a local pastor about the importance of accepting all this and not getting angry. They, like the rest of the media, mentioned in passing that a fight broke out where the families were waiting when the news of the dead was announced. But why were people fighting? There was even mention in one broadcast that the local SWAT team was deployed around the corner from where the families waited, in case disorder broke out. Oh, mine safety violations? Why would that be news? No doubt the families were so angry at the misleading news. Maybe about the fact that 12 of their men were killed in a mine with triple the normal (bad enough) rate of safety violations?

That the local goon squad is there to protect the mine owner and his property from the wrath of the families of the men murdered for his greed?

Oh come now, would anyone suggest that would be news? Remember why our flag (not the one on the courthouse, where no doubt those $25 fine were handed out), our flag, is the color it is?

And then it turns out the Sago Mine is owned by an Ashland, Kentucky company, known as Horizon Natural Resources (HNR). HNR had been facing bankruptcy since 2002 and was bought out in 2004 by the International Coal Group (ICG), led by New York billionaire Wilbur Ross. Ross' m.o. isn't pretty:

After the sale, six union operations previously owned by Horizon were shut down. The nonunion mines remained open.

Under the bankruptcy and reorganization plan, U.S. Federal Bankruptcy Judge William Howard in August agreed that Horizon should not be responsible for $800 million in health insurance contractual obligations to more than 3,000 active and retired United Mine Workers of America union members.

The judge threw out the contract and voided the collective bargaining agreement to make the sale of the mines more appealing to Ross and his partners.

As John Bennett, whose father James was killed in the Sago Mine, said to Matt Lauer on the Today Show (via American Rights At Work):

It’s not just the men that go down there every day that know the mines is [sic] unsafe…we have no protection for our workers. We need to get the United Mine Workers back in these coal mines, to protect [against] these safety violations, to protect these workers.

It's the same old story:

Lauer then asked Bennett “You feel as if the miners speak out they are at risk of losing their jobs?” “Yeah” Bennett answered.

Lest we forget where the rest of the responsibility for these deaths resides, David Corn explained the big picture three and a half years ago (via Jodan Barab), after another mine disaster, in Green Tree, Pa., which, fortunately, was not fatal:

That spirit, though, was not present earlier this year when the Bush administration proposed cutting the federal Mine Safety and Health Administration (MSHA) by $7 million. The administration defended the 6-percent reduction by noting the number of coal mines has been decreasing. Yet coal mining fatalities have gone up for three years in a row. There were 42 mining fatalities in 2001, 29 in 1998. In March, Senator Jay Rockefeller, a West Virginia Democrat, maintained the funding cut would cause a 25 percent reduction in the government's mine-safety inspection workforce. As of March, 612 federal mine inspectors were responsible for enforcing safety regulations in 25 states, and there were signs the system has not been functioning well.

Thus Jordan Barab concludes:

And finally, let's take one more step back and take a look at the even bigger picture. This administration has been obsessed with one thing since it took office: tax cuts and favor for its friends. What that translates into is "Shrinking government..." -- at least the part that provides protections for workers -- "to the size where we can drown it in the bathtub" as Bush Administration ideolouge Grover Norquist says.

Well "government" isn't some abstract thing. Shrinking government means that agencies like OSHA and MSHA have less power to enforce the law and maintain safe working conditions. So, while drowning government in a bathtub, we're also asphyxiating workers in a coal mine.

So, then, here's Pete, in memory of the twelve men and in solidarity with the one survivor and with all of the affected families and friends. You can read the lyrics here.

Friday, December 23, 2005

Rokhl Is Live Blogging Klezkamp

If Rokhl (or even I) piqued your interest about secular Jewish American culture, you may want to check out her blogging from Klezkamp, which is this week from Dec. 25-30. Her freylikhe Klezkamp blog is called Mit der kapelye- I'm with the Band; usually you can find her here. If Klezkamp sounds like klezmer to you, that's because klezmer classes and performances and jam sessions are a big part of what will be going on there. Interested yet? Go check it out...

(Readers who have been around for a while may remember this post, where I mention the influence of Klezcamp on my family, via my mother.)

Saturday, December 10, 2005

Twenty-Fve Years

Twenty-five years ago today (12/9), I was eleven years old, going on twelve. I swear I knew every Beatles song by heart, knew every published detail of the band's history. And John was my favorite. He was the coolest one. His songs were the best ones. HIs solo work was the strongest. He had real politics.

I was eating a bowl of cereal for breakfast. My mother was making my lunch for school. My dad still smoked then, and he was out on the front porch in his bathrobe, having a cigarette in the cold because he wasn't allowed to smoke in the house.

He came inside with the morning paper, the Albany Times Union, and the terrible headline. I don't remember what the wording was, but I remember pouring over the article, reading it again and again, trying to understand how it could have happened, how that man could have done something like this. I remember the heat in my face, not quite crying but tears blurring my eyes.

These were the suburbs, the middle class life my father had striven for. When we moved there it was part of my parents' decision, half conscious, half not, that I would grow up insulated from politics and violence.

It took a long time for me to lose the innocence cultivated in the Albany suburbs. This violence was senseless, without political valence. But it was the first chink, the first time I felt loss, December 9, 1980.

Friday, November 25, 2005

Friday Random Ten

Parliament, Side Effects

M. Ward, Scene From #12

Louis Armstrong, All Of Me (Big Band)

Antony And The Johnsons, I Fell In Love With A Dead Boy

Peewee Russell / Coleman Hawkins, If I Could Be With You (One Hour Tonight)

Billie Holiday, I Cover The Waterfront (Commodore Master Takes)

The Album Leaf, Moss Mountain Town

Charlie Christian, Poor Butterfly

Nina Simone, Backlash Blues

Paul Simon, Think Too Much (I)

Friday, November 18, 2005

Friday Random Ten

Wilco, Misunderstoond (Kicking Television - live)

Ella Fitzgerald, How Long Has This Been Going On? (w/ Ellis Larkins)

Teddy Bunn, Bachelor Blues

The Legendary K.O., George Bush Doesn't Care About Black People

Ray Charles, Rockhouse

James Brown, There Was A Time (I Got To Move)

Martin Luther King, Jr., Birmingham, Al., May 1963
("Keep this movement going. Keep this movement rolling. In spite of the difficulties, and we're gonna have a few more difficulties, keep climbing. Keep movin'. If you can't fly run. If you can't run walk. If you can't walk crawl. But by all means keep moving.")

Woody Guthrie, Roll On

Elliott Smith, Twilight

Budowitz, Ukraynishe Kolomeyke

Friday, October 28, 2005

Friday Random Ten

Bo Diddley, Bo Diddley

Bourbon Princess, The Waiting Noon

Nina Simone, Lilac Wine

Dana and Karen Kletter, Sister Song

Louis Armstrong, West End Blues (Hot Five)

Bukka White, Po' Boy

Elliott Smith, LA (La Boule Noire 4-3-00)

Cat Stevens, Miles From Nowhere

The Klezmatics, An Undoing World

Blind Gary Davis, Goin' To Sit Down On The Banks Of The River

Friday, October 21, 2005

Friday Random Ten

Dana and Karen Kletter, Your Mother Wants To Know

Howe Gelb, Living In A Waterfall

Elliott Smith, I Me Mine (Atlanta, GA 8May00- electric)

Elvis Costello, The Big LIght

Louis Armstrong, Home

Bourbon Princess, Jerkoff

Frankie Newton, The Brittwood Stomp (I'm A Ding Dong Daddy)

The Album Leaf, Streamside

Sunlight, Adrian Belew

Ella Fitzgerald, St. Louis Blues (live, Ella In Rome)

Friday, October 07, 2005

Friday Random Ten

Ella Fitzgerald, Just One Of Those Things (Ellla in Rome - live)

Frankie Newton, Rompin'

Bob Dylan, Moonshiner (Live at the Gaslight, 1962)

Elvis Costello, Jack Of All Parades

Ella Fitzgerald, Until The Real Thing Comes Along (w/Ellis Larkins (!))

M. Ward, Regeneration No. 1

Giant Sand, Anarchistic bolshevistic cowboy bundle

Mommie, Bulldozer

Elliott Smith, Don't Go Down

Carlton Reece, Ninety-Nine-And-A-Half Won't Do

Friday, September 30, 2005

Better Late Than Never: Friday Random Ten

Howe Gelb, Living In A Waterfall

Elliott Smith, Somebody That I Used To Know

Louis Armstrong (Big Band), I'm In The Market For You

Giant Sand, Overture

Freedom Singers, Ain't Gonna Let Nobody Turn Me Around

Shuggie Otis, Shuggie's Old Time Slide Boogie

Frankie Newton, The Blues My Baby Gave To Me

Woodie Guthrie, Pick It Up

Califone, Bottles & Bones (Shade & Sympathy)

M. Ward, The Crooked Spine

Sunday, September 11, 2005

The Legendary K.O., "George Bush Doesn't Like Black People"

(Via Mark Crispin Miller.)

The Legendary K.O., George Bush Doesn't Like Black People

Produced by Kanye West & Jon Brion
Words by Big Mon and Damien a/k/a Dem Knock-Out Boyz

Higher quality downloads originally posted:



LEGENDARY K.O. PRESS RELEASE
The Legendary K.O. delivers powerful message against George W. Bush Through Song “George Bush Doesn't Care About Black People” Receives Widespread Acclaim

As the world has seen and heard by now, rapper Kanye West expressed his frustration at the Katrina relief efforts and his thoughts on U.S. President George W. Bush last week during a nationally televised benefit. While his thoughts and statement have received much attention, a rap group from Houston, The Legendary K.O., has taken it one step further and recorded a song, entitled “George Bush Don't Like Black People”, using the Kanye West “Gold Digger” instrumental.

The song, available for free download through www.k-otix.com , received over 10,000 downloads in the first day alone, with listeners ranging from the U.S. to Europe and Japan.

Legendary K.O. member Micah Nickerson lives minutes away from the Astrodome, where many Katrina victims are being housed, came up with the song concept immediately after hearing Kanye West's remarks.

“I had really wanted to write about this in the first-person, as someone stuck in New Orleans and left by this administration to basically fend for myself, but was having trouble putting the emotions I felt into words. When I heard Kanye during the benefit, the rest as they say was history,” said Micah.

The song was recorded and included on a friend's web site promoting new music from various artists (www.fwmj.com). Within a day, his site was overwhelmed with the traffic, as users were flocking to download the song.

Damien Randle, the other member of The Legendary K.O., says that the song expresses their and many others feelings about this administration.

“No matter which side of the political debate we reside on, I think we can all agree that this situation represents the ultimate human tragedy, and highlights the need for sweeping improvements in some of the most fundamental segments of society. The safety and well-being of all people should always be considered first, and we felt compelled to express that through song,” said Damien.

The Legendary K.O. is not staying on the sidelines during this tragedy, making music, but not taking action. Micah and Damien have also donated food, clothes, and time to local organizations and urge anyone that has not donated to please do so.

Their actions have also caught the attention of numerous media outlets, including MTV.com: http://www.mtv.com/news/articles/1509274/20050909/mos_def.jhtml?headlines=true

The group is also available for print, radio, and TV interviews. To set-up interviews now, please contact The Legendary KO at k-otix@k-otix.com

Suggested sites for donations:

http://www.houstonhurricaneaid.org/

United Way - http://www.uwtgc.org/index.html

Monday, September 05, 2005

West End Blues

The flooding in New Orleans reached its current epic proportions when—after one levee was breached on Monday morning, August 29, in the eastern, downriver portion of the city, known as the Ninth Ward—another was breached across town at the 17th Street Canal Levee, very early Tuesday morning, August 30.

The 17th Street Canal separates New Orleans’ Jefferson Parish (west) from Orleans Parish (east). The canals of the city, as well as the Mississippi riverbanks and the shore of Lake Pontchartrain are lined with earthen levees that usually keep the low-lying city from from being flooded. But as high water and wind from Katrina scoured the levees, large sections washed away, including a section reportedly several hundred feet long along the eastern side of the 17th Street Canal. . . .

The breach in the levee along the canal’s eastern bank is obvious as a break in the tan line that runs along other portions of the canal. The hole allowed Lake Pontchartrain to pour into the neighborhoods known as the West End. Some homes and other buildings are completely submerged, while the roofs of others appear to float above the murky water.

Nola Percent White, West EndThe West End is 90% white, 1.7% Black. 9.1% of its residents were living in poverty. The Lower 9th Ward is 98.3% Black, .5% white. 36.4% of its residents were living in poverty. On average in New Orleans, 66.6% of the residents are Black, 26.6% are white, and 27.9% lived in poverty. One of the wealthiest and whitest parts of New Orleans, the West End was presumably one of the areas whose residents mostly got out of New Orleans in time to escape the devastation that is now there (though their homes and other possessions may not be so lucky).

The map, above right, shows NOLA neighborhoods by percent white, with the West End outlined in red. Click here to see the same map done for percent African American, Asian and Latino. All demographic data in cited in this post are drawn from 2000 census data, as assembled by the Greater New Orleans Data Center.

The West End has been a wealthy area of New Orleans since the the turn of the 20th century. With lake front property, it was a resort area whose patrons wanted to hear the African American vernacular dance music, known as jazz.

West End was originally called New Lake End to distinguish it from Old Lake End, which sometimes referred to Milneburg.

New Lake End served as a port for craft traveling along the New Basin Canal. Between 1835 and 1876, individuals involved in the coastwise trade and those who belonged to yachting and rowing clubs primarily frequented New Lake End.

The Mexican Gulf Ship Canal Company had begun construction of a harbor with railroad facilities when the city acquired the company’s partially built embankment at the New Basin Canal and the Seventeenth Street Canal. The 100 foot wide bank was raised to a height of eight feet. Subsequently, the New Orleans City and Lake Railroad routed trains to the embankment, which was developed to house the West End resort.

A hotel, a restaurant, a garden and various amusement spots were built on a large wooden platform that was constructed over the water. In 1880, New Lake End took the name West End. Sailing and rowing regattas added to the popularity of West End. Over the next 30 years, West End achieved popularity to rival the resort at Spanish Fort.

West End contributed to the early development of jazz in New Orleans. Its bandstand was a center for early jazz concerts performed by notable jazz musicians including Louis Armstrong. The famous jazz song “West End Blues” was inspired by this resort area.

In 1921, the city completed improvements that included the construction of a seawall 500 feet further out in the lake and filling in the space between the old embankment, expanding the park to thirty acres, all of which resulted in the present West End Park. The first houses were built near West End Park around the 1920s.

Within the city of New Orleans, African American vernacular dance music originated in a number of places, far across town from the West End. One of the most vibrant homes of early jazz was the Back o' Town neighborhood, where Louis Armstrong grew up.

Back o' Town included illicit gambling and prostitution houses as well as residences. The adjacent South Rampart Street corridor contained more respectable AfricanAmerican businesses and legitimate places of entertainment. From the turn of the century through the 1920s, Back o' Town had a concentration. of saloons, social halls, dance clubs, and vaudeville theaters where early jazz was played. These ranged from low-down dives, such as the Red Onion, to a middle-class ballroom like the Parisian Garden room in the Pythian Temple building. Most of the area has been redeveloped for government offices, parking areas, high-rise office buildings, and the Superdome. The Red Onion, the Pythian Temple Building, the Odd Fellows and Masonic dance hall, and the Iroquois Theater remain. Louis Armstrong's birthplace, Union Sons hall, the Astoria Hotel and Ballroom, Spano's, and several other important early structures have been torn down.

Nola Percent African American, Lower Ninth Ward highlightedAnother source of musicians for the wealthy audiences on the West End would have been the Eighth and Ninth Wards.

The Eighth and Ninth wards begin east of Elysian Fields Avenue. This was a racially mixed workingclass neighborhood at the turn of the century. Woodmen of the World Hall, where early jazz was played, still stands. Famous residents of the area included Papa Jack Laine, Manuel Mello, Manuel Perez, and John Robichaux.

The African American working class people of the Ninth Ward were still supplying labor for the the greater economy of New Orleans, up until last week, when their neighborhood was destroyed and they were left to the death and chaos of their flooded neighborhood and city. (Map above right: NOLA neighborhoods by percent African American, Lower Ninth Ward outlined in red, other racial composition maps here.)

People in the Lower Ninth Ward use the bus to get to work because of lack of finances, lack of private cars. You've got to use the bus even though the services continue to be limited. You've got to use the bus because that's the only means you have to get out to make money. There are no jobs here, and there is nowhere you can walk to do things. (75 year old African American social worker, Fall 2003)

"In other parts of the city, a lot of people have the option of walking to their jobs. But on this side, because of the canal, we are separated from the city.” (53 year old African American laborer, Fall 2003)

Whereas only 6.1% of West End residents had no vehicle available, a third of Ninth Ward residents were without vehicles prior to Katrina. There were things that could have been done to get Ninth Ward residents and others without cars out of the city, along the lines of what Malik Rahim has pointed out.

We have Amtrak here that could have carried everybody out of town. There were enough school buses that could have evacuated 20,000 people easily, but they just let them be flooded. My son watched 40 buses go underwater - they just wouldn't move them, afraid they'd be stolen.

People who could afford to leave were so afraid someone would steal what they own that they just let it all be flooded. They could have let a family without a vehicle borrow their extra car, but instead they left it behind to be destroyed.

Jazz History Map AreaThere's lots of ways to guess at the meaning of Louis Armstrong's rendition of his mentor Joe "King" Oliver's West End Blues. Maybe it was just a blues written while in the West End. Maybe it was a blues for people whom Oliver performed for on the West End. Maybe it was a blues for all the people who worked in the West End and lived someplace else. Right now it's a blues for all of New Orleans, though some folks have it worse than others . . .


Louis recorded the song in Chicago, after he had left New Orleans and had already spent some time in New York City. The Hot Five/Hot Seven recordings were not three minute digest versions of what he was doing in the clubs. Rather, the ensembles and the arrangements were assembled especially for the studio dates. Louis' West End Blues were designed for the act of recording and were therefore a blues for all us.


Anyone with an ounce of compassion also has more than just a touch of the West End Blues—especially if they're asking questions like Marsha Joyner's questions.


Did Katrina open our eyes to a problem, which has been glossed over? Are we seeing the under belly of America, the poor, the minorities, the people who could not afford to evacuate; whose very existence depends on the meager handout of the government. A government, which we saw was too long delayed in coming to the rescue.



Did Katrina show us an America that we pretend does not exist? The magnitude of everyday suffering is intolerable and such conditions must be changed through social action. We, members of SNCC and countless others, worked tirelessly to enact social changes only to see subsequent Administrations dismantle them. We are now back to square one. Like Victor Hugo, again, we must convince America that the poor, the minorities, the outcast, the people stealing in the midst of Katrina, the outcast—the misérables—are worth saving.


Louis Armstrong And His Hot Five, West End Blues

June 28, 1928, Chicago

Friday, September 02, 2005

From A Native Son Of New Orleans

St. James Infirmary

Louis Armstrong and His Savoy Ballroom Five, December 12, 1928, Chicago

Louis Armstrong - trumpet, vocal
Fred Robinson - trombone
Jimmy Strong - clarinet and tenor sax
Don Redman - clarinet
Earl Hines - piano
Dave Wilborn - banjo
Zutty Singleton - drums

This recording is from the last of the Hot 5/Hot 7 recordings that Louis Armstrong made between 1925 and 1928—stylized reinterpretations of the early 20th century Jazz style from his native New Orleans. Drummer Zutty Singleton was another musician who hailed from New Orleans during that time when Jazz was being born.

Saturday, August 27, 2005

Musical Notes

When I posted about Pete Seeger's version of "Oh What A Beautiful City," I said I wanted to know more about Marion Hicks, who has song writing credit in the liner notes. My wife thought she remembered some details in Rise Up Singing, which I haven't had the chance to check myself. I did, however, write a query to Guy Carawan, who replied saying he doesn't know much about Marion Hicks but confirmed what my wife remembered in Rise Up Singing and added a little detail with the full note from RUS:

Marion Hicks was a cook in Brooklyn who taught this traditional song to the Seeger family.

Guy reports that Marion Hicks is credited with new words and adaptation of words and music.

Before I got this reply, I combed through my CDs to see if I had another version of the song on one of my blues or gospel CDs. Lo and behold Reverend Gary Davis recorded "Twelve Gates To The City" in 1960 on a record called, Harlem Street Singer.

Of course, when I heard back from Guy Carawan, he mentioned the Reverend Gary Davis version of the song and said he considers it the "gold standard."

In my original post, I also referred to Edward Boatner, who seemed like an interesting figure in African American musical history whom I had not known about. DK wrote in with some interesting details about Boatner, his arrangement of "Oh What A Beautiful City," and two of the singers who have sung his arrangements. The closing quote from Barbara Hendricks is wonderful.

Edward Boatner arranged gospel songs for real divas (I hate the way the word is applied these days) Jessye Norman and Barbara Hendricks. Hendricks, one of the greatest voices in opera, released a 1983/4 recording on EMI called Negro Spirituals, using Boatner's arrangement of What A Beautiful City. . . . She recorded the spirituals after a trip to South Africa where she had been invited to celebrate the inauguration of Nelson Mandela. She said:
I was reminded with deep emotion of the roots of my beloved Negro Spirituals, the first music that I heard or sang as a child... This music is an integral part of who I am and lives in me at all times, even as I sing Mozart, Debussy, Shostakovich or Puccini. The Negro Spiritual is the music of all past and present victims of human rights abuse and refugees everywhere; the universality of the emotion they express places them among the songs of humanity.
Here's a link to a bio of Hendricks.
http://www.emiclassics.com/artists/biogs/bheb.html

Rev Gary Davis, Harlem Street Singer record cover
Reverend Gary Davis, "Twelve Gates To The City" (1960)

Monday, August 22, 2005

Oh What A Beautiful City

Pete Seeger continues to be a big favorite for my toddler. Standing in the chair in front of our stereo, he pulls the Pete Seeger CD of choice out of the stack, gets the disc out of the case, opens the CD player drawer, places the disc in, closes the drawer—and finds his favorite songs by himself.

This all started with him simply calling out the names of songs or artists he wanted to hear and repeating the name with great insistence, until we relented. Then he started asking for CDs to put into the player himself. And now, most recently, he's been cuing up the desired songs without help.

The first song we saw him do this with was Sweet Potatoes, on We Shall Overcome: The Complete Carnegie Hall Concert (1963). Our little boy figured out how to press the track advance button three times to get to track 3 on disc 2. What really blew our minds, though, was when he figured out how to get to track 18 on the Children's Concert At Town Hall (Abiyoyo). I'm pretty sure that at 2 1/2 he hasn't learned to count to 18 but rather has learned to recognize what the track number for Abiyoyo looks like in the CD player display. Still, it's pretty darn cool . . .

It's a good thing I like Pete Seeger so much. Instead of getting sick of the recordings, I've been finding new pleasures in songs I hadn't paid as much attention to when I was younger. The first song that struck me this way was Pete's rendition of the the John Lair song, Little Birdie. The liner notes say Pete learned the song in the 1940s from one the Coon Creek Girls, who were Lair's proteges. Pete's mountain-style banjo on this track is hypnotic, and the lyrics are beautiful. When I tried to find a transcription of them online, there were many versions of the song, but none with words that Pete sings on this recording—which makes me think that it was Pete himself who came up with this most deeply poetic and mysterious version of the song that I've come to love so well:

Little birdie, little birdie,
What makes you fly so high?
It's because I am a true little bird
And I do not fare to die?

Little birdie, little birdie,
What makes your wings so blue?
It's because I've been a grieving
Grievin' after you.

Little birdie, little birdie,
What makes your head so red?
Well after all that I've been through
It's a wonder I ain't dead.

Little birdie, little birdie,
Come sing to me a song.
I've a short while to be here,
And a long time to be gone.

In the middle two verses, the movement between the images and the states of mind and emotion they signify reminds me of reading William Blake's Songs of Innocence and Exprience (of all things). Maybe that's just the ballad tradition bubbling up through both the 19th and 20th centuries, but I can't really say.

Now to the song that got me writing this post in the first place: Oh What A Beautiful City, as performed on We Shall Overcome. You can read the lyrics of a different version here, but first just sit back and listen.

The credits say Pete's version is as adapted and arranged by Marian Hicks. There is almost nothing about her on the internet, and there do not seem to be any recordings to her name. In looking around, I discovered a noted arrangement by Edward Boatner, who seems like an interesting figure in Black musical history whom I hadn't heard of before.

I really want to know about Marian Hicks. If any readers can tell me more about her, or if anyone knows good recordings of Oh What A Beautiful City by African American gospel artists, or any other interesting recordings, or anything else about the song's history, please let me know in the comments.



UPDATE
My wife recalls reading in Rise Up Singing that Marian Hicks was an African American friend of Pete Seeger's family and that he learned to sing the song from her. I don't actually have copy of RUS, but I'll check this out as soon as I can.



CORRECTION
Second stanza of Little Birdie corrected from "dreaming" and "dreamin'" to "grieving" and "grievin'."

Monday, August 15, 2005

De Grey Goose (for Cindy Sheehan)

Remember Pete Seeger's Children's Concert?

Well this song from that recording is dedicated to Cindy Sheehan.

When Pete says, "This is one that he taught me," the reference is to Leadbelly.

~
Photo: Legendary folksinger and social activist Pete Seeger performs at Mt. Zion Baptist Church in Hattiesburg, Mississippi, on August 4 as part of Freedom Summer, 1964. Photo by Herbert Randall. Published by University of Southern Mississippi Libraries.

Friday, August 12, 2005

Friday Random Ten

Okay, let's lighten up for a few minutes. Here's the first ten that came up on a random play of my mp3s on iTunes:

  • Antony and the Johnsons, Man Is The Baby
  • Nina Simone, Work Song
  • Bright Eyes, Train Under Water
  • Pete Seeger, Little Boxes
  • Damon and Naomi, While My Guitar Gently Weeps
  • Giant Sand, Classico
  • Ray Charles and Gladys Knight, Heaven Help Us All
  • Iron and Wine, Naked As We Came
  • M. Ward, One Life Away
  • Elliott Smith, Punch And Judy (live)

Saturday, July 16, 2005

Studs On Pete

This is a little dated, but it's good and Technorati says hardly anyone blogged it. For all my fellow red diaper babies:

Pete Seeger Is 86

by STUDS TERKEL

It is hard to think of Pete Seeger as an elderly gaffer, because the boy in him, the light, remains undimmed. It was sixty-five years ago I first ran into him. He and three of his colleagues, calling themselves the Almanac Singers, were on a cross-country jalopy tour singing and creating songs for the industrial unions aborning. The CIO had begun, and how could there be labor rallies without songs? It was in the true American tradition, like the Hutchinsons, a family of singing abolitionists during the Civil War. Some of the most heartbreaking music of that fratricidal conflict was theirs.

That night when I first encountered the four wandering minstrels was a cold Chicago beauty. At 2 in the morning, my wife heard the doorbell ring. I was away rehearsing the first play in which I had ever appeared. It was Waiting for Lefty, of course. There, at the door, were the four of them. The first was a bantam--freckled, red-haired and elfin. He handed my wife a note saying: "These are good fellas. Put them up for the night." Putting them up was a rough assignment, even for a Depression-era social worker, what with the only spare bunk being a Murphy bed that sprang from the wall. Freckles announced himself as Woody Guthrie. The second was an Ozark mountain man named Lee Hayes. The third was a writer, Millard Lampell. The fourth, somewhat diffident, more in the background, was a slim-jim of 20 or so, fretting around with his banjo. He was Pete Seeger.

Since then, Woody has died. So has Lee Hayes. So has Millard Lampell. Only Pete breathes and sings, mesmerizing audiences, whether they be Democrats, lefties, vegans or even a sprinkling of Republicans. For sixty-five years, he has held forth continuously through periods known more for their bleakness than for their hope: the cold war, the witchhunt, the civil rights and civil liberties battles. Pete has been in all of them. Wherever he was asked, when the need was the greatest, he, like Kilroy, was there. And still is. Though his voice is somewhat shot, he holds forth on that stage. Whether it be a concert hall, a gathering in the park, a street demonstration, any area is a battleground for human rights. That is why describing him as an 86-year-old gaffer is not quite true. The calendar often deceives. This is a sparkling case in point.

Of course, he's been blacklisted so many times he probably holds the dubious record, with the possible exception of Paul Robeson, who was often his partner in crime.

Before we hoist one for Pete, let's also remember that he's one of the best choirmasters in the country. He may not have the technique of Robert Shaw, but the result is just as explosive. Imagine an audience of thousands as Pete sings, say, "Wimoweh." As Pete waves his arms gently, the audience reacts as a professional choir might. I've seen a wizened little man, who obviously is somebody's bookkeeper, at the command of Pete become a basso profundo, reaching two octaves lower than Chaliapin. This is the nature of Pete Seeger, who reaches out toward the further shores more effectively and more exhilaratedly than anyone I've ever run into.

Hail Pete, at 86, still the boy with that touch of hope in the midst of bleakness. There ain't no one like him.

(The rest is over at The Nation)

Might as well mention, in case you missed it the first time around, that I did a little bit about Pete Seeger a just over a year ago. I was actually writing about Louis Armstrong, but Pete figured into it, too.

In that post from last summer, I mention getting Pete Seeger's
Children's Concert at Town Hall on cd after having listened to the lp endlessly as a child. The cd has been getting a lot of play around here lately because at almost 2 1/2 my son is now old enough to have his own enjoyment of Pete Seeger.

Even if you don't have kids, the Children's Concert is really worth getting. My wife gets choked up almost every time she hears all the children in the audience singing along—which only makes Pete's "touch of hope in the midst of bleakness" that much more poignant, especially these days . . .

The concert was recorded in 1962, so all those kids are grown up and older than I am. I sometimes wonder who they are in the world today.

Saturday, July 02, 2005

Book Summary - Susan Orr-Klopfer, Where Rebels Roost: Mississippi Civil Rights Revisited

Where Rebels Roost
Mississippi Civil Rights Revisited

Publisher: M. Susan Orr Klopfer, MBA
Publication Date: July 1, 2005
No. Pages: 668

Order/Review sites
http://themiddleoftheinternet.com/bookorder.html
http://www.lulu.com/content/135246
http://minorjive.typepad.com/hungryblues/2005/07/foreword_for_su.html

$29.17 Book
$11.25 Download

Special Inclusions

Nine-page Selected Bibliography/Citations: 73 Books; 3 Dissertations; 47 Articles; 32 Collections, Interviews, Oral Histories.

Twenty-pages/ Lists of Dead/References 900+ names and information of African Americans lynched and murdered in Mississippi from 1870 to 1970 (references Southern Law & Poverty Center, NAACP, Tuskegee Institute, individual family and friends, personal research).

Sixteen-page/160+ Names of Emmett Till Principles/Names and biographies of people close to this case, from lawyers, witnesses, judges and jurors to police, politicians, friends and families.

Over one hundred specific Sovereignty Commission Documents, references given.

Authors:
M. Susan Orr Klopfer, MBA
With Fred J. Klopfer, PhD and
Barry C. Klopfer, Esq.
Foreword by Benjamin T. Greenberg

Editors:
Margaret Block
Jan Hilligas
Geoffrey F.X. O’Connell
Karrie Schoppe

Dedicated to the memory of Birdia Keglar, James “Sonny Boy” Keglar, Adeline Hamlet, Grafton Gray, Cleve McDowell and Sam Block.

Where Rebels Roost: Mississippi Civil Rights Revisited is nonfiction. Descriptions and dialogue are based on interviews conducted with eyewitnesses and participants in the events described. In addition, newspapers, books, journal and magazine accounts were used. Other resources were documents, letters, diaries, and oral histories from various libraries, archives and private collections. Two other primary sources used were government materials provided under the provisions of the Freedom of Information Act and material from the archives of the Mississippi Sovereignty Commission, available online. The project was initiated in August of 2003 and completed June 30, 2005.

CONTENTS

Foreword by Benjamin T. Greenberg vii
Prologue xv

Book One History to Learn From
Chapter 1 From the Delta 3
Chapter 2 On Becoming Mississippi 0
Chapter 3 Hands that Picked the Cotton 27
Chapter 4 War of Aggression 36
Chapter 5 Freedom’s Taste 57
Chapter 6 Power of Terrorism 91
Chapter 7 Integration ‘Impossible’ 107
Chapter 8 Under the Microscope 129

Book Two Still Time To Learn
Chapter 9 Mississippi Stories 150
Chapter 10 Veterans Challenge the System 158
Chapter 11 War Rumors Hang Around 167
Chapter 12 Post War Civil Rights 178
Chapter 13 Brown & White Citizens Councils 188
Chapter 14 Bloody Belzoni 211
Chapter 15 Emmett Till 220
Chapter 16 The Meltons of Glendora 251
Chapter 17 Surviving Mississippi 266
Chapter 18 Registering Voters 277
Chapter 19 Mission Implausible 308
Chapter 20 Pushing the System 321
Chapter 21 Cleve McDowell 353
Chapter 22 Medgar Evers 366
Chapter 23 De’ Lay 371
Chapter 24 Follow the Money 391
Chapter 25 Chaney, Goodman & Schwerner 405
Chapter 26 Let the Summer Begin 430
Chapter 27 Klandestine 438
Chapter 28 Freedom Democrats 452
Chapter 29 Not Afraid 465
Chapter 30 Birdia Keglar 479
Chapter 31 Self Preservation 492
Chapter 32 Advocacy Building 510
Chapter 33 More Violence to Reconcile 529
Chapter 34 A Place in Time 559

Epilogue 577

Appendix
Lists of the Dead 579
The People of Emmett Till 600
WeBlog: Mack Charles Parker: 617
Selected Bibliography 618
About the Authors 627
Index 628

Friday, July 01, 2005

Foreword for Susan Klopfer's Where Rebels Roost: Mississippi Civil Rights Revisited (2005)

Where Rebels Roost front cover

Where Rebels Roost... Mississippi Civil Rights Revisited
by Susan/ Klopfer, MBA
With Fred Klopfer, Ph.D. and Barry Klopfer, Esq.
Foreword by Benjamin T. Greenberg
Printed: $29.17 Download: $11.25 (order)

June 27, 2005

Following this week’s conviction of Edgar Ray Killen on three charges of manslaughter for the 1964 murders of civil rights workers James Chaney, Michael Schwerner and Andrew Goodman in Neshoba County, Mississippi, it has been typical to hear triumphant declarations such as this one by Jim Prince III, editor of The Neshoba Democrat: “We pronounce a new dawn in Mississippi, one in which the chains of cynicism and racism have been broken and we are free, free at last, thank God Almighty we are free at last!”

It is at best delusional and at worst a deception to view Killen’s conviction as meaningful expiation for Mississippi’s notorious racist crimes. To begin with, there are nine other living suspects whom the prosecution did not pursue. More to the point, however, are the lines of culpability that extend well beyond Killen and well beyond the Neshoba County klavern of the White Knights. We must look instead to the racist state government of Mississippi of the 1950s, 60s and 70s and to federal complicity in the state’s crimes. We will not read much about this in the news reports about the Killen trial, but we can learn a great deal of what we need to know in Where Rebels Roost. Susan Klopfer is determined to tell the truth about Mississippi and about America and she does a great deal of that truth telling in the pages of this book.

Klopfer’s book is one of the first to look closely at the Mississippi Sovereignty Commission, the state spy agency whose anti-civil rights activities included providing intelligence and money to the Klan. Klopfer also examines the roles of powerful people like Senator James O. Eastland, who received regular reports from the Sovereignty Commission. We cannot begin to fathom the nature of racial repression in Mississippi without knowing what Klopfer reveals in her book. It is no exaggeration to say that Mississippi of the 1950s and 1960s was a totalitarian police state.

Klopfer also follows the money, showing how the lines of culpability lead into the offices of New York industrialist Wycliffe Draper, whose Pioneer Fund fueled Mississippi’s fight against the Civil Rights Act of 1964 and provided millions of dollars for the private “academies,” established to keep white children out of integrated schools after Brown v. Board of Ed. (More recently, the Pioneer Fund financed the research for the controversial book, The Bell Curve, a best selling, racist tract published in 1994.)

America’s greatness rests on the countless brave souls, like Chaney, Schwerner and Goodman, who have stood up for justice on its soil, in the name of this nation's own democratic principles. The nobility of these American citizens is not always understandable without some measure of the evils that they have faced. Klopfer's truth telling brings careful scrutiny to the long and ongoing history of racial repression in Mississippi and the resistances to it.

Where Rebels Roost tells a story that begins with the kidnapping and enslavement of Africans and continues through the American Civil War, Reconstruction, Jim Crow, the Civil Rights Movement of the 1950s and 1960s, and the white supremacist backlash against it that continues into the present, along with current, anti-racist community activists. Klopfer's story of Mississippi and America casts new light on events that will be familiar to many readers, and it tells important stories that have never been told before.

***

The focus of this book is the Mississippi Delta—the northwest portion of Mississippi, wedged between the Mississippi and Yazoo Rivers, with some of the most fertile soil on the planet. The Delta has brought great wealth to white planters and industrialists who built their Southern society on the exploitation and impoverishment of African Americans. The Delta is also the home of a rich Blues tradition, running from Charlie Patton on through Pops Staples, which Klopfer artfully places in its proper context, amid the many currents of history that she describes. Klopfer dispels the dual myths that there was little Klan activity and little native civil rights work in the Delta. There has been much of both, and her drive to describe and understand them is another of Klopfer’s major accomplishments in this book.

By writing the history of civil rights in a particular region, rather than a study of an organization, particular activists or an individual political campaign, Klopfer demonstrates the real diversity of civil rights activity in the state and in the nation. In these pages, there is much to be learned about SNCC, SCLC, COFO, NAACP, Black Panthers and MFDP—and about the Colored Farmers Alliance (nineteenth century), Delta Ministry, Deacons for Defense and Justice, Mississippi Freedom Labor Union, Republic of New Afrika and Black farm cooperatives, like Fannie Lou Hamer's Freedom Farm Cooperative.

In these pages, you will read about crusaders for freedom and equality with familiar names, like Medgar Evars, James Meredith, Fannie Lou Hamer, Bob Moses, Martin Luther King, Jr. and Ella Baker. You will also read about Amzie Moore, Aaron Henry, Birdia Keglar, Mae Bertha Carter, Cleve McDowell, Margaret Block and Sam Block—and many other local Delta people who fought for civil rights before there was outside interest in the early and mid 60s and after SNCC, CORE. COFO and SCLC organizers had largely left the scene.

Outside help was crucial to civil rights activity in Mississippi, but the local activists shaped the Movement in ways that are often forgotten. For example, Klopfer reminds us that when SNCC’s Bob Moses arrived in Mississippi in the summer of 1960 he was thinking in terms of the sit-in movement that had galvanized him to leave his New York teaching job and become an activist. Ella Baker’s friend, Amzie Moore, of Cleveland, Mississippi first conceived of the voter registration campaign that became the centerpiece of Freedom Summer. Unlike other local NAACP leaders, Moore welcomed outside help, but he was a guiding force from the start.

***

Susan Klopfer’s long view of the history of civil rights in the Mississippi Delta brings us on a march through two centuries of race riots, individual racial murders and genocidal policies against African Americans. There are the widely rehearsed murders of Emmett Till, Medgar Evars and Chaney, Schwerner and Goodman and Fannie Lou Hamer’s riveting testimony at the 1964 Democratic Convention of how she was cruelly beaten for registering to vote. But Klopfer’s march for truth and justice also takes us through less well-known territory: nineteenth century race riots in Minter City, where as many as one hundred African Americans were murdered and many more beaten and injured; the possible massacre of as many as 1200 African American soldiers at Camp Van Dorn by the US Army in 1943, with involvement from US Senators Eastland and Bilbo; the untold numbers of adults and children who starved to death in Leflore County, when, from 1962 to 1966, the Klan and the White Citizens Council pressured county officials to cut off distribution of federal food subsidies, in retaliation for Black voter registration activities; the murders of Birdia Keglar and Adeline Hamlet in 1966, James Keglar, son of Birdia (three months after his mother), Daisy Savage and her grandson in 1973, Cleve McDowell in 1997—and many others. In her work on these last six individuals, Klopfer describes cases that beg to be investigated. Included among Klopfer’s appendices is a list of over fifty civil rights slayings in Mississippi and a table of the state’s lynching statistics.

After you read this book, the conviction of one eighty year old man for the murders of Chaney, Schwerner and Goodman can seem like nothing but a farce. If we want to break “the chains of cynicism and racism,” Where Rebels Roost shows us where to begin. And it is, indeed, only a beginning. In an email, Klopfer told me that many old people in the Delta keep their own lists of people who were killed. As she put it in another email to me, “Even the countries of Germany and Chile have done a better job accounting for the evil done in those countries and making amends. Apologies are due many families.”

With wry irony, Susan Klopfer notes, “Senator Eastland was born nine months after the lynching [of Luther Holbert and his wife (name unknown) in 1904], which was led by Eastland’s father, a pharmacist and planter. Since lynching was often accompanied by celebrations and parties for the white persons attending, perhaps Senator Eastland was conceived on this occasion.” This may just seem like some well deserved spit in the eye for a vicious racist, but Klopfer’s comment also speaks to the tremendous benefits many whites have reaped from a system that devalues African American lives. Where Rebels Roost raises important and troubling questions about an all too wide array of systemic racial inequalities in the Mississippi Delta.

Why were African American children suffering from clinical malnutrition and why were prenatal care and dental care unheard of for Blacks, while white Mississippi planters received farm subsidies many times larger than those given out in other states? A1968 study, which Klopfer cites, found that “In 1966, there were more payments of $50,000 in each of eight Mississippi counties than in the states of Iowa and Illinois combined.... In the seven states of Iowa, Illinois, Nebraska, Minnesota, Wisconsin, Indiana, and Ohio, 165 producers received checks of $25,000 or more, as compared with the 194 in Mississippi alone who received payments of $50,000 or more.” The disbursement of these monies should have been contingent on proper implementation of the flagship Head Start programs that were begun in Mississippi and effectively shut down by 1967, through, “investigations, surveillance, firings, audits, press attacks, closures and threats.”

Why were there heavily African American Delta towns like Tunica, with no water or sewer connections—in 1985? Why were Delta Pride catfish processing plants allowed to earn nearly three quarters of a billion dollars in annual sales while African Americans labored in their unsanitary sweatshops with no holidays or benefits in the 1990s?

Why in 2005 is Mississippi’s infant mortality rate the highest in the US with 10.5 deaths per one thousand infants under one year old across the state and up to 18 infant deaths per thousand in parts of the Delta? The national infant mortality rate is 6.8 (which is nothing for the richest nation in the world to be proud of).

***

In a post-9/11 America, Susan Klopfer’s revelations about Sovereignty Commission surveillance should serve as a dire warning about the dangers of allowing government to revoke our civil liberties and spy on its citizens with increasing impunity and diminishing oversight. Consider this summary of the Intelligence Authorization Act for Fiscal Year 2004 from Kim Zetter:

Under the law, the FBI does not need to seek a court order to access such records, nor does it need to prove just cause.

Previously, under the Patriot Act, the FBI had to submit subpoena requests to a federal judge. Intelligence agencies and the Treasury Department, however, could obtain some financial data from banks, credit unions and other financial institutions without a court order or grand jury subpoena if they had the approval of a senior government official.

The new law (see Section 374 of the act), however, lets the FBI acquire these records through an administrative procedure whereby an FBI field agent simply drafts a so-called national security letter stating the information is relevant to a national security investigation.

And the law broadens the definition of "financial institution" to include such businesses as insurance companies, travel agencies, real estate agents, stockbrokers, the U.S. Postal Service and even jewelry stores, casinos and car dealerships.

The law also prohibits subpoenaed businesses from revealing to anyone, including customers who may be under investigation, that the government has requested records of their transactions. (Wired News, Jan. 6, 2004)

There is no telling what the FBI is doing with such invasive powers, granted with the full authority of the law. The Sovereignty Commission, whose surveillance powers were acquired largely by fiat, was able to have similar access to citizens’ financial records. Cleve McDowell, who was murdered in 1997, earlier attracted the Commission’s attention when he was the first African American to enter law school at the University of Mississippi in 1963. Klopfer writes:

The [Sovereignty Commission] investigator [Tom Scarbrough] was sent back to Drew on June 4 and 5 to find more dirt on young McDowell. From R. D. Cartledge, “cashier of the Bank of Drew,” Scarbrough learned that “a Negro female school teacher gave Cleve McDowell a check for $10 payable to McDowell on May 27…. McDowell endorsed the check to Medgar W. Evers [who] in turn cashed the check at a service station in Jackson.” This fact was duly reported back to the Sovereignty Commission.

Scarbrough was not able to learn why “Jessie Singleton Gresham” gave McDowell the $10 check. He tried to talk once again to McDowell’s father and when he “could get no one to respond to my knock of their front door” he “journeyed over to Oxford … to observe his admittance to the University School of Law on June 5, 1963.”

Kim Zetter noted that “Bush signed the [intelligence] bill on Dec. 13, a Saturday, which was the same day the U.S. military captured Saddam Hussein.” It is important to note the parallels between the present war in Iraq and the Vietnam War, which was one of the backdrops for the Civil Rights Movement. In his essay “Highways to Nowhere,” Wallace Roberts, who was a Freedom School coordinator in Cleveland and Shaw, Mississippi, recalled that at “the first memorial service for the three civil rights workers, held just a few days after the Gulf of Tonkin incident that marked the beginning of the Vietnam War, Bob Moses, the head of the summer project, said simply, ‘The same kind of racism that killed these three young men is going to kill thousands of Vietnamese.’”

Roberts also recalled last year’s fortieth annual memorial for Chaney, Goodman and Schwerner, at the rebuilt Mt. Zion Church, which had been bombed by the Klan on June 16, 1964, setting in motion the events that led to the murders of those three brave, young men:

Dave Dennis, one of the leaders of Freedom Summer, said that it doesn't really matter now what happens to a bunch of old men even in the name of justice. What matters now is the injustice still being done to the black children of Mississippi: Governor Barbour recently asked for a cut of more than $200 million in state funds for public education. This in a state that already ranks at the bottom nationally in per pupil spending.
I was able to shave a couple of hours off my driving time thanks to the lavish investment in slick new roads by Barbour and his predecessors, but that savings comes at the cost of the continuing intellectual enslavement of the state's black children.

Drive on, Mississippi, you're on a highway to nowhere.

(Click here to order Where Rebels Roost.)

Thursday, June 02, 2005

Three Approaches To Reality

Fantasy:

For 40 years Philadelphia and Neshoba County have been synonymous with redneck vigilante justice, and we’ve been saddled with the “Mississippi Burning” stereotypes. The role of law enforcement in the murder conspiracy seems to amplify the disdain outside observers feel, a certain breakdown in civility and law and order.

Most decent people here have felt the shame of a crime unpunished and applaud justice.

Before us is an historic opportunity to once and for all set the record straight, to do the right thing by bringing the murder or murders to justice.

("The Trial of the century" (Editorial) The Neshoba Democrat, April 6, 2005)

Experience:
A British journalist was reportedly assaulted last week while talking to a county resident about the upcoming trial of accused murder Edgar Ray Killen, the authorities said. . . .

Officials said Andrew Buncombe, a Washington correspondent for The Independent, stopped at a house on County Road 515 to speak with a resident about the Killen trial when an elderly white male assaulted him with what appeared to be a metal pipe.

Road 515 is the road on which the civil rights workers were murdered and where Killen lives. . . .

Buncombe said he walked into the yard Wednesday at about 2 p.m., and began a conversation about roses that were growing in the yard. When the reporter brought up the murders the man reached for the pipe from the back of a pick-up truck, Buncombe said.

Buncombe suffered a severe blow to his right hand and was hit on the back of one of his legs.

(Kenneth Billings, "Reporter beaten on rural road," The Neshoba Democrat, June 1, 2005)

Analysis:
The deputy sheriffs, the soldiers, the governors get paid,
And the marshals and cops get the same,
But the poor white man's used in the hands of them all like a tool.
He's taught in his school
From the start by the rule
That the laws are with him
To protect his white skin
To keep up his hate
So he never thinks straight
'Bout the shape that he's in
But it ain't him to blame
He's only a pawn in their game.

(Bob Dylan, "Only A Pawn In Their Game")

Sunday, May 22, 2005

Good Stuff From The Comments

• After I blogged my friend Dana's memoir piece on her 1999 trip to Auchwitz, she commented to send me over to the website of Peter Cunningham, the photographer whose photo of Dana appears in her article.

Peter has spent years photographing musicians and there is a nice link on his site to those pictures. Open it up and you see many pictures you've seen replicated in many places -- he's the guy who took them!
You can truly get lost browsing through Peter Cunningham's photos. You can also read his own documentary essay with photos of an earlier trip he went on to Auchwitz, before the one Dana wrote about.

• Elisa Salasin posted some interesting comments regarding the article on expulsion rates for children in preschool. She also left a link for her Open Letter To Jenna Bush, published on Common Dreams.

Dear Ms. Bush,

I’ve read recently that you will soon be teaching in an urban, Washington, D.C. elementary school. As you begin your career there are a few things that I would like you to consider.

I’m sure that you are entering the profession with the highest of expectations for the children who will be under your care in the coming years, that you are not someone who might fall prey to the “soft bigotry of low expectations.” If possible, though, please take a few moments to think about just what it means to have high or low expectations for your students.

I ask you to do so because I believe that much of the so-called educational reform mandated in the name of “high” expectations truly reflects very low expectations of the intellectual capacities and learning potential of children – most specifically, poor children in urban schools who are usually not white and who often don't speak English as their first language.

This conclusion might seem counter-intuitive. After all, your father claims that No Child Left Behind is closing the achievement gap. He claims that test scores are rising, that more kids are reading at a higher level. I see that achievement gap differently – when teaching and textbooks mirror the tests, scores indeed will rise. In the eyes of some people, high expectations for students are being met. I see the high expectations of the testing/publishing industrial complex being met as their profits soar, and the high expectations of pundits being met as their pockets fatten. Let’s say that I’m wrong, though, and children are indeed learning more in this brave new world of education. We still cannot say that high expectations are being met without taking into account some of the other effects of NCLB on classrooms. A few examples include: students reading fewer actual books in school, far less time being spent on social studies, science, arts education, or any other activity that does not fall within the realm of concepts-to-be-tested.

Read the rest and also check out Elisa's blog, two feet in.

• On the second of my two posts about Olen Burrage, Susan Klopfer posted an excerpt from her forthcoming book Where Rebels Roost: Mississippi Civil Rights Revisited, due out on June 15. Susan prefaces her excerpt, saying, "Look away from Neshoba County and the "regular" klansmen. So many others were involved ..." I have actually linked to a similar excerpt (scroll down to "Further Reading"), which Susan had posted previously on her website, in order to make precisely her point, that others—including Senator James O. Eastland and Representative Prentiss Walker—are on the chain of responsibility for the murders of James Chaney, Andrew Goodman and Michael Schwerner. Here's part of what Susan posted:

.... Ninety miles away from Neshoba County in Jackson, Sovereignty Commission director Johnston was looking at a possible direct link between Andrew Goodman and "communists." The name "Goodman" had attracted Senator Eastland’s interest, since Goodman had family ties to Pacifica Broadcasting, a progressive, alternative-broadcasting network founded in 1949 by pacifists.

Goodman’s father, Robert, was President of the Pacifica Foundation. One year prior to Andrew Goodman’s death, The House Un-American Activities Committee (HUAC) and the Senate Internal Security Subcommittee (SISS), headed by Senator Eastland, completed a three-year investigation of Pacifica’s programming, looking for "subversion."

In 1962, Pacifica station WBAI was the first station to publicly broadcast former FBI agent Jack Levine's exposé of J. Edgar Hoover and the FBI. The program was followed by threats of arrests and bombings, as well as pressure from the FBI, the Justice Department, and the FCC. Also that year, Pacifica trained volunteers to travel into the South for coverage of the awakening Civil Rights Movement. The station also took a strong anti-Vietnam war stance, helping to prompt the investigations.

Sovereignty Commission documents in fact show that Eastland knew the names and backgrounds of all volunteer workers in advance of their arrival, including Goodman. Records show the senator requested this information from the Sovereignty Commission well before the opening of Freedom Summer.

On February 26, 1965, Director Johnston wrote a letter to newly elected Congressman Prentiss Walker, requesting that he "ask the HUAC for any information about the Pacifica Foundation of New York…. We have reason to believe this foundation also is subversive."

A good source on the murders of Chaney, Goodman and Schwerner is Susan's chapter on that story (scroll down past the web form), currently posted on her website.

Susan is now also keeping two new blogs: Civil Rights Books and Emmett Till. Civil Rights Books is intended as "a forum to share civil rights history in Mississippi." There is already quite a bit of interesting posted there. Susan's Emmett Till Blog promises to soon be a place to go to follow the developments in the new FBI investigation of Emmett Till's murder.


Photo by Peter Cunningham

Friday, May 06, 2005

When The President Talks To God

Bright Eyes on the Tonight Show, channeling Bob Dylan.

Watch it (Quicktime) or download the bittorrent file (via Downhill Battle).

Wednesday, December 15, 2004

For This Final Day of Hanukah

Hanuka Bell

Dinga lingle lingle, I ring your bell
Knocka knock knockie knock at your door
The week of Hanuka now is here
And you must be sad no more

I’ll help you clean and scrubbity scrub
I’ll dress you pretty and sweet, sweet, sweet,
I’ll dance you right out your door, door, door,
And you must be sad no more.

Here’s my old man that drives my old horse
Hitched up to my junky old cart
His clothes look older than you and me
But he talks with a song in his heart

Grandma tells tales of old Hanuka times
Us kids walk all back to those years
She waves both her hands and a fire lights her eye
And she never looks sad anymore.

Hanuka time is the time for us all
To tell things that troubled our minds
To untie old knots of bad feelings we’ve had
And try not to look sad anymore

It’s dinga lingle lingle, I dingle your bell
Yes, I knocka knock knock at your door
Eight days of sweet Hanuka make me feel like new
So I don’t look so sad anymore

Words by Woody Guthrie, Music by Paul Morrissett
TRO © 2003 by Ludlow Music, Inc.

Recorded on The Klezmatics, Woody Guthrie's Happy Joyous Hanuka .

Thursday, October 28, 2004

Georgia On My Mind

I was going to blog about Greg Palast's new revelations and about the latest development in Duvall county (via Body and Soul), and about a few other things (Kevin Drum via Vote Watch 2004), but when I was driving to work earlier this evening, I heard this story on NPR [realplayer], and it made me sick to my stomach for two hours. There's no text version to link to, but the summary blurb reads:

Three white residents in rural Georgia have challenged most Hispanic voter registrations in their precinct, charging they are fraudulent. Most of those challenged have already proven their legal status as voters, but one wants a public hearing.
The only original news coverage in print is at WALB News, Albany, Georgia.
Ninety-eight letters were sent by the Board of Registrars to Hispanics registered to vote in Atkinson County. A version in both English and Spanish informs them of a challenge to their right to vote based on the fact that registered voters must be legal U.S. citizens.
Frank Sutton, WALB, Albany, GeorgiaYou have to listen to Pam Fessler's NPR piece to understand that that's ninety-eight Hispanics out of the county's 123. The Hispanic voter who wants a public hearing is Antonio Hernandez, who was born in Texas thirty years ago and has lived in Georgia for the last twenty. According to Frank Sutton (in the WALB story), one of the three who initiated the challenge to almost every Atkinson County hispanic voter,
We discovered quite accidentally that we had a lot of non-citizens registered to vote in Atkinson County.
Pam Fessler reports that Sutton came into the office of the Election Superintendent and asked for the names of every Hispanic voter in the county. The Superintendent also explains that under Georgia law, any registered voter can challenge the legitimacy of any other voter if he or she believes there is a reason. These challenge rules were instituted in Georgia and in other states for the specific purpose of keeping Black voters from the polls. And what was Sutton's "reason" for challenging the registrations of as many Hispanic voters as he could? Here's Sutton, verbatim from Fessler's report:
We're contesting these because of a deep belief on my part that citizens of the United States are the ones that people have died for to give us the right to vote. That's the reason that we're contestin' these people that we feel the vast majority of 'em are not citizens of the United States.
That's right, Frank Sutton is contesting the right of US citizens to vote wholly on the basis of their ethnicity—a practice of selection also known as racial profiling. This white, southern man, who appears old enough to have fully enjoyed the benefits of segregation, uses racial profiling and Jim Crow tactics to keep Hispanics from vo