The Spirit of ’45

I was a child of the Welfare State.

Born in the early years after the end of World War II, I was aware that the dominant mood was relief that it was over, sadness at those lost and most importantly a forward looking attitude to improve things and not simply to get back to what life had been like before. The traces of the conflict were all around me in once blitzed Birmingham – in the barren, levelled  ‘wastelands’ where streets had once stood, in the austerity, and the monotonous and monochrome drabness of couture and cuisine. To my boyish mind, “the war” was a shared community experience, a shadow which few, I now recall, talked about; but also, the stuff of puerile fantasies fostered by comic books, Airfix models, and patriotic movies that were literally and figuratively black and white.

Life was not all roses in those immediate post-war years, but better by far than what went before. Rationing was still in place when I was born in Birmingham in 1949, not ending until 1954. Young men still had to do their national service (the last call up was in 1960, the year I started Secondary school). We lived with our aunt in a cold-water, back-alley walk-up on the border of Balsall Heath (just inside Moseley, a ‘better’ suburb). Aunty Mary was my mother’s mother’s sister. When her sister died and daddy Paddy ran off with another women, Mary brought the six children over to Birmingham from Enniscorthy, County Wexford one by one. She had come to Birmingham from Ireland before the war, after her husband had run off (these things happened in Catholic Ireland). And she lived in that same old house right through the Blitz when German bombers regularly targeted The Second City’s engineering, motor and arms factories, and not a few public buildings including the Piccadilly and Waldorf cinemas on nearby Stratford Road.

I was born in her house. She had a friend who had once given birth, so that friend was the midwife. My brothers followed over the next two years. By then, National Health Service had kicked in, so they were born in hospital. Childbirth, forever dangerous, was now rendered less life threatening. There we all lived, three kids, our folks, three uncles, two aunts, a dog and a cat. Three bedrooms, girls in one, boys in another, and our family in the third. Outside loo and coal shed, no bathroom or hot water (we kids bathed in the kitchen sink and grown- ups went down to The Baths), Cold and damp, and close to the shops. And there we lived until, in 1956 when a council house in Yardley Wood became our first family home. Cold and colder running water that froze in winter, but it was at least inside the house;  bathroom with hot water boiled in a big gas boiler; and an outside flush lavatory that was nevertheless immediately adjacent to the backdoor and not down the garden. A big garden too, for winter and spring vegetables, and summer camp-outs.

There we grew, with free medical treatment for all our ailments, and free optical and dental care. I still have crooked teeth – no fancy orthodontics on the NHS – but I have all my teeth still. And my eyesight. We were educated, for free. This came in during the war with the Butler Act. So, thanks to the Welfare State, we were housed and healthy enough to get to primary school and beyond. Once there, we had free books, free pens and paper, and compulsory sport, and doctors and nurses would turn up on a regular basis to check our vitals. And thus, we were able to reach the glorious ‘sixties ready to rock ‘n roll.

Which brings me by a circuitous route to British director Ken Loach’s 2013 documentary, The Spirit of ’45,  a celebration of the radical changes that took place under the Labour government of Clement Attlee which came to power in 1945.

What a year that was! No sooner had the war ended, than the British electorate voted out its esteemed and beloved war leader, Winston Churchill, and bought Labour’s promise of a democratic socialism. Drawing on archive footage, and presented in black and white with contemporary interviews with dockers and miners, doctors and nurses, politicians and economists, Loach describes the nationalisation of the public services, and their subsequent privatisation three decades later. His interviewees provide poignant anecdotes about the poverty of the 1930s, dangerous and exploitative working conditions, poor housing, and abysmal health care, and the renewed sense of purpose and optimism after the end of the war and Labour’s landslide victory. He recounts the subsequent expansion of the welfare state, with its free to all medical service, and the nationalization of significant parts of the British economy, most notably, electricity, the railways, and the mines.

The Attlee government was elected due to a general belief that nothing would or could be as it had been before. Britain had pulled together to win the war; now, it would transform the peace. This was The ‘Spirit’ of ’45.

But whilst ‘spirit’ can imply  ‘esprit’ and elation, it can also mean ‘ghost’ insofar as Loach rages against the death of all that hope, optimism, and vision in the decades that followed.. It is a call to arms for a return to the public unity of those heady post-war years and against the policies of subsequent governments, and most particularly those of Margaret Thatcher, that have progressively demolished the Britain that Clement Attlee and Aneurin Bevan strove to build. And it is a reminder that the NHS is worth fighting for at a time when it is being progressively dismantled. With stills of modern soup kitchens and the Occupy movement camped outside St Paul’s, Loach clearly believes that Occupy inherits that spirit of ’45.

Viewing The Spirit of ’45 was exhilarating. It was full of Wow! moments. The footage of the poverty of the depression years, the slum dwellings, urchin children playing on the streets or on the slag heaps, the unemployment queues, the scavenging for coal, the Jarrow March. Diseases now preventable or eradicated, then mortal. Five in a bed, and two of them dead. Malnutrition and rickets. Bread and dripping sandwiches? You needed beef for dripping. Fat chance. It was bread and jam, thank you (and grateful for it, one was tempted to respond – there were indeed some Monty Python moments there, particularly the one-down-manship sketch “when I was a lad, we were so poor…”

Relying so heavily on memories and reminiscences, the film is nostalgic, sentimental, and simplistic even, with little in-depth analysis. A tick-a-box of the many innovations that greeted the arrival of the baby boomers. Presented in such a clear and uncluttered fashion, it was quite stirring. That is Ken Loach for you. What you see is what you get: a one-sided history lesson.

The film leaps from the Attlee government straight into the darkest days of the Thatcher government, with no discussion of the political, economic and social changes and challenges in between. The road from Clement to Maggie was an eventful and for many, a traumatic one. The Counter Revolution took decades to establish itself. The great experiment of 1945 contained the seeds of its own destruction.

Loach’s focus on the years of nationalization and privatization makes narrative and dramatic sense.

But the years in between were dramatic also. Read Dominic Sandbrook’s great quartet. The titles say it all: Never Had It So Good: A History of Britain from Suez to the Beatles; White Heat: A History of Britain in the Swinging Sixties; State of Emergency; The Way We Were: Britain 1970–1974; and Seasons in the Sun: The Battle for Britain, 1974-1979. These were best of times, these were the worst of times, as the Great Man might have said. And the worst was to come, when Britain apparently went down the gurgler, and Thatcher had to break it to fix it. And like Dr Frank’s monster, it did not quite come back together right.

The Spirit of ’45 received favourable reviews (one follows), most writers qualifying their praise with Loach’s unapologetic partisanship – he is Ken Loach, after all, and you either dig him or you don’t. My favourite film is his 1995 Spanish Civil War drama, Land and Freedom. And you most certainly don’t get a balanced view of that conflict from this. As with The Spirit of ’45, you just sit back and go for a revolutionary ride.

See also othet memories in In That Howling Infinite:

Dave Calhoun, Time Out, 11th Feb 2013

Ken Loach rarely makes documentaries, and when he does, they’re usually about an urgent topical issue, such as the 1980s miners’ strike (‘Which Side Are You On?’) or the 1990s Liverpool Dockers’ strike (‘The Flickering Flame’). On the surface, ‘The Spirit of ’45’ takes a longer view than those films. This rousing and saddening film reminds us of the air of progress and reconstruction that took hold in British politics immediately after World War II. It takes us right back to the founding of the welfare state and, with it, the nationalization of the health service, transport, energy, housing and other areas of public life, as initiated by Clement Attlee’s 1945-1951 Labour government. The faces we see at the beginning of the film of young Britons celebrating in the fountains at Trafalgar Square in May 1945 symbolize the hope of a nation: that things can only get better after six years of war.

But Loach, the director of ‘Kes’ and ‘Looking for Eric’, is equally concerned with the spirit of modern Britain. For him, the socialism of our past – of Attlee and his comrades Nye Bevan, Herbert Morrison and others – could teach the present a thing or two. And so the second part of ‘The Spirit of ’45’ ponders an altogether different mood than that in the 1940s: Thatcherism and the more recent failure of organised labour to live up to its founding principles. If ‘The Spirit of ’45’ might provoke David Cameron to raise his eyes skywards, it might also have Ed Miliband cowering behind an unwritten manifesto. Loach’s quiet, unforced position is that the left is equally guilty of abandoning the promise and passion of the post-war years.

Yet, as political essays go, this is a tender, soft and humane film. It’s a compelling mix of interviews, old and new, with archive footage, much of it from old newsreels and public information films. There’s no voice-over, just faces and voices – the voices of ageing nurses, doctors, miners, union officials and others, alongside a handful of economists and historians. Some of Loach’s arresting interviewees, like Sam Watts from Liverpool and the former Welsh miner Ray Davies, recall what poverty looked like in the 1930s, reminding us why the welfare state was necessary in the first place. Others, like a trio of nurses from Manchester and the Welsh GP Dr Julian Tudor Hart, remember the excitement and the work of the early NHS. In fact, the NHS emerges as one of the film’s chief concerns: it’s both the great survivor of the welfare state and the institution of that age currently facing the biggest threat from political decisions.

Ninety-odd minutes is not enough for this subject. There are inevitable omissions (no education, for example), and Loach makes a slightly jarring leap from a chronology of nationalization that speeds through the 1950s and ’60s to the 1979 election of Thatcher. But always apparent is his clear thesis and the infectious commitment and fervour of his interviewees. The film works all at once as a lament, a celebration and a wake-up call to modern politicians and voters.

 

Blind Willie McTell – Bob Dylan’s Americana

Bob Dylan’s song, named for blues singer Blind Willie McTell, was recorded in May 1983 for the Infidels album but was not released until 1991’s The Bootleg Series Volumes 1–3. The melody is loosely based on St. James Infirmary Blues. Bob plays piano and Dire Straits’ front man and songwriter Mark Knopfler, twelve-string guitar. Although inexplicably excluded from Infidels, the song is now recognized as one of Dylan’s best.

He said of his song: “I started playing it live because I heard the Band doing it. Most likely it was a demo, probably showing the musicians how it should go. It was never developed fully, I never got around to completing it. There wouldn’t have been any other reason for leaving it off the record. It’s like taking a painting by Monet or Picasso – goin’ to his house and lookin’ at a half-finished painting and grabbing it and selling it to people who are ‘Picasso fans”.

Howe continues: “McTell himself had been recorded by musicologist John Lomax who, apart from teaching himself ancient Greek and Latin, realised before anyone else the invaluable contribution to American music that had been made by black American cowboys. He and his sons John Jnr and Alan spent their lives recording the music that was already fading from American life and whose practitioners were dead, in jail or otherwise silenced. McTell’s thin volume of music – he died in 1959 – is a jaunty mix of blues and country and perhaps with hints of Scott Joplin. One of his songs to survive – with that distinctive clear, penetrating vocal – is Statesboro Blues which has been recorded by Taj Mahal, David Bromberg and was famously part of most Allman Brothers’ sets. ­English folkie Ralph May recorded it before changing his surname to McTell”.

Dylan’s song traces lines in American history from slavery, chain gangs, hostile Confederate “rebel yells” to the Civil War and the burning of rundown plantations after it when the cheap labour that sustained them dried up.

For Dylan, “God is in His heaven” but man proved himself untrustworthy in the Garden of Eden through “power and greed and corruptible seed”. Knopfler too was struck by this composition’s undecorated beauty. “I love that song,” he said. Indeed, they had been discussing influences with Dylan “who was big into Robert Johnson, and I said ‘do you listen to Blind Willie McTell?’. It could be that I put Blind Willie McTell into Bob’s head”.

Indeed it could. It’s not a song about McTell (pictured left), it is just a device to link the verses together, and unlike Johnson, McTell rhymes with lots of words. Dylan clearly thought he had never nailed the song he heard in his head. There are three versions of it about, the one with Knopfler that came out on the Official Bootleg Series, another with the Rolling Stones’ Mick Taylor on slide, and a third yet-to-surface version, of which Knopfler said: “I did (it) with electric guitar and piano. I don’t know what happened to that, which was really spaced out.”

On May 5, 1983, Dylan and Knopfler recorded it a final time, a hauntingly spare rendition. Still Dylan was unhappy. He never returned to that song. It sounds like another manufactured myth of Dylanology to point out that it would have been Blind Willie’s 80th birthday.

Whatever the untold story, Bob Dylan captures its essence in the following quote from Greil Marcus’ masterful telling of the story behind Dylan’s memorable collaboration with The Band in the sessions that became The Basement Tapes, The Invisible Republic: “I have to think of all this as traditional music. Traditional music is based on hexagrams. It comes about from legends, Bibles, plagues, and it revolves around vegetables and death”

http://en.m.wikipedia.org/wiki/Invisible_Republic

Blind Willie McTell is Dylan’s historical equivalent of his A Hard Rains Gonna Fall, a graphic compendium of images, not of an impending apocalypse this time, but of scenes from America’s harrowing history. More specifically, it is history of The South, a South that you don’t see in Gone With The Wind.

In 1936, Margaret Mitchell wrote: “There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind”.

There is no such romantic reverie in Dylan’s song. It is a journey to through America’s heart of darkness. As Leonard Cohen wrote in Democracy, America is “the cradle of the best and the worst”. And Dylan dwells on the latter.

As with all Dylan songs, commentators and aficionados have pondered the breadth and the depth of the lyrics. I reprint some of their thoughts below, if you have the time and the curiosity. But first, here the lyrics, followed by some of my own thoughts.

Seen the arrow on the doorpost
Saying, “This land is condemned
All the way from New Orleans
To Jerusalem”
I traveled through East Texas
Where many martyrs fell
And I know no one can sing the blues
Like Blind Willie McTell

Well, I heard that hoot owl singing
As they were taking down the tents
The stars above the barren trees
Were his only audience
Them charcoal gypsy maidens
Can strut their feathers well
But nobody can sing the blues
Like Blind Willie McTell

See them big plantations burning
Hear the cracking of the whips
Smell that sweet magnolia blooming
See the ghosts of slavery ships
I can hear them tribes a-moaning
Hear that undertaker’s bell
Nobody can sing the blues
Like Blind Willie McTell

There’s a woman by the river
With some fine young handsome man
He’s dressed up like a squire
Bootlegged whiskey in his hand
There’s a chain gang on the highway
I can hear them rebels yell
And I know no one can sing the blues
Like Blind Willie McTell

Well, God is in His heaven
And we all want what’s His
But power and greed and corruptible seed
Seem to be all that there is
I’m gazing out the window
Of the St. James Hotel
And I know no one can sing the blues
Like Blind Willie McTell

Copyright © 1983 by Special Rider Music

When I first listened to the song, I misheard the very first words. It was my fancy that the song opened with an arrow thumping into a door post – an archetypical image from many Westerns, movies that Dylan has often referenced – a signal that bad things are about to happen. I imagined a message attached to the arrow, another movie trope, a message of prophetic warning. Mankind has been weighed and found wanting. My good friend Malcolm Harrison corrected my initial perception. The arrow is ON the doorway, not IN it, he said, pointing eastwards. More likely, the arrow echoes the blood of lambs daubed on the Israelites’ doors protecting them as the Angel of Death passed over, forcing Pharoah to let the enslaved Chosen People go. As was Egypt condemned, so is America. The whole world, even, from New Orleans,  music Mecca at the end of the Mississippi, the River of Song flowing through the heartland of The Blues from Nashville and Memphis in Tennessee, to the Gulf of Mexico. To fabled Jerusalem, a city of the mind and heart as much as of this earth.

The narrator travels through East Texas, literally the borderland where the South ends and the West begins. It was also The Frontier, where the West was won. The fallen martyrs could be any the souls who perished here. Soldiers and settlers, Indians and slaves, the nameless dead of the wars with Mexico, the American Civil War, and the Indian Wars, the dead of the expansion westward and of the indigenous resistance to it, or casualties of Reconstruction, the Ku Klux Klan, the Dust Bowl, and the Great Depression.

He then takes us out beyond City Limits to the to the realm of Midnight Ramblers and Hoochy Coochie Men, fast guns and fast women, traveling circuses and honky-tonks, itinerant preachers and gospel tents. This was another ‘frontier’, a no-man’s-land where the laws of man and morality did not run.

And then, to the dark side of Dixie. Slavery was America’s Original Sin, a stain running through its technicolor grain. Carried to captivity from Africa; taken aboard ship to the New World, and placed in bondage. Four hundred years of slavery end ending in civil war and a wasteland. And yet there was still another hundred years of toiling towards true freedom. As Martin Luther King said, “Lord, we ain’t what we want to be; we ain’t what we ought to be; we ain’t what were gonna be, but thank God, we ain’t where we was”.

The Civil War and its aftermath. Crime and punishment. Sin and corruption. Trial and retribution. There are the winners with their fine clothes and bad habits, and the losers who end up working on the chain gang, another archetypical American image. And finally, that rebel yell echoing down the years. It used to be said that the South would rise again. It did, and indeed, some reckon, the South finally won the war.

The song ends where is started with the accusing prophecy. The road to heaven’s gate is a rocky one indeed. The back story is the decline and fall of civilizations, viewed through the fall of Man and the expulsion from The Garden. Race and slavery, sin and corruption, crime and punishment, trial and retribution, and the condemnation of all. Does the narrator sit in the famous hotel, watching the world pass by, or has he been imagining the passing parade he has described in the song? Is he a mere observer or is he a seer?

Paul Hemphill © 2015

The Band did a great cover of Blind Willie  McTell on their 1993 Jericho album.

 The Darker Meanings In A Bob Dylan Masterpiece

Sean Wilentz, The Beast, 09.05.2010

The Power Station studio is hushed; there is a barely audible footfall, then Dylan strikes a single piano key. It is a quiet but stark call to musical order. Mark Knopfler softly, exquisitely picks an acoustic guitar in the background, then joins in; Bob Dylan hits a quick pair of somber E- flat minor chords, sketches two measures of melody, and begins to sing, wearily: “Seen the arrow on the door po-ost, sayin’ this land is condemned.” Twenty years after A Hard Rains A-Gonna Fall, he has written another of his many songs that traverse appalling sights and sounds. Almost right away, it is obvious that the melody of Blind Willie McTell comes from St. James Infirmary– the same melody that dominates Blind Willie McTell’s own The Dyin Crapshooters Blues—with possibly just a touch of Frédéric Chopins Marche Funèbre.

Recording the song has been giving Dylan difficulty. Three complete takes from the first day of work on the album, with his entire ensemble, don’t work, and neither do two complete takes from the seventh Infidels session. Now, after a grueling three weeks of recording sessions, working six days a week, Dylan returns to Blind Willie McTell and attempts to rediscover it at the piano, much as he attempted in 1966 after he lost “She’s Your Lover Now.” With Knopfler playing beside him, his foot quietly tapping out the time, Dylan runs through the entire song, slowly, but fails to reconnect: whatever he had once heard in his head is gone. Infidels would appear later in the year without Blind Willie McTell and the recording of Dylan and Knopfler’s studio run-through would circulate as a demo tape for possible use by other performers, until it finally appeared in 1991 on an official three-CD retrospective of rare Dylan performances and outtakes. Only then did listeners learn that Dylan had recorded a masterpiece.

Dylan’s revision of the second line describes a yearning for life everlasting—but also humankind’s blasphemous disregard for the separation of heaven and earth.

The arrow on the doorpost that the singer sees when the song begins is a sign. It might protect the home inside, much as doorway signs of lamb’s blood protected the enslaved Israelites in the Passover story. It might mark the household as righteous and observant, like the Jewish mezuzah, affixed to the doorposts of the pious in accord with the holy injunctions in Deuteronomy. But it certainly signifies that the land as a whole is condemned. Which land? “All the way from New Or- leeans to Je- ru- sa- lem,” Dylan sings. The land where blacks were enslaved; the land where the Israelites ruled only to be cast out and oppressed, and where Herod, in trying to kill the Christ child, massacred the innocents: these lands and all the lands between them, the whole world over, are damned.

The singer suddenly tells of traveling through East Texas, home to Blind Lemon Jefferson, though not to McTel, “where many martyrs fell.” The martyrs could be, as the word normally connotes, holy victims, or they could be broken slaves and lynched freedmen, or even Confederate and Union soldiers, or soldiers from the war against Mexico, or the fallen fighters at the Alamo. Or they might include John F. Kennedy. Or they could be all of these. And what does the singer know from these sights and travels? That “no one can sing the blues like Blind Willie McTell.”

The next verse thrusts us into Willie McTell’s world. The singer recalls hearing a hoot owl singing late at night, after some sort of show had ended and the tents were being struck and folded. (They could be revival show tents or medicine show circus tents; McTell had connections to both.) Yet even though the singer heard the owl, a symbol of wisdom and victory in ancient Greece, although in other cultures a symbol of bad luck and evil – nobody else did; the owl’s only audience was the stars above the barren trees. By contrast, one can only imagine that an enthusiastic crowd cheered the charcoal gypsy maidens, strutting their feathers, whom the singer recalls next. It seems that the tent show was a lusty one, with swaggering black chorus girls who might have stepped out of “The Dyin’ Crapshooter’s Blues”—although Dylan himself had performed with his own soulful black maidens, who were also, at various times, his lovers. In the American South, the lines between one kind of show and the other – Holy Rollers and hoochie-coochie- had always been blurry; indeed, one sometimes followed the other on the same night. But no matter because, finally, Dylan sings, “ No-bu-dee can sing the blues like Blind Willie McTell.”

Now sunk in deepest Dixie, the song moves backward in time, not forward through space, and the singer doesn’t just relate what he finds, but calmly bids us to look for ourselves:  See them big plantations burnin’, Hear the cracking of the whips,Smell that sweet magnolia bloomin’, See the ghosts- uuuuuuuuuvv slavery ships.

From the Civil War and slavery’s Armageddon back to slavery times, cruelty cracked while lush beauty bloomed, and in back of it all stood the shades of the deathly Middle Passage. Suddenly, though, time has slipped again: these are ghosts, not the ships or slaves themselves, and the singer tells of how he can still “hear them tribes a- moanin’” and hear the undertaker’s bell ringing. The moaning tribes are the tribes of Africans being sold into slavery, but they could also be the moaning Africans of today, or the ancient enslaved tribes of Israel, or any suffering tribe you choose, at any time you choose. And though the undertaker’s bell tolled all over the slave South, that bell has tolled forever, and it tolls for everyone. And still – still – the singer repeats, “Nobody can sing the blues like Blind Willie McTell.”

Now the song flashes on other southern scenes, and Dylan’s voice rises in revulsion. A woman, who seems to know exactly what’s up, is down by the riverside with a fine young man, dressed to the nines, who is carrying a bottle of bootleg whiskey (the song does not say whether they are black or white, because they could be either). Up on the highway, a convict chain-gang toils and sweats. The singer can hear rebel yells. And now he knows no one can sing the blues like Blind Willie McTell. An instrumental break sets off the singer’s tale of his journey from his final reflections. Atop Knopfler’s strums and liquid licks, Dylan plays a jumpy piano, banging out the chorus with doubled-up, backbeat chords.

Then he sings: “Well, God is in His heaven, And we all want what’s His.” As performed on the session tape, the lines echo the famous conclusion of the poet Robert Browning’s Pippas Song – “God’s in His heaven – All’s right with the world!”, by which Browning really meant that despite all of the evil and vicious injustice in the world, it is still possible to have faith in God. But as rendered in Dylan’s official book of lyrics, Well God is in heaven”. The lines echo the Bible and convey a darker message. “God is in heaven, and thou upon earth,” reads Ecclesiastes 5:2. Dylan’s revision of the second line describes a yearning for life everlasting- but also humankind’s blasphemous disregard for the separation of heaven and earth. Continuing in a biblical vein, the song explains that in this world, all is vanity, and “power and greed and corruptible seed seem to be all that there is.” And there is still another possibility, just as close to Dylan’s preoccupations and the historical themes of “Blind Willie McTell”: “But God is in Heaven, and Grant in the Town, And Right through might is Law, God’s way adore,” Herman Melville wrote in one of his poems in Battle Pieces, describing the fall of Richmond, the Confederate capital, and the conclusion of the Civil War. The singer has seen, heard, and smelled unspeakable things, in the past and in the present. He reports no redress and no redemption, even in Jesus Christ; the only sign he sees of the Lord’s true and righteous judgment is an arrow marking condemnation of a heedless world riddled with greed, corruption, and the lust for power. And with that the singer concludes, gazing out a hotel window, his voice rising again, as if to give himself and his listeners something to hold on to, proclaiming one last time the one thing that he really knows, that “ no one can sing the blu- oo-ues like Blind Will-ah-ee McTe-uhl.” All he has left is the song and its singer.

Dylan and Knopfler play two more verses of instrumental, slowing and swelling at the end, and the performance concludes with a softly ringing harmonic and quick single note from Knopfler’s guitar. There the studio life of “Blind Willie McTell” ended for Dylan. It was May 5, 1983—which, as best anyone can tell, but unknown to everyone at the Power Station, would have been Blind Willie McTell’s 80th birthday.

http://www.thedailybeast.com/articles/2010/09/05/new-book-about-bob-dylan.html

(Sean Wilentz is a history professor at Princeton University whose books include The Rise of American Democracy: Jefferson to Lincoln and The Age of Reagan: A History, 1974-2008 and Bob Dylan in America, Doubleday 2010)

Others have a different view. Tony Attwood wrote on November 12, 2008 on  bob-Dylan.org.uk

I suspect that for most of us, Blind Willie McTell was the name of a blues singer whose music we had never heard of. I suspect also that for most of us it is unimaginable that such a wonderful piece of music should not appear on a mainstream album from Bob Dylan.

There have been other instances of such oddness on Dylan’s part – the delay in releasing Mississippi, for example, and the issues surrounding Dignity. In the case of the former, the original version was a love song that Dylan didn’t want to reveal – and he had to wait until he had re-written it as a political commentary. In the latter case, the piece is flawed. It is a masterpiece, but it isn’t right (as the multiple attempts to play it in different ways show. In effect it is hard to find the right way to cope with the piece – but more on that when I move on to that song)

But Blind Willie McTell falls into neither category. It is not only a perfect song, with not a word out of place, the classic recording that we have is itself wonderful. The slightly out of time piano works. The guitars work. Why not release it?

The first insight I can offer is that the song has nothing to do with the music of Blind Willie McTell. My source, Atlanta Strut, is a fine collection, and I am told it is representative of Willie McTell’s work. But it raises the question – what is the connection between the songs of McTell’s and Dylan’s song. In fact, on the surface there isn’t a connection. He’s not singing at all about McTell – it is just a throw away line in the song, that no one can sing the blues like Blind Willie McTell. Where is the connection between the famous line about “power and greed and corruptible seed” and a song like “I got religion and I’m so glad”.

Musically, Dylan’s song is a true masterpiece – although in effect a borrowed masterpiece. Back to strophic form, as it has to be for a song about the blues, it never tires through verse after verse, because of the unusual chord structure.

So we are edged towards the references to Willie McTell being a reference to the whole issue of slavery, and the music of the slaves and their descendants. “There’s a chain gang on the highway”… the humiliation of the people continues generation to generation. But even here it doesn’t quite work – because if humiliation is the theme, then Blind Willie McTell isn’t the man to cite.

In the end, we get a clue as to where we are going, appropriately, at the end…

And that is the clue. St James Hotel was nothing to do with Willie McTell – except McTell did record the song St James Infirmary Blues (on which Dylan’s tune is based) under the title Dying Crapshooters Blues. The melody is a derivative, and I suspect Dylan wasn’t too happy with that fact, which probably explains why he didn’t put it on an album.

See more at: http://bob-dylan.org.uk/archives/14#sthash.XCt0392j.dpuf

Zach Grudberg wrote in https://waxtrash.wordpress.com/2012/05/25/the-song-remains-the-same-1-dylans-blind-willie-mctell/

Whatever the costume Dylan wishes to don – folk troubadour, confessional songwriter, country crooner, tough bluesman, Beatnik rock and roller – his music always carries with it a vital understanding of roots music. The best folk songs sound modern but they also sound like they could’ve been written a hundred years ago. And that is the crux of Dylan’s music; that essence which places it not in a time period or genre but into the larger continuum of the American music tradition.

If any song by Bob Dylan fully exemplifies the above, it’s Blind Willie McTell. It was recorded for but curiously left off of 1983’s Infidels, an album warmly received for its return to secular themes after Dylan’s much-reviled gospel period. Religious overtones still find their way into the subject matter however. The version I’ll be discussing in this article is actually a demo; a take that Dylan recorded with a full band has yet to be officially released. Since I don’t own a would-be illegal copy of it, the full-band version will remain untouched in this article. Dylan aficionados being the notorious bootleggers that they are, (I’m not kidding; they were actually the first fan base to circulate bootlegs on a widespread level starting in the 60’s) the song found its way onto unofficial tapes and quickly became of Dylan’s most popular compositions among his fans and colleagues. The man himself never performed it live until he heard a cover by the Band, but since then it has become a concert staple for the “Never Ending Tour.”

So what makes Blind Willie McTell such a powerful song that deserves to be heard outside the circle of Dylanologists arguing over who exactly is “Einstein disguised as Robin Hood?” It’s the very subject matter of the song itself; a damning of America’s troubled past and the redeeming music that emerges from those who have suffered the most. Dylan imbues the song with a sense of timelessness in two important ways. First, he adopts the melody from “St. James Infirmary Blues,” an American folk song about a man who finds his lover lying dead in a hospital as a result of their morally questionable actions. This already connects the song to the rest of Americana by doing what people have been doing for hundreds of years; taking old songs and changing them. (St. James Infirmary Blues is itself adapted from an an English folk song known as The Unfortunate Rake). As I’ll discuss later, it also ties into the larger theme of the song itself. The second thing Dylan does to make the song mythic in scope is weaving the narrator’s perspective in and out of different periods of American history. This conveys to the listener that the cycle of pain and seeking relief from that pain through music is not unique to any time; it is something universal to the American experience.

Although not an outright gospel tune, religious imagery plays a key part in the lyrics. It becomes a framing device that Dylan uses to chastise America’s various ills in a manner similar to the way the narrator of “St. James” laments the sins that’ve brought their lover to death.

The last couplet ends each and every verse, tying together scenes of Civil War (There’s a chain gang on the highway, I can hear them rebels yell), debauchery (There’s a woman by the river With some fine young handsome man/. He’s dressed up like a squire, Bootlegged whiskey in his hand”), slavery (See them big plantations burning, Hear the cracking of the whips) and death (Hear the undertaker’s bell). Dylan’s vocals grow louder and louder by the end of each refrain. At the collapse of the last verse he’s practically howling the words, giving one of his best vocal performances.  It is here where the song gets its name, but why is Blind Willie McTell mentioned at all? Again, Dylan is tying the song and the subject matter to Americana at large. The blues was developed in the Mississippi Delta, an expression of pain molded by the experiences of living in Jim Crow America. Blind Willie McTell is revered as one of the best of the original Delta blues singers (Dylan obviously thinks so) and thus the metaphor now becomes clear. Amidst the evils of America, it is in the music created by those affected that Dylan finds redemption. Even though he is blind, Willie McTell expresses the pain of living in America in a more beautiful and better way than most of those with sight. Another telling aspect are the last days of the blues singer’s life; after becoming a preacher, he never sang the blues again. But America is not yet at peace.

Religion enters the lyrics again during the last verse, and it is here that we find another link to St.James Infirmary Blues. St.James was a real place that opened as a hotel in New Orleans in 1859 and was later converted into a military hospital by Union troops during the Civil War. The lyric serves not only as a nod to “St. James” but also as a tie-in to the Civil War and the larger themes of death and the decay of America. Dylan’s last rendition of the refrain ends on a hopeful note, despite the apocalyptic overtones of the rest of the song. Even as the narrator is in bed dying at the St. James Hotel, he still manages to find meaning in Blind Willie McTell’s music. Whether the rest of us can find similar redemption in anything is the real question the song poses. It’s one that people have asked themselves throughout our nation’s history and is a vital part of what makes the song so haunting. Astounding for a piece of music that might’ve been thrown away forever, Blind Willie McTell is surely deserving of the accolades usually reserved for Bob Dylan’s more popular tunes.

You can find Blind Willie McTell on the Bootleg Series Volume 13 (Rare and Unreleased) 1961-1991, an officially released compilation of various Dylan bootlegs collected over the years. St. James Infirmary Blues has been covered by countless artists over the years, but the version that made the song famous was Louis Armstrong’s 1928 recording. The White Stripes (also big fans of Blind Willie McTell, to which their first record is dedicated) have also released their own take on this classic folk song.  Blind Willie McTell himself recorded around 70 songs over his lifetime and they are all available on various compilations. If you want to to dive right into the deep end, you get all three volumes of his Complete Recorded Works from Document Records.

St. James Infirmary Blues, Louis Armstrong:

Statesboro Blues, Blind Willie McTell:

Glynne Walley wrote in his blog on 28 February 1996, http://expectingrain.com/dok/songs/bwmctell.html

First of all, what’s the arrow on the doorpost?  I seem to remember hearing somewhere that stations on the Underground Railroad would paint arrows on their doorposts as secret identification to runaway slaves, but I’ve tried to confirm this in the local library with no success, so I could be completely imagining it.  It would fit in real nice with slavery references later.  Putting signs on doorposts obviously ties in with the blood of lambs on the Israelites’ doors (they were slaves, too) in Egypt, a land that, like the slaveholding South, was condemned.

Also, what’s significant about East Texas?  I think he’s comparing the South to the Holy Land, dead slaves being equated to religious martyrs, all of which leads to Blind Willie McTell–in the song he’s not only a blues singer par excellance, but maybe something of a prophet as well. Blues singer as prophet – the only one able to fully express the horror and despair of what man is doing to man. But why East Texas in particular? McTell was from Atlanta, wasn’t he, so it’s not a reference to his stomping grounds.

Tents. Circus? Maybe a revival meeting, maybe a minstrel show? Maybe both (didn’t one usually follow the other, after the kids went to bed?). But in either case the owl is the one who really has something to say, and nobody’s listening–even the trees, his audience, are barren and desolate. Parallel between the owl and a prophet no one listens to, and with McTell. The choice of McTell is significant here, I think, in part because he’s not one of the most famous of bluesmen. I mean, he’s well-known in blues circles, and now among Dylan fans, but your average American, who may have heard of John Lee Hooker, Robert Johnson, Muddy Waters, etc., chances are doesn’t know McTell.  I think Bob’s suggesting that not only is the bluesman a prophet, but he’s an unheeded one, like the owl.

The gypsy maidens. If the tents are from a minstrel show/juke joint type of scene, then these would be the dancers. “Strut their feathers well” is a wonderfully evocative image of sassy, erotic dancing, I take it, and maybe he also means that they were using feather boas like you see in old movies. And their dancing, too, in this context, is likely meant to express a certain desperation, a certain longing (lust being a hallowed component of even the most philosophical of blues), but even so, McTell expresses it better.

(The next verse) seems to kaleidoscope the whole history of American slavery into one series of vivid images. The plantations burning is the apocalyptic end of the institution of slavery in the Civil War. The cracking of the whips, though, contrasted to the sweet magnolia blooming, is the long period when slavery was practiced, to support the genteel society of the South. The slavery ships need no explanation, but the fact that they’re ghosts is significant:  not only does this underscore the deadly nature of the ships, but it brings the listener back to the present, when those ships are long gone, but their effects still remain on American society. Tribes moaning takes us back to the very beginnings of slavery on the continent, when slavers broke up tribes and families, exploiting tribal enmities and loyalties. The undertaker’s bell casts a note of deathly finality over the whole verse’s reflections on slavery, and he concludes by once again insisting that the only one with power to fully deliver the burden of what has gone on (burden in the Old Testament sense of a message of prophecy) is Blind Willie McTell.

(Then)”There’s a woman by the river…” I think this woman and this man are what Bob elaborated on in Man in the Long Black Coat. The woman is by the river – a multifaceted image, as others have pointed out, in this case, I suspect it means mobility and escape. Could have just as easily been a road. The fine young handsome man is the Man in the Long Black Coat – alluring, groomed and handsome, but somehow sinister – the bootleg whiskey.  What’s she doing with him?  He’s alluring and sinister, ’nuff said. While they’re trying to escape the desperation of their lives, the world is still going to hell around them – the chain gang (slaves? prisoners? some kind of image of bondage) is at work on the highway, and the rebels (asserting their freedom, in direct contrast to the chain gang) are trying to split up the country. The rebel yell, too, is an echo of the blues song – a direct vocal expression of desperation, defiance, strong emotion. Inspiring, but scary if you’re a slave, in chains – where in the distance are the rebels, are they coming this way, and what have they got on their minds?

“Well God is in His heaven”…The conclusion of the whole matter, like it says in Ecclesiastes.  We all want Heaven – but all we can seem to find is power, greed, and a wicked mankind.  These relate to God – God has power, although it’s not the same as man’s political power to exploit; God has riches, although they’re spiritual and not the material ones that inspire greed; and God created man, that seed which, we find, is all too corruptible. ie. everybody talks about God, but their actions are just a parody of His nature. Case in point being all those ministers in the South who for hundreds of years maintained that God and the Bible justified the slave economy.

The St..James hotel? I’m sure the reference is also to James in the New Testament, but I confess I don’t get exactly what he means. This image brings us neatly back to the present, though, where the singer is contemplating all this evil and desperation, and realizes with a surety that no one at all can do it justice except Blind Willie McTell, prophet and bluesman. Oracles in Greece were supposed to be blind, weren’t they?

The intricate layers of irony in this song have been pointed out elsewhere, but it doesn’t hurt to repeat them in this context. Throughout, the singer is protesting that only McTell can really sing the blues.  But the singer is singing.  Dylan is singing.  In one of his best songs ever he’s protesting his inability to get it right (and then very coyly not releasing the song, protesting he never got it quite right).  And even in the lyrics, he strictly confines himself to description, instead of the kind of open statements the blues excel in, as if to say, I can tell you what I see, but I can’t interpret it completely for you. Of course, telling us exactly is poetically the greater accomplishment, because it enables us to make the judgement.

Pity The Nation … Lebanon’s war of all against all

The Lebanese Civil War broke loose forty years ago this month. A cold war fuelled, by aggregating hostility between the Palestinian refugee community, a militarized state within a state, and their reluctant Lebanese hosts, became hot with deadly clashes between Palestinian and Maronite militias. Sects, clans, families, and the political parties and militias that gathered about them, went for their guns, the hounds of hell were loosed, and the massacres began.

In a Levantine echo of the Thirty Years War that raged through Western Europe from 1618, cities were destroyed and the countryside ravaged as armies, militias and gangsters fought over the fallen body of a divided and devastated land. Muslims fought Christians, Sunni fought Shi’a, Maronites fought Orthodox, Druze fought Muslims and Christians, Syrians fought Lebanese and Palestinians, communists fought nationalists, and Palestinians, at one time or other, fought everyone, including other Palestinians. And all changed partners and enemies in a bloody danse macabre that was at once mediaeval and mid-20th Century in its savagery.

This Hobbesian “war of all against all” drew in outsiders. Syrians, who during the course of their intervention, changed allies and adversaries as their political and strategic aims and interests mutated, and ruled the country until, implicated in the assassination of popular former prime Minister Rafik Hariri in 2005, beat an undignified retreat (whilst never quite relinquishing the levers of power). Israelis, threatened by guerrilla attacks in the Fatah land of southern Lebanon, ostensibly invaded Lebanon to destroy the Palestinian military machine, and as the midwife in the birth of the Shi’a Hezbollah, waded with eyes wide shut into a quagmire that many have viewed as their Vietnam. Americans and French, who intervened with the aim of separating the warring sides and pushing them towards a ceasefire, departed in the aftershock of Hezbollah bombs that killed hundreds of their servicemen. And United Nations Blue Berets who serve and die still in the hostile borderlands.

The war raged for the next fifteen years, staggering to an end in 1990 after claiming over 150,000 lives and destroying the lives of tens of thousands of others, including over 100,000 permanently handicapped. Nearly a million souls fled their homes, and some 76, 000 remain displaced to this day, now forgotten in the midst of the new and greater Syrian diaspora, whilst tens of thousands emigrated permanently. There are still some 17,000 “disappeared” who may be either still in Syrian or Lebanese jails, or more likely, in one of hundreds of unmarked graves scattered across this tiny country.

There are no memorials, no cenotaphs, no national commission to trace the missing, and no Madiba to gather and reconcile the sundered tribes. Just memories of what those who endured call “the events”, and for some, a selective amnesia. A harrowing half-life endures, sleeping embers constantly being fanned to life by the ill winds that blow across the porous frontier with Syria and the iron curtain that separates Hezbollah from Israel. It said that old wars beget future wars. And in no land can this be more of a self-fulfilling prophecy if the Gods Of War have their way.

As well they might as the legacy lives on in the rise and rise of Hezbollah, a non-state that is stronger than the state. In the use of car bombs, suicide bombers, foreign hostages, and human shields as canny weapons in what we now call asymmetrical urban warfare. In the destruction of the Palestinians’ once formidable military muscle, now quarantined in the Gaza ghetto and the impotent Palestinian Authority. In remembrance of the massacres of Sabra and Shatilla that still haunt Israeli and Palestinian dreams, when Yasser Arafat decamped for Libya with his army and left his people at the mercy of the Phalange militia. The Palestinians are still in Lebanon, still yearning for their terra irredenta in the south.

And in Lebanon redux, some say the old hatreds linger still and could rekindle the fires of war. Others hope that a younger generation do not take the road to perdition travelled by their elders. Armed young men in Sunni Tripoli and in Beirut’s Shi’a suburbs, and fighting in Syria may disagree. Calmer countries chart their fortunes with the rise and fall of their financial indices, whilst Lebanese can check the political weather by watching the market price of hand-guns and Kalashnikovs. They may have buried the hatchets, but many know where they are buried.

The roots and fruits of the Lebanese civil war are myriad and complex. The redoubtable journalist Robert Fisk unravels them best in his tombstone of book, Pity The Nation. Read it and weep. For it is a bloody saga of trial and treachery, of enmity and endurance, of courage and cravenness, but most of all, of infinite sadness. And none more so than when he writes of a Lebanese doctor, Amal Shamaa: “I had to take the babies and put them in buckets of water to put out the flames. When I took them out half an hour after, they were still burning. Even in the mortuary, they smouldered for hours”. “Next morning”, Fisk continues, “Amal Shamaa took the tiny corpses out of the mortuary for burial. To her horror, they again burst into flames”. Such is the effect of phosphorous shells on mortal flesh.

The title of Fisk’s book is that of a poem written in 1931 by Khalil Gibran, Lebanon’s most celebrated poet, a poem that was both a prophetic testament and a testimony of times to come: “Pity the nation divided into fragments, each fragment deeming itself a nation”.

Pity the nation that is full of beliefs and empty of religion.
Pity the nation that wears a cloth it does not weave
and eats a bread it does not harvest.

Pity the nation that acclaims the bully as hero,
and that deems the glittering conqueror bountiful.

Pity a nation that despises a passion in its dream,
yet submits in its awakening.

Pity the nation that raises not its voice
save when it walks in a funeral,
boasts not except among its ruins,
and will rebel not save when its neck is laid
between the sword and the block.

Pity the nation whose statesman is a fox,
whose philosopher is a juggler,
and whose art is the art of patching and mimicking

Pity the nation that welcomes its new ruler with trumpeting,
and farewells him with hooting,
only to welcome another with trumpeting again.

Pity the nation whose sages are dumb with years
and whose strongmen are yet in the cradle.

Pity the nation divided into fragments,
each fragment deeming itself a nation.

Kahlil Gibran, The Garden of The Prophet (1933)

ارحم على الامة
ارحم على الأمة المليئة بالمعتقدات والخالية من الدين.
ارحم على الأمة التي تلبس ثوبا لا يحاك.
وتأكل خبزا لا تحصد.
أشفق على الأمة التي تعتبر المتنمر بطلاً ،
ويعتبر منتصرها رائعا.
ارحم أمة تحتقر الشغف في أحلامها
لكنه يخضع لها عندما تستيقظ.
ارحم على الأمة التي لا ترفع صوتها
إلا عندما تمشي في جنازة ،
وتفتخر فقط بين أطلالها ،
ولن تنقذ نفسها عندما توضع رقبتها
بين السيف والكتلة.
ارحم على الأمة التي فيها رجل الدولة وهو ثعلب ،
والفيلسوف مشعوذ
فنه من الترقيع والتقليد
ارحم على الأمة التي تستقبل حاكمها الجديد بصوت عالٍ ،
ويقول وداعا له بسخرية ،
فقط للترحيب بآخر من خلال الاحتفال الصاخب مرة أخرى
ارحم على أمة حكماؤها أغبياء السنين ،
وأولئك الذين لا يزال رجالهم الأقوياء في المهد.
ارحموا الأمة منقسمة ،
وكل قطعة تعتبر نفسها أمة.

خليل جبران

Muslim gunmen clash with right-wing Phalange militiamen outside the Phoenicia Intercontinental hotel in Beirut, December, 1975.

© Paul Hemphill 2015. All rights reserved.

http://dailystar.com.lb/News/Lebanon-News/2014/Apr-12/253085-decades-on-lebanon-still-struggles-to-heal-war-wounds.ashx
http://en.m.wikipedia.org/wiki/Pity_the_Nation

The Watchers Of The Water

A song about Gallipoli, sung by a Turkish soldier

Once upon a war…

Monday 25th April is Australia and New Zealand’s national day of remembrance for all Anzac solders killed and wounded in their nation’s wars, and to honour servicemen and women past and present. At first, the Anzacs fought in the British Empire’s Wars, beginning with the Boer War, and then through two World Wars. From the mid -twentieth century, they have fought and died in what could ostensibly be called America’s wars even though these were waged under UN, EU or western alliance auspices: Korea, Gulf Wars II and III, Afghanistan, and the current interventions in Syria and Iraq. Incidentally, Australian veterans commanded mercenary forces hired by Saudi Arabia and the United Arab Emirates that laid waste to towns and villages in Yemen during its recent civil way – with the help of American and British weaponry.

At the heart of the Anzac Day remembrance is the Australian and New Zealand Army Corps’ role the Dardanelles campaign of 1915-16, Winston Churchill’s grandiose and ill-conceived plan to take the Ottoman Empire out of the war by seizing the strategic strait between the Black Sea and the Mediterranean, thereby threatening Istanbul, the Ottoman capital. It was a military failure. From the initial seaborne assault to the evacuation, it lasted eight months and cost 114,000 lives with 230,000 wounded.

In 1915, Australians greeted the landings at Gallipoli with unbridled enthusiasm as a nation-making event. But it wasn’t long before they were counting the dreadful cost. More than 8000 Australians died during the Gallipoli campaign. As a loyal member of the British Empire, Australia eventually sent 330,000 men overseas to fight for the King. Volunteers all, not all of them white men – despite the authorities policy of recruiting only Australians of Anglo-Celtic stock, their ranks included many indigenous, Chinese and others. By the time the war ended in 1918, 60,000 of them were dead. As the late historian Ken Inglis once pointed out: “If we count as family a person’s parents, children, siblings, aunts and uncles and cousins, then every second Australian family was bereaved by the war.

[As for the Anzac Day march], I’d say only returned people could march. And then the day would come, I’d hope, when there’d be the last person marching, the last survivor as it were. And I’d think what a great day that would be … because it would mean we’d been at peace for a long time. And that’s what those men in the First World War were fighting for.”
Bill Gammage, historian and author of The Broken Years.

Gallipoli is cited as the crucible of Australian nationhood, but the Anzacs’ part in the doomed campaign was but a sideshow of the wider campaign. Although it is celebrated in Australian song and story, it was the Ottomans’ most significant victory in the war that was to destroy the seven hundred year old Ottoman Empire secure the reputation of its most successful general Mustafa Kemal, who as Ataturk, became the founder of modern Turkey.

Some thirty four thousand British soldiers died on the peninsula, including 3,400 Irishmen, and ten thousand Frenchmen – many of these latter being “colonial” troops from West and North Africa. Australia lost near on ten thousand and NZ three. Some 1,400 Indian soldiers perished for the King Emperor. Fifty seven thousand allied soldiers died, and seventy five thousand were wounded. The Ottoman army lost fifty seven thousand men, and one hundred and seven thousand were wounded (although these figures are probably much higher). An overlooked fact is that some two thirds of the “Turkish” solders in Kemal’s division were actually Arabs from present day Syria, Israel and Palestine – and  a small number of European Jews who had settled there and who as Ottoman citizens were subject to conscription.

Gallipoli was indeed a multicultural microcosm of a world at war.

Whilst the flower of antipodean youth is said to have perished on Gallipoli’s fatal shore, this was just the overture. Anzac troops were despatched to the Western Front, and between 1919 and 1918, 45,000 Aussies died there and 124,000 were wounded.

Once upon a war, the Dardanelles Campaign of 1915-16 was a sideshow to the bigger theatres of the Eastern and Western Fronts. To some, it was a reminder that they could not stomach Winston Churchill for this was said to be his greatest stuff up in a career replete with such (although they would admit that he more than exonerated himself his and Britain’s Finest Hour). For many Australians and New Zealanders, it was a national baptism of fire, of youthful sacrifice on the altar of Empire. And notwithstanding the  military defeat and retreat, the folly and foolhardiness, in the harrowing adversity and heroism, lay the bones of a young country’s enduring creation myth.
Former soldier James Brown, Anzac’s  Long Shadow

There are abundant primary and secondary sources relating to the Dardanelles campaign and the Anzacs, but here is a wiki primer: Gallipoli Campaign

The genesis of a song …

Back in the last century, before ANZAC Day became the secular Christmas that it has become, before marketing people and populist politicians saw its commercial and political potential, before the fatal shore became a crowded place of annual pilgrimage, my Turkish friend, the late Naim Mehmet Turfan, gave me a grainy picture of a Turkish soldier at Gelibolu carrying a large howitzer shell on his back. Then there was this great film by Australian director Peter Weir, starring young Mel Gibson and Mark Lee. There were these images of small boats approaching a dark and alien shore, of Lighthorsemen sadly farewelling their Walers as they embarked as infantry, and of the doomed Colonel Barton humming along to a gramophone recording of Bizet’s beautiful duet from The Pearl Fishers, ‘Au fond du temple saint’ before joining his men in the forlorn hope of The Nek.

There were other melodies I could never quite get out of my head. One I first heard in a musical in Beirut before that magical city entered its Dark Ages  –  Al Mahatta, written by the famous Rabbani Brothers and starring the Lebanese diva Fayrouz. And The Foggy Dew, one of the most lyrical and poignant of the Irish rebel songs:

Right proudly high over Dublin town, they hung out the flag of war. ‘Twas better to die ‘neath that Irish sky than at Suvla or at Sud el Bar…Twas England bade our Wild Geese go that small nations might be free,  But their lonely graves are by Suvla’s waves or the fringe of the grey North Sea.

Over three thousand Irishmen died at Gallipoli.

The song grew out of these many inspirations.

It was first performed in public by HuldreFolk in the closing concert of Coffs Harbour Folk Festival at the RSL on Australia Day 1984. When we had finished, there was absolutely silence in the hall. Then a voice cried out “the sky didn’t fall down!”, and the hall erupted with applause.

And here is HukdreFolk’s rendering of Russian poet Yevtushenko’s account of the parade of German prisoners of war through the streets of Moscow in 1941, juxtaposed with The Watchers of the Water.

Anthem for Doomed Youth
Wilfred Owen

What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles’ rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,—
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.

What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of goodbyes.
The pallor of girls’ brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.

 

Dermott’s Last Ride

So, when my time it comes  and at last I leave this place, I’ll walk out past the charge hand’s gate and never turn my face. Up to the gates and into the sun, and I’ll leave it all behind, with one regret for the lads I’ve left to carry on their grind.    Factory Lad, Colin Dryden

Dermott Ryder, poet, writer, collector and chronicler of songs and stories, singer and songwriter, stalwart of the seventies and eighties Sydney folk scene, one-time manager of the legendary ‘‘Liz” Folk Club, and creator and longtime presenter of the iconic weekly folk radio programme Ryder ‘Round Folk, headed off to his big gig at the great folk club in the sky on the night of Tuesday 3rd March.

A retrospective follows, but first, enjoy two minutes of delight with the theme to Ryder Round Folk: a merrie morris, a hornpipe, and a hoot!

Dermott and I go back a long way, though not as long as most.

He arrived in Oz in 1968 as a Ten Pound Pom. Before that, he’d spent five years in the Royal Artillery on a short term commission, seeing service in Germany and in Malaya,  avoiding the nasty places that proliferated during the declining decades of the moribund British Empire. Trained in management, accounting and IT, he worked in Papua New Guinea before settling down in Sydney where he became a pillar of the folk music scene. Since his retirement, he has devoted his energies to his music and writing.

Dermott In Bougainville

It was Victor Mishalow who first introduced me to Dermott in 1983. He was dropping into 2MBS for an interview on Ryder Round Folk, and he brought me and Yuri the Russian Storyteller along too. We had just launched our short and almost illustrious career as HuldreFolk. Dermott, as guru, mentor, and propagandist for the Sydney folk scene, gave us our first radio appearance. There is a famous photograph to commemorate it (Dermott’s archive of folkdoms’ seventies and eighties should be a national treasure. All the wannabes and could’ve beens, the famous and almost famous are celebrated therein).

HuldreFolk - Early Days. Ryder Round Folk 1983

The live concerts at 2MBS’s Chandos Street studios were a must-listen on the monthly calendar, with the good and the great of Sydney’s folksingers and musicians doing their thing. Guests included Victor, Yuri, Jim Taylor, Robin Connaughton, Penny Davies, Roger Illot, John Broomhall, Gordon McIntyre and Kate Delaney, Phil Lobl, Mary Jane Field, and the Fagans.

This was when Adele and I got to know Dermott and Margaret Ryder for the first time. We then learnt of his history: his part in the famous folk revival of the late sixties and early seventies, the first Port Jackson Folk Festival, the foundation if the NSW Folk Federation, and the famous Liz Folk Club in the Sydney CBD. He was among that first golden generation of folkies, including Colin Dryden, Gary Shearston, Declan Affley, Warren Fahey, John Dengate, Danny Spooner, Mike McClellan, Bernard Bolan, and Judy Small. Many other performers moved in Dermott’s musical orbit, including Andy George, Rhonda Mawer and the Shackistas of Narrabeen, Jim Jarvis, Al Ward, John Summers, and many, many more.

Dermott and I bonded further with our shared origins in the old country. He of Lancashire Irish heritage (Widnes, actually), and me, an Irish Brummie. We had a shared love of traditional Irish and English folk music. We probably even crossed bars in one of the many English folk clubs, in the ‘sixties. Most notably, the celebrated Jug O’Punch in the Birmingham suburb of Digbeth, run by the famous Ian Campbell Folk Group.*

        The Parting Glass

        Trad. as sung by Liam Clancy and Tommy Makem

Oh all the money that e’er I had
I spent it in good company
And all the harm that e’er I’ve done
alas, it was to none but me
For all I’ve done for want of wit
to memory now I can’t recall
So fill to me the parting glass
good night and joy be with you all

Oh all the comrades that e’er I’ve had
they are sorry for my going away
And all the sweethearts that e’er I’ve had
they would wish me one more day to stay
But since it falls unto my lot that
that I should rise and you should not
I’ll gently rise and I’ll softly call
good night and joy be with you all

Farewell, old friend.

Dermott and Margaret Ryder

  Leaving Can Be Easy

  By Dermott Ryder

  Leaving can be easy, when the right time comes.                                                                               Many will have gone before, in a long, long line.                                                                                 When it’s your turn, you look back, and smile,                                                                                     then look forward to your own new, far horizon.

 There are people to tell, and books to return,                                                                                 Broken bridges to mend now, better this way,                                                                                   leave no hurt feelings behind at the end of the day.                                                                           We are all travellers, and we will meet again.

 Don’t think of sleep. Keep that for much later.                                                                                    Give and take addresses and phone numbers.                                                                                  Make promises you probably won’t remember.                                                                                 Be pleasantly surprised and strangely grateful.

Welcome the crowd come to see you on your way,                                                                             and to share this rite of passage, to keep the faith                                                                             in this next step in the long tradition of the traveller.                                                                         Shake hands, and know that you cannot return.

* What a club that was. Back in the day, it hosted the cream of British folk music, including the Dubliners, the Furey Brothers, Martin Carthy, Peter Bellamy, and a very young and acoustic Al Stewart. Overseas guests included Tom Rush, an unknown Paul Simon, a young goddess called Joni Mitchell, and on an antipodean note, Trevor Lucas, who went to marry Fairport’s fair maid, Sandy Denny, and later, become a founding member of The Bushwhackers before his untimely demise in 1989.

The Incorrigible Optimists Club

A story of exile and of exiles, of revolutions fought and betrayed, of wars and causes lost,  of faith and failure, of shame and regret, tolerance and redemption, of secrets and confidences kept and broken, of untold stories and restless ghosts.

And this winner of France’s prestigous Prix Goncourt is one of the best books I have read in years!

IOC

They say for every boy and girl there’s just one love in all the world and I know I’ve found mine.                                                                                       Carole Joyner and Ric Cartey, Young Love, 1956

Come mothers and fathers throughout the land, don’t criticize what you can’t understand. Your sons and your daughters are beyond your command. Your old road is rapdly agin’ . Please get out of the new one if you can’t lend your hand for your times they are a-changin’ .                                                                             Bob Dylan, 1964

In Montparnasse, a metro station exits onto the wide Place Denfer-Rochereau, the centrepiece of which is a magnificent bronze lion, sculpted by Frédéric Bartholdi, creator of The Statue Of Liberty as a memorial to the heroic defence of Belfort during the Franco-Prussian Way of 1870-1871. Directly opposite is the entrance to the morbidly amazing Catacombes de Paris. On the Boulevard Raspail side of La Place is a big cafe where on a freezing, wet and windy May morning a few years back, Adele and I drank hot espresso whilst waiting for the Catacombs to open. I like to think that in the late fifties, this very cafe was indeed the Balto, where much of this magnificent novel is set:

Le Rive Gauche, as the ‘fifties gives way to the ‘sixties; as the crooners makes way for rock n’roll; as the Cold War divides a continent, sending dissidents and refugees fleeing to a safe haven in Paris; as the Algerian war divides and destroys families: and as the seeds of ‘les evenments de Mai 1968’ are sown in the hearts and souls of France’s young people

It is a coming of age book, of young hopes and fears, love and loss. It is book about writers and reading, and the magic and power of the written word in prose and poetry. Like the games of chess that punctuate the narrative, it is about how life and learning is characterized by strategy and tactics, calculated feints and moves, patience and passion. And the paradox that pervades the story: nothing happens by accident, but never underestimate the power of coincidence.

Michel Marini, our narrator, is a precocious twelve year old when we first meet him, navigating his rocky road through high school, addicted to reading, rock n’roll, playing table football in the local cafes, and his introduction to the club of the title. This gathering of argumentative, chess-playing, smoking and boozing, grumpy old émigrés become in many ways a surrogate family. Michel first encounters these outcasts of Eastern Europe in the back room of a bistro. They are The Incorrigible Optimists Club, where,  despite the ancient discord of its members, the club serves as thier sanctuary. “The Poles hated the Russians, who in turn loathed them; the Bulgarians detested the Hungarians, who ignored them; the Germans abhorred the Czechs, who despised the Romanians, who could not care a damn. Here, they were all stateless and equals in adversity.”

Lost souls, the flotsam Old Europe, hugging their faded and vanished dreams, their language, their culture, their sad and often traumatic memories of their past in a strange land. Men without women, stateless, penniless, jobless, homeless, dispossessed of their wives and children.  Bent, but not broken. These are memorable characters, each with his own colourful and poignant back story. The pilot who defects for love, the doctor who drives cabs because his qualifications are not recognised. The Hungarian movie idol and his enamoured agent. The mysterious photography expert who befriends and mentors the young narrator. They are trapped between worlds and irreconcilable desires: “When a man achieves his dream, there is neither reason, nor failure, nor victory. What is most important in the Promised Land is not the land, but the promise.”

And there is also Michel’s actual family, his mismatched, over-worked and out- of- time parents, each from a different class and station, and their parents and siblings, particularly Michel’s art-loving Italian grandfather, and his dislocated pied-noir uncle and cousins. His chatterbox little sister, and his tortured, intellectual brother Franck. And front and centre in Michel’s adolescent life, Franck’s girlfriend and her would-be-revolutionary brother, beautiful, intelligent, rebellious, orphaned rich kids who become young Michel’s muses: and literally colliding with him through serendipity and synchronicity, his first true love. And behind them all, casting ominous shadows and unleashing sundering storms, lurks the dangerous backdrop of the closing years of the bitter and bloody Algerian independence war.

A knowledge of the Russian Revolution and its dramatis personae, Stalin’s Terror, The Great Patriotic War, the Hungarian Revolution and the building of the Berlin Wall, and of the ‘savage war of peace’ that was Algeria, is not obligatory, but it certainly helps set the scene for the various stories and vignettes that unfold. Cameo roles include philosopher Jean Paul Sartre, novelist Joseph Kessell, and one Rudolf Khametovich Nureyev – and the sinister ghost at the feast, Iosif Vissarionovich Stalin.

Every now and then, your jaw drops and you say to yourself “this is a masterpiece”! Like when I first heard Keith Jarrett’s Koln Concert and Glen Hansard and Markéta Irglová’s The Swell Season. Sultans of Swing and The Boy in the Bubble. When I first read the opening paragraphs of Catch 22, and Chapter 41 of Moby Dick. The Incorrigible Optimists Club cast the same spell.

I leave the last words to the author: “Before you read a book, you can know immediately whether or not you are going to like it, just as with people, you can tell just from looking at them whether or not you’ll be their friend. You smell it, you sniff it, you wonder whether it’s worth spending time in its company. The pages of a book have an invisible alchemy that imprints itself on our brain. A book is a living creature”.

You cannot find a better testimonial for the printed word than that.

© Paul Hemphill 2015,  All rights reserved

 

 

 

Nova Via Dolorosa

In my earlier blog, The Grand Old New Imperial Hotel, I wrote:

Had the hotel been there in Biblical times, what events we might have witnessed from our balcony. King Herod, the ostensibly psychotic master builder of Bible infamy dwelt opposite as he planned his Second Temple. So did Pontius Pilate. If one accepts the narrative of Simon Sebag-Montefiore, in his Jerusaelm : The Biography, we could also have watched the last journey of Jesus of Nazareth. It was but a short distance from the Citadel where he was condemned and Golgotha where he died: across the square, right at the New Imperial, left just past the Med, and straight on to the Hill of the Skull (where the Church of the Holy Sepulcher now stands). The present Via Dolorosa runs from the site of the Antonine Fortress, on the northern edge of the Haram ash Sharif, to The Church, its course set by custom and customers from Byzantine days.

https://howlinginfinite.wordpress.com/2014/09/01/the-grand-old-new-imperial-hotel/

And now it appears that this indeed might have been the case.

http://www.washingtonpost.com/world/middle_east/archaeologists-find-possible-site-of-jesuss-trial-in-jerusalem/2015/01/04/6d0ce098-7f9a-45de-9639-b7922855bfdb_story.html?hpid=z3

See also:

https://howlinginfinite.wordpress.com/2014/06/07/amazing-grace-theres-magic-in-the-air/

John Cleverley’s Long March

In memoriam for our old friend, scholar, wise man, and neighbour of 20 Watkin Street.

John Cleverley was a stalwart of many battles with Council, and indeed, with any overbearing and presumptuous authority. At his funeral service, his brother told the story of how his dad sent him to participate in the school nativity play dressed not in shepherd garb, but in the white shirt and red scarf of Mao’s little pioneers.

Adele and I first met John during one of those numerous stoushes we had with the now defunct South Sydney Council, and were good friends ever since. For many years, I would entertain his many Chinese visitors with a formal presentation on accounting in a publishing company. Whenever I would encounter John in the street, we would have a good yack about Australian politics, the doings of the Tories, and the manipulations of the Murdoch empire.

John lived a full and colourful life and left a very large footprint. The obituary tells a great story.

John Cleverley

JOHN CLEVERLEY 1931-2014    

Education Academic Reached Out To China

John Cleverley, formerly pro dean of the Faculty of Education at the University of Sydney, first visited China in 1972. He was an organising member of the first study tour led by Australian UNESCO education chairman, Professor of education Bill Connell. This group, the first delegation of Australian educators to visit China, was there when the Whitlam government recognised the People’s Republic of China. China was an abiding interest for the rest of Cleverley’s life.

John Farquhar Cleverley was born on June 4, 1931, in an England at peace, but ravished by the Depression. His early years were at Lime Grove in London, from which he was evacuated in 1939 at the outbreak of war. His education started at Lime Grove Preschool, which was followed by Canon Lane Elementary School and later the John Lyon School in Harrow, an endowed grammar school.

Cleverley began work in a cottage industry and progressed to be an office boy in publishing. His decision to migrate to Australia in 1949 with a £10 berth (halved as he was under 18), was fired by his reaction to post-war Britain. He once posed the question: “Why should the accident of status and birth accord status and arrogance?” He believed people should be their own masters, was uninterested in army service to uphold the Empire and hoped for a reconstructed world after the horrors of the war.

In Australia he became a grocery assistant, Commonwealth public servant and a sales representative in publishing. Although unaligned politically he actively opposed the Communist Dissolution Act Referendum in 1951. He wanted a better, fairer more just society based on social inclusion and the free exchange of ideas.

UIn 1951 Cleverley set out on a program of “self-improvement” which continued throughout his life. He took classes at Sydney Technical College, took the NSW Leaving Certificate, matriculated for university entry in 1954, and supported himself by working in a printing foundry at night.

He entered primary teacher training at Balmain Teachers College in 1952 and became president of the Student Representative Council in 1953. He taught at Randwick, Balmain Demonstration and Woollahra Public Schools (in the latter teaching the opportunity class) while he pursued part-time studies at the University of Sydney. In 1958, he married Cecily Kearney.

Work in teacher education followed at Wagga Wagga Teachers College, where the family moved in 1960, before a stint in the Commonwealth Department of Education supporting Colombo Plan students.

At the University of Sydney he systematically pursued his undergraduate and post-graduate studies – a BA, MEd (Hons), and PhD. He moved to Monash University in 1965 then back to Sydney in 1972 to teach international and comparative studies in education and to help Connell to organise the now famous China education study tour of 1972.

Another tour followed in 1976, then many others, as well as many personal visits, often instigated by the Chinese. As a result, Cleverley developed a prodigious network of institutional and personal contacts from which a sustained program of outreach and exchange grew.

With the establishment of the pioneering Sydney University China Education Society (SUCES) in 1972 and under Cleverley’s careful guidance, educational and cultural exchange between China and Australia flourished.

SUCES morphed into the University of Sydney China Education Centre (Australia) in 1986. Cleverley imprinted his view that the society/centre was an apolitical grouping that saw cultural exchange as a public good. Much of what the group did was enlivened by Cleverley’s commitment to “people to people” contact and exchange. This gave the group strong capacity to reach out and host Chinese students and visitors in Australian homes and help them to engage with the Australian community.

Cleverley saw this as a different but successful “relational” approach for sustained success, antithetical to the current “transactional” norm focused on short-term dollar returns. The benefits and value of such exchange have been recognised by successive Chinese ambassadors to Australia.

SUCES received its first guest “worker, peasant, soldier” Chinese students who were studying in Canberra in 1973/4. Then a famous group came in 1979. It was known in China as “Aobang” (The Australian Gang) and in Australia as the “Gang of 9” and the members primarily studied literature or linguistics.

When the group returned to China, six of them established Australian Studies Centres in their home universities. In 2009 there was a 30-year celebration in China of this group and Cleverley was invited and honoured there. Over the years he was appointed an honorary professor at East China Normal University, Jiangxi Agricultural University, Shanpou University and South China Normal University, positions he held until his death.

The education centre, led by Cleverley (who was promoted to professor and married Margaret Teo in 1986) until his retirement, became well-known in educational circles in China and Australia, in Commonwealth and state education departments and by the Chinese Ministry of Education and the consulate in Sydney. It brought prestigious visiting scholars to speak at the University of Sydney, ran cultural exhibitions and displays, obtained grants for cultural exchange, published books and newsletters, held conferences, and was supported by a loyal following of Australian and Chinese associates.

As well as his work with China, Cleverley developed a national social studies curriculum in Papua New Guinea with Gerald Johnston and Roger Hunter. He also did some educational consultancy work in Thailand.

When a new building was proposed and planned for the Faculty of Education at the University of Sydney, Cleverley was called on to oversee the project. The outcome (opened in 1993) gave the faculty excellent facilities, but this was not without rancour. Access to some of the building space was fiercely coveted by some outside the faculty. The battle was won but not without challenge but the Faculty of Education’s position was ably carried by Cleverley.

Cleverley was also active in supporting opportunity for indigenous Australians at the University of Sydney, especially through the Aboriginal Teachers Aides (ATA) program offered through the Koori Centre. In 1983 he was invited to take management responsibility for this program which, though 10 years old, had been poorly funded and was barely viable, running heavily on goodwill and dedication.

His view was that the “disadvantages and disabilities facing Aboriginal people were historic and continuing, and this was indisputable”. For Cleverley the ATA program represented a major social equity initiative. He championed the Koori Centre before and after Commonwealth funding was forthcoming in 1990, and led it until his retirement in 1993.

Cleverley contributed significantly to teaching, scholarship and research in a number of education fields especially in comparative and international studies, particularly Chinese education. At the time of his death two additional works on China were approaching completion. These will be carried to publication by his close colleagues.

John Cleverley is survived by Margaret, children Anne, Helen, Jane, David and Elizabeth, seven grandchildren and his many students, colleagues and friends.

John Barclay

Sydney Morning Herald December 17th 2014

http://www.smh.com.au/comment/obituaries/obituary-education-academic-john-cleverley-reached-out-to-china-20141216-1261wn.html

The Devil Drives

In a piece in this weekend’s Australian, historian David Pryce-Jones wrote: “A nation in which a self-appointed group such as the Taliban sets out to murder the young, and in the process blow some of its own to unrecognisable body parts, is not really a nation at all”.

I am reminded of Chaim Nachman Bialik’s poem, Al haShehita (On the Slaughter), about the Kishinev Pogrom in the spring of 1903: And cursèd be he that saith: avenge this! Such vengeance for blood of babe and maiden Hath yet to be wrought by Satan.

And also, of WH Auden’s Epitaph On A Tyrant :  Perfection, of a kind, was what he was after…When he laughed, respectable senators burst with laughter. And when he cried the little children died in the streets.

Read my earlier post on the plight of Syria’s children:

https://howlinginfinite.wordpress.com/2014/02/06/bombs-and-babies/

Massacre in Peshawar reflects disarray across the world of Islam

David Pryce-Jones, The Australian, December 20th 2014

Picture: Women at an anti-terrorist vigil in Lahore, Pakistan, after this week’s massacre in Peshawar. Source: AFP

The murder by Taliban suicide bombers of 132 children in a military school in Pakistan is grim evidence of the crisis destroying settled order in the world of Islam.

Whole populations are no longer willing to submit to the injustice and hypocrisy of their rulers. The Taliban is only one example of those who reject the structure of their state and fall back on primary identities of tribe and sect, oblivious to the even worse injustice and hypocrisy they are putting in place.

Taliban leaders embody the central paradox of Islamism, that they have a religious obligation to indoctrinate their rank and file with murderous rage and contempt. In most of the Middle East, the political process has narrowed to a version of civil war. Power is lying in the street and whoever is able to mobilise people of their own ethnicity or sect may seize it. Pakistan is a case in point.

A nation in which a self-appointed group such as the Taliban sets out to murder the young, and in the process blow some of its own to unrecognisable body parts, is not really a nation at all. The law of the jungle has become the sole moral code in operation. In the absence of social and institutional ties that bind together people of different origins, what can only be called the culture of killing drives everyone apart, brutalises their existence and ends in the delusion that victims are in fact martyrs.

“Those to whom evil is done,” in WH Auden’s much-quoted stanza, “do evil in return.” Sure enough, Taliban spokesmen are claiming that their suicide bombers killed these children only to make the military “feel the pain” for having killed the Taliban’s “loved ones”. In reality, the Taliban and the military are both armed gangs set on having exclusive power. Sponsoring or opposing one another in the permanent search for advantage, they have created a submerged underworld of violence, secret deals and even more secret betrayals.

It’s more or less impossible to judge whether the culture of killing depends more on Islamic faith or ethnic identity. Take the example of the so-called Islamic State, setting up its putative caliphate in what used to be Iraq and Syria.

Its appeal is to the Sunni branch of Islam, and its brutal pursuit of power is very like the Taliban’s. Its main enemy appears to be the Syrian regime of Bashar al-Assad that belongs to the Shia branch of Islam, but what may look primarily like a sectarian divide is also another fight between rival armed gangs for supremacy over the same territory; and going between the two is the usual murky underworld of various supposedly jihadi groups also engaged in secret deals and even more secret betrayals.

Islamic State certainly illustrates with a frightening brutality all its own the Koranic injunction to the faithful to “strike terror into the hearts of the enemies of Allah”. These enemies include all who do not enrol under its black flag. One Sunni tribe in Iraq that was prepared to oppose Islamic State has been almost wiped out in revenge. Kurds are mostly Sunni Muslims but on ethnic grounds Islamic State has been fighting them to a standstill for weeks. Although Yazidis are Arabs, it has driven them into exile because their faith derives from Zoroastrianism.

Christianity and the caliphate are of course incompatible. Islamic State beheaded four Christian children in Iraq because they refused to convert to Islam. Canon Andrew White, the representative in Iraq of the Archbishop of Canterbury, says of the violence done to Christians: “They killed in huge numbers, they chopped their children in half, they chopped their heads off, and they moved north, and it was so terrible …”

Horrific videos show lines of Islamic State executioners shooting prisoners so that their corpses fall into mass graves. Exactly as in similar footage of the SS on the Eastern front in World War II, the murderers appear completely calm, self-possessed, as though gratified by a job well done.

Al-Qa’ida has been the first to declare that terror publicity of this kind is counter-productive and gives infidels knowledge that should be kept from them.

The news from the Middle East bears out the observation made long ago by Job in the Bible and Homer in The Iliad that evil is limit­less, mankind is capable of any atrocity that serves his purpose and even divinities can do nothing much to reform this sad building block of human nature.

The vilest crime becomes permissible and even praiseworthy if it is presented as sacrosanct. Civilisation involves creating circumstances in which evil is suppressed or controlled so that evildoers are perceived as outsiders, removed to the margin of society where their capacity for harm is neutralised.

Now and again in history, someone with the necessary force of character has been able to build an ideology strong and coherent enough to persuade others that it is true, and a salvation. Ayatollah Ali Khamenei leading millions of Iranians to chant “death to America, the great Satan”, is replicating Joseph Goebbels whipping up war frenzy at mass meetings in Berlin. A month ago, a preacher by the name of Sheik Omar Abu Sara solemnly promised Jews, in the course of preaching a typical sermon in Jerusalem’s al-Aqsa mosque: “We shall slaughter you without mercy.” The culture of killing has taken hold.

In 1979 the trial took place in Germany of Ernst Heinrichsohn, a Nazi official who supervised the deportation of Jewish children from Paris to their death in Auschwitz. All had been separated from their parents; some were too young to know their names. Witnesses remembered Heinrichsohn hitting the children on the way to their deaths. In the courtroom he was insignificant, a nonentity, stupid, deceived by ideology. World war alone put an end to his evil.

Until such time as the Taliban, Islamic State, al-Qa’ida and the various other jihadi groups are confronted and brought to account, whatever the costs, Muslim civilisation will have to remain a contradiction in terms.

Historian David Pryce-Jones is a senior editor at National Review.

One, Two, Three, What are we fighting for?

In November, counter insurgency expert David Kilcullen delivered an excellent speech that is worth reading. It is reproduced here. He speaks of the origins and the ascendancy of Al Qa’ida and Daish, including the origin and meaning of Salafi Islam, and discusses the ideological, political and military basis of these organizations, and the effectiveness or otherwise of The West’s responses to the threat they present. Of many thoughtful observations, I note his thoughts concerning the radicalization of Muslim youth:

 “Western governments since 9/11 have had a bad habit of orientalizing Muslims, treating them as a special case, as an exotic, potentially violent minority, who need to be handled with kid gloves. Often governments have sought to deal with Muslims through traditional elders, appointed (sometimes self-appointed) leaders who the government treats as intermediaries, hoping they will keep their young men and women in line. This has three really bad effects. First, these so-called elders are often, by definition, more conservative, authoritarian and traditionalist, and by deferring to them were deepening the marginalization of young Muslims. Secondly, theres a moral hazard – people are encouraged to seek special treatment, to set themselves apart from the rest of society, leveraging the existence of extremist crazies as a way to advance their own agenda, and that tends to move entire communities in a more sectarian, segregated direction, and creates divisions in society that extremists can exploit. Finally, it creates the impression that a whole community is responsible for the actions of a lunatic, criminal fringe”.

Islamism and the threat to liberal values

David Kilcullen | 12 November 2014

2014 John Bonython Lecture, Sydney on November 12. The Centre for Independent Studies

 I want first to thank the Centre for Independent Studies for the opportunity to be part of this event, with its rich tradition of provocative debate. I want to thank the team for organizing this, and for your wonderful welcome. Most importantly, I want to thank all of you for coming out to be part of this discussion.

 My topic is “What are we fighting for? Islamism and the threat to liberal values.” I’m going to approach it through three questions that are simple to state, but extraordinarily complex to answer:

 What’s the ideology that drives groups like al Qaeda or the Islamic State?

Where did ISIS come from?

What should we be doing about it?

First, though, let me define my terms. By Islamic State, I mean the organization whose Arabic name is ad-Dawla al-Islamiyah fi ‘Iraq wal Sham, led by Abubakr al Baghdadi, now calling itself ad-Dawla al-Islamiyah or al-Khilafa, the Caliphate. I’ll use the acronym ISIS for this group, which fields more than 30,000 fighters. It controls a network of cities, populations and territory across about a third each of Iraq and Syria, owns economic assets that make it the richest terrorist group on the planet, and is expanding into the wider region, reinvigorating Islamist terrorism worldwide and radicalizing fringe members of our own societies, of whom thousands are fighting alongside the group.

 When I use the word Islam, I mean the second largest religion in the world, with 1.6 billion followers, founded by the prophet Muhammad. “Islamic” refers to characteristics of that religion, and a “Muslim” is someone who follows it. Islamism, on the other hand, is a political ideology that seeks to propagate a particular form of the religion, shape society around it, and (often) use violence to force it on others.

 Two other terms I’ll use are salafi-jihadist and takfir.  A salafi is someone who emulates early Muslims, as-salaf as-salih, the righteous ancestors, hence “salafi”. The salafi movement arose in the 19th century as an effort to reassert a strict interpretation of Islam in the face of colonialism, and experienced a revival—which some call neo-salafism—after the failure of Arab nationalism and socialism in the post-colonial Middle East. There are millions of Salafis, most of whom don’t personally use violence, but some do use violence to spread their beliefs within the framework of a global religious war—a jihad—and we call that subgroup salafi-jihadist. Finally, takfir is the practice of declaring other Muslims as apostates, liable to be killed.

 When I talk about liberal values, I’m not speaking of what people in the United States call “Progressive” politics, but about something older, more basic, namely the tenets of 19th and 20th century classical liberalism that shaped the societies we live in—individual freedom and accountability, civil liberties, limited government, the rule of law, free-market economics tempered by regulation, equality of opportunity, religious toleration, the removal of violence from politics. We differ about how to apply these ideas—how limited should government be, how much regulation is appropriate, what safety net should the state provide, how should we balance economic freedom with social justice—but these surface differences obscure a fundamental consensus in our societies around these values.

 As I’ll point out later, this set of unexamined assumptions about what society is, how it should be organized, and the bounds of acceptable conduct within it—assumptions shared across almost the entire political spectrum in our countries—are utterly foreign to Islamism, even in its non-violent form. It’s precisely these values that salafi-jihadists seek to destroy by killing or terrorizing all who hold them, and its these values that we ourselves can place at risk, depending on how we choose to react to the terrorist threat.

 Whats the ideology that drives groups like al Qaeda and ISIS?

 With that as context, what is ISIS? Is it just al Qaeda under another name? You could be forgiven for thinking that, if you listen to politicians talk about it. For diplomatic and legal reasons—because the U.S. Authorization for the Use of Military Force and UN Security Council Resolutions since 2001 were framed around al Qaeda—political leaders paint ISIS as an al Qaeda ally, but in fact the two are different. Let me explain, starting with al Qaeda.

Al Qaeda’s ideology has three components, only one of which is religious: the notion of defensive jihad. This idea is that when infidels attack an Islamic state, a defensive war becomes legitimate, and in defensive jihad (as distinct from offensive jihad, which can only be ordered by a Caliph, and fought by professional armies in accordance with Islamic norms of war) every Muslim has an individual obligation to participate.

Al Qaeda tacks onto this religious concept a second element—a political interpretation of current events—namely that the encroachment of western culture, values, and foreign policy into the Muslim world (by which Islamists mean all Muslim-majority countries, all countries with significant Muslim minorities, all countries with Islamic governments and all territories ever, at any time, controlled by the historical Caliphate) is so hostile to Islam that it represents an attack on an Islamic world community (which they call the ummah), that this is tantamount to infidel invasion of an Islamic state, and therefore a worldwide defensive jihad—endless war, everywhere, against all non-Muslims—is in effect, and is obligatory on all Muslims. Osama bin Laden declared the global jihad in two speeches during the 1990s.

Al Qaeda regards democracy—which organizes society around human rather than divine will, because individuals in democratic societies elect their governments, who set policies in line with public opinion—as idolatry, and holds every citizen of a democracy responsible for that country’s actions, those of its leaders (who every citizen elects) and of its allies. In other words, salafi jihadists hold every person here individually responsible for Australia’s actions and, by extension, those of the United States. In their view, that justifies violence against people we consider innocents—to them, in a democracy, there are no innocents because by voting in elections we are all responsible for our country’s policies. Further, some salafi-jihadists argue that modern connectivity is so pervasive, and the power of western ideas so insidious, that jihad cannot stop until every single person on the planet is converted or killed. Which, again, is all of us here tonight.

 To state the obvious, this stretches to breaking point the idea of defensive jihad in Islam—it broadens beyond all recognition the meaning of “invasion”; it holds every democratic citizen (as well as any Muslim who adopts democratic ideas) responsible for this supposed invasion, and posits the global ummah as a virtual state (with al Qaeda at its head) in defense of which this jihad takes place.

 I sometimes hear people ask: “If this idea’s so foreign to Islam, why don’t Muslims publicly reject it?” Actually, they have. Salafi-jihadist ideology has been repeatedly, publicly condemned by Islamic scholars and Muslim leaders worldwide. In 2005, for example, 200 Islamic scholars from 50 countries issued a religious ruling, the Amman Message, which condemned takfir and rejected jihadism. This message was reaffirmed in 2012.

 The final element of al Qaeda ideology is military. Remember the first element is that defensive jihad is legitimate (the religious component), and the second is that this is a defensive jihad (the political). The final component argues that because the West supports Israel and “apostate” governments in the Muslim world, and because Western militaries are so strong, conventional warfare—formed armies fighting openly, force-on-force, following international laws of war—is hopeless. But it also sees Westerners as weak, easily exhausted and intimidated, reliant on technology, unwilling to die for their beliefs. Hence terrorism, the killing of civilians, the torture and enslavement of non-combatants, intimidation through violence, become not only acceptable, but the military method of choice.

 This concept of a global guerrilla jihad led al Qaeda to a provocation strategy. Via the 9/11 attacks, al Qaeda sought to provoke a global religious war, dragging the West into protracted conflicts, exhausting our financial and military resources, sapping our political will, and ultimately forcing us to withdraw from the so-called “Muslim world”, leaving the field clear for a salafi jihadist takeover. Bin Laden outlined his strategy in 2004. He said:

 “All we have to do is to send two mujahideen to the furthest point East to raise a cloth on which is written al-Qaeda, in order to make the generals race there, to cause America to suffer human, economic and political losses without achieving for it anything of note . . . so we are continuing this policy of bleeding America to the point of bankruptcy. Allah willing and nothing is too great for Allah.”

 The idea was that intervention would bog us down in occupation warfare, which in turn would create a backlash that would allow al Qaeda to rally local groups (originally motivated by localized grievances) under the single explanatory narrative of a global Islamic jihad, and aggregate their effects into a worldwide uprising that would transform the planet, allowing a Caliphate to rise from the ashes.

 Notice that the Caliphate for al Qaeda was a distant future goal, deferred until after military victory—at different times, salafi-jihadist leaders spoke of it as being in Egypt, in Mecca, or in Baghdad—and its very vagueness allowed it to serve a unifying function as a kind of millennial jihadist utopia. Notice also a certain amount of what we might call “magical thinking” here: the idea that however powerful the enemy, truly Islamic fighters would demonstrate commitment to Allah by their effort, and Allah in turn would provide the victory.

 Thus while social movement theory, mass psychology and revolutionary warfare theory do indeed have something useful to say here, we can’t ignore the fact that Islam—a distorted version of Islam, to be sure, one most Muslims would scarcely recognize, a perversion perhaps, but Islam nonetheless—is fundamental to both the ideology and the strategy. There are plenty of murderous ideologies worldwide, but they’re not all the same. They reflect the ground from which they spring, and this one springs from Islam. To deny that just makes it harder to think clearly about the problem.

 On the other hand, holding something called “Islam” responsible for terrorism is as much an over-reach as holding Japanese culture responsible for the atrocities of World War Two, or blaming all Communists for Pol Pot. It not only accepts the al Qaeda line that there’s just one undifferentiated “true” Islam, whereas in fact Islam is massively diverse. It also treats non-violent Muslims the same as those who use violence in contravention of the Prophet Muhammad’s words that “there is no compulsion in religion” (al-Baqara, 256). And of course, it’s a logical fallacy to expect a constant cause to explain a variable effect: if Islam alone caused terrorism, we would have seen the same level of terrorism since the tenets of the religion were settled a thousand years ago, but we haven’t seen that—so other factors must also be at play.

 There’s a paradox here: on the one hand, only a tiny percentage of the world’s Muslims are involved in terrorist jihad. On the other, that jihad is real, it only takes a small number to sustain it, and of course everyone in it is a Muslim. This creates a fundamental tension—most Muslims aren’t’t jihadists, but all jihadists are Muslims—that can separate Muslims from society, create opportunities for authoritarian repression in the name of counterterrorism, and make every Muslim a target. It also creates a moral hazard: leaders of Muslim minorities in Western societies can demand special consideration, using the implied threat of violence by others as a way to get what they want, and that in turn can separate Muslims further from the rest of society. That’s what’s so insidious about this: not only terrorism, but also our reaction to it, can be equally destructive. I’d go further—our reaction has the potential to be vastly more destructive than the terrorism that gives rise to it. This paradox lies at the heart of al Qaeda’s strategy, in fact.

 Now, this is an obvious point, but the global uprising that bin Laden sought did not occur. After 9/11, the international community came down on al Qaeda like a ton of bricks. They were expelled from Afghanistan, damaged in Pakistan, defeated in Saudi Arabia, allied groups in Somalia, Yemen and North Africa were (temporarily) set back, affiliates in Southeast Asia lost support, and al Qaeda in Iraq was almost destroyed—by 2010, we’d reduced them to 5 per cent of their strength and banished the remnant from all major Iraqi cities. U.S.-led coalitions stabilized Iraq and Afghanistan, only to see Iraq unravel after leaving, and Afghanistan looking quite shaky as we exit.

 So, if al Qaeda’s strategy didn’t’t succeed, at least not in the way bin Laden intended, does that mean our strategy, the Global War on Terror, “overseas contingency operations”, worked? Well, unless you’ve been living under a rock, you would have to know that the answer to that question is a resounding NO. And that, of course, is because as al Qaeda has waned, we’ve seen the rise of ISIS.

 Let’s talk now about that group. ISIS comes from the same basic salafi-jihadist worldview as al Qaeda, and shares much of al Qaeda’s ideology, including the notion of defensive jihad and the focus on terrorism. It’s in the second component—the political interpretation—that it parts ways with al Qaeda, and that results in a starkly different strategy, and a different set of threats to our societies.

 ISIS is the successor to al Qaeda in Iraq. That might lead you to suppose that it was originally a branch of the wider al Qaeda movement, but actually its origin is independent. It came out of extremist circles in Jordan, propelled by anti-Shia sectarianism, and peaked in the intimately ferocious violence of the Iraq war.

 Its first leader, Abu Musab al-Zarqawi, emerged after the invasion of Iraq in 2003, when he formed terrorist cells to oppose the occupation, allied himself with Sunni nationalist and former regime fighters, took up the al Qaeda name as a branding exercise, and carried out attacks like the killing of UN Special Representative Sergio Vieira de Mello in 2003, the beheading of aid workers, the kidnapping, rape and murder of Shi’a children, and the 2006 Samarra bombing.

 Before he was killed in June 2006, Zarqawi unified several factions under the Islamic State of Iraq, part of the Mujahidin Shura Council, responsible for some of the most horrendous atrocities of the war. Zarqawi was succeeded by Omar al Baghdadi, himself killed in April 2010, to be followed by Abubakr al Baghdadi, the current leader of ISI, which expanded into Syria after the beginning of the Syrian Civil War, and now calls itself Islamic State.

 It was soon clear that there were ideological and strategic differences between al Qaeda and Zarqawi’s group. These emerged through a series of letters between Zarqawi and Ayman al-Zawahiri, then bin Laden’s deputy, which fell into the hands of western intelligence in 2005.

 Zarqawi viewed Shi’a Muslims and by extension their regional protector, Iran, as the greater threat. He saw Shi’a as apostates who should be slaughtered without mercy. He sought to provoke a sectarian civil war that would split Iraq, generate massive violence that would make the country ungovernable, drive out the occupation forces, collapse the state, and allow Zarqawi to inherit the wreckage. This translated into violence against Iraqi civilians, which for all its horror, was anything but random. Rather, it was designed to turn Shia and Sunni against each other, and both against the occupiers.

 Zawahiri and al Qaeda differed, not in terms of rejecting violence against Shi’a, but as a matter of strategy and timing. Zawahiri wanted Zarqawi to first rally all Iraqis against the occupation, and defer action against the Shi’a until after the invaders were expelled. He said, in effect, “form a popular front against the occupiers, you can always deal with the Shia later”. This was the classic al Qaeda aggregation strategy we’ve discussed, with a view to a global rather than a local agenda.

 Zarqawi and his successors reject that—not because they’re less opposed to the West, far from it, but because of a difference in strategic sequencing. They want to provoke an immediate sectarian war with the Shi’a, use that to unify Sunnis behind them, establish the Caliphate, build a powerful Islamic state, and then expand its territory by military conquest. What, for al Qaeda, is a distant millenarian utopia, is for ISIS an immediate, concrete, practical goal.

 That means a real state—with a territory, an army, a government, an economy, a population—and that makes ISIS a much more conventional state-building enterprise. Unlike al Qaeda with its post-modern notion of a virtual, non-territorial state, of guerrilla cells acting locally while thinking globally, and its call for an uprising by Muslims everywhere, ISIS wants the Caliphate now, as a real-world entity, in one territory, and then plans to expand it by military conquest. To use a Cold War analogy, if al Qaeda are Trotskyist, calling for world revolution, ISIS are Stalinist—socialism in one country.

 That’s why, whereas bin Laden said, “if you support al Qaeda, attack Westerners wherever they may be”, and sought to provoke our intervention in local conflicts so as to generate a global insurgency, al Baghdadi said “if you support ISIS, come to Syria and help us build the state.” He put out a call for doctors, engineers—and, of course, fighters—to join him. Far from wanting to provoke Western intervention, ISIS wants breathing space. It’s ultimately no less hostile to the West, but its sequencing is different: first build the Caliphate, then expand it, then take on the West. You can see the difference in al Qaeda’s English-language magazine, Inspire, which is full of tactical tips, articles on bomb-making, how to attack western societies from within, whereas the ISIS magazine, Dabiq, is full of propaganda about Syria and Iraq, and calls for people to travel to join the fight.

 If al Qaeda’s agenda is 21st century, ISIS looks, to many of my friends in Iraq and Syria, a lot like the 7th century. After Muhammad’s death in 632AD, his successors—the Caliphs—engaged in a campaign of military expansion that took them within a few decades to control vast territories in the Middle East, North Africa, South and Central Asia, and eventually into Spain and Southern Italy. These wars of Muslim Conquest, as they’re known, created the largest pre-Modern empire in history. The restoration of this Caliphate—as contrasted with the al Qaeda “virtual” Caliphate—lies at the heart of the ISIS agenda.

 ISIS has had a massively reinvigorating effect on the global jihad. We’ve seen groups in Indonesia, the Philippines, North Africa, and across the Middle East revive. Fighters have travelled to join ISIS from these areas, and from Europe, North America, Australia and New Zealand and Latin America—indeed, foreign fighter flows into Syria and Iraq are ten times what we saw at the height of the Iraq war.

 Where did ISIS come from?

 How did ISIS come to join al Qaeda at the peak of the global jihad? It resulted from two key events: the killing of Osama bin Laden, and the failure of the Arab Spring. Bin Laden’s death on the 2nd of May 2011 threw al Qaeda into disarray. The organization went through a succession struggle, and turned inward for several months before Ayman al-Zawahiri emerged as undisputed leader. Those months were critical, because mid-2011 was when the Arab Spring seemed to be succeeding—secular, democratic, largely peaceful protest movements in Tunisia, Egypt, Libya and Yemen had successfully thrown off dictatorships. For a time, this seemed to contradict al Qaeda’s argument that only terrorism against the West (the “far enemy”) could overthrow these regimes (the “near enemy”).

 But by late 2011, it was clear the Arab Spring was not going to deliver stable democracies. Egypt slipped back into authoritarianism, Yemen remained hugely violent, Libyans threw off Gaddafi but were left with an increasingly violent power vacuum, and a crackdown in Bahrain crushed protests there. Most importantly, in Syria, the early promise of a peaceful end to the Iranian-backed Damascus regime failed, the regime consolidated, and protests escalated into a horrific sectarian civil war.

 So peaceful methods failed (except in Tunisia, site of the original outbreak and, seemingly at present, the exception that proves the rule) and insurgencies emerged in Syria, Libya, Egypt’s Sinai desert, and Mali. al Qaeda, as I’ve mentioned, was in disarray: the Arab Spring seems to have caught them flat-footed. So as people turned back to violence, they didn’t’t look to al Qaeda: the group had lost credibility. That gap was increasingly filled by ISIS.

 ISIS, for its part, used Syria to reinvent itself after its defeat in Iraq. You recall the organization was down to only 5% of its strength by late 2011, it was scattered, on the run from U.S. and Iraqi forces. As the Syrian revolution unfolded, Abubakr al-Baghdadi sent a small cadre to Syria. They found sanctuary from pressure in Iraq, they could regroup and re-equip, and because of their battle experience, their financial backing from salafi donors, their tight organization, and their concrete, specific political program, they began to dominate. Three factors helped: the Assad regime, the West’s failure to support the secular democratic uprising, and the Iraqi government in Baghdad.

 In Syria, Assad claimed his opposition consisted entirely of jihadists. At first this was a lie: the same broad-based, secular, pro-democracy movement arose in Syria as elsewhere in the Arab Spring. But the violence of Assad’s crackdown turned protest into insurgency. Civil leaders were sidelined, armed groups began to grow, the movement became more extreme, and Assad’s lie became increasingly true. He maintained a de facto truce with ISIS until late 2013—the rise of ISIS helped prove his case about a jihadist enemy, ISIS spent most of its time attacking other rebel groups anyway, and avoided confronting the regime directly, so Assad in turn let ISIS gain control of Raqqa. Raqqa today is the ISIS capital, its major base, home to hundreds out of the thousands of foreign fighters who have flocked to join it.

 The second factor was our failure to support Syria’s democracy movement. It’s a self-serving myth that there was never a chance for the democracy movement to succeed. The democratic opposition to Assad was long-standing, it had significant popular support, and it was far stronger and better organized than Gaddafi’s opposition in Libya. Firm diplomatic pressure by the West in 2011, military support to democracy groups in 2012, and deterrent strikes against Assad when he began using chemical weapons against his own people in late 2012 and early 2013 could have made a real difference.

 Instead, we were tied up in Libya in 2011, gave virtually no support to the democracy movement, and offered too little help, too late, to the secular rebels. I’m not suggesting we should have invaded Syria—but I am suggesting that Western diplomatic efforts to ensure a political transition, backed by force if necessary to stop Assad’s violence against his people, in accordance with the established international principle of Responsibility to Protect, would have done a lot to prevent the emergence of ISIS. Even now, because Western countries have refused to come out strongly against Assad, and have yet to target any regime positions, many Syrians see our efforts as helping the regime. Few Syrians will back us against ISIS until we commit to overthrowing Assad, which for them is the whole point of the uprising.

 The final factor was the Iraqi government’s lurch into sectarianism at the end of 2011. It’s easy to blame Prime Minister Nuri al-Maliki here. I’ve heard people ask “What happened to Maliki? How did he go from being inclusive in 2007-8 to being sectarian in 2012”? That question bespeaks a lack of understanding of conditions in Iraq. Yes, Maliki was relatively inclusive in 2007-8: but that was when we had 165,000 U.S. troops in country, advisors embedded throughout his government and security forces, and were spending billions in assistance—we had huge leverage, and could ensure fair treatment for Sunnis, Shi’a and Kurds. Remember the Sunni community, by turning against al QaedaI  (now ISIS) during the Awakening, enabled a massive reduction in violence, allowing us to stabilize Iraq and start withdrawing. After the coalition withdrew, leaving zero troops behind, pulling out civilian advisers and cutting off assistance, we lost leverage. For his part, Maliki no longer had us to act as mediator or ensure fair outcomes. He was in a zero-sum game, where he could no longer afford to be inclusive—he had to consolidate his Shi’a support base, and seek Iranian support. He reneged on his deals with Sunnis and Kurds, and started sidelining professional military, police and administrative officials, and replacing them with sectarian (often corrupt) loyalists.

 As a result, by 2013, Iraq was in disarray, Kurds and Sunnis felt betrayed by Baghdad, tribal elders had been hung out to dry, the Iraqi security forces were engaged in what Sunnis saw as a sectarian version of ethnic cleansing, and there was space for a return of ISIS. And that created the environment that allowed the ISIS expansion in 2013, its jailbreaks, seizure of cities, expansion in Iraq and Syria, and its blitzkrieg-like breakout to Mosul and other cities in June 2014.

 What should we do about it?

 If that’s the threat, what should we do about it? We need to consider both the threat from Islamist terrorism, and the risk arising from our own reaction to that threat.

 We can break the terrorist threat into four components: domestic radicalization, foreign fighters, the effect on regional terror groups, and destabilization in the Middle East. Our strategic approach needs to address all four and, I would argue, in that order of priority.

 So, domestic radicalization first. What we see in Western societies is the seductive pull of ISIS on marginalized people, who feel themselves disenfranchised, losers in our society, and want to be part of something huge, successful, historical and important—ISIS offers them all that, a chance to validate themselves through action.

 Western governments since 9/11 have had a bad habit of orientalising Muslims, treating them as a special case, as an exotic, potentially violent minority, who need to be handled with kid gloves. Often governments have sought to deal with Muslims through traditional elders, appointed (sometimes self-appointed) leaders who the government treats as intermediaries, hoping they will keep their young men and women in line.

 This has three really bad effects. First, these so-called elders are often, by definition, more conservative, authoritarian and traditionalist, and by deferring to them we’re deepening the marginalization of young Muslims. Secondly, as I said earlier, there’s a moral hazard—people are encouraged to seek special treatment, to set themselves apart from the rest of society, leveraging the existence of extremist crazies as a way to advance their own agenda, and that tends to move entire communities in a more sectarian, segregated direction, and creates divisions in society that extremists can exploit. Finally, it creates the impression that a whole community is responsible for the actions of a lunatic, criminal fringe.

I think we need to do away with this approach. Repression, surveillance, and special intermediaries simply make the problem worse. We need to treat Australian Muslims like Australian Catholics, Australian Hindus or any other Australian—with all the rights, freedoms, expectations and responsibilities that come from free membership in a free society. If people engage in criminal acts, they need to be treated like any other criminal. We need to open up opportunities for self-expression and free agency within our own societies, so people can see that the answer to their problems lies here, not elsewhere. The answer to domestic radicalization, then, turns out to be more freedom, not less.

Likewise, though, with freedom comes responsibility. We need to be clear that we don’t plan to turn our societies inside out in order to make a disaffected minority more comfortable. The liberal values that lie at the heart of our society, on which our country is built, are not up for discussion. We can’t afford to be tolerant of intolerance, or to allow the implied threat of terrorism to let a minority (any minority) hold the rest of us to ransom.

The second threat is that of foreign fighters, and here the risk is that members of our own societies will join ISIS or al Qaeda, reinfiltrate back into our communities, and carry out attacks here. This threat is real, but we need to measure our response carefully lest we do more harm than good. I often hear people say “why do we need to intervene overseas? Let’s just pull up the drawbridge, take defensive measures to protect ourselves against domestic terrorism, and leave it at that.”

 I’m afraid that approach doesn’t really work. In the first place, there is no drawbridge. Australia is an open society, connected with the rest of the world, and our freedom and prosperity depends on maintaining that openness. Secondly, we need to be clear about what truly effective “defensive measures” would look like. These might include mass surveillance, collection of personal data, suppression of dissent, limits on free discussion, tracking of individuals on suspicion, detention without trial, travel and financial restrictions, and a pervasive police and security presence including fortified checkpoints in public places, heavily armed police and gun-carrying intelligence services with the power of arrest or to use lethal force. Since 9/11, many western countries have moved well on the way to some of these things in the name of protecting ourselves against terrorism. We may destroy our free and open society in order to save it: a fully protected society looks a lot like a police state.

 There’s a stark trade-off here. To put it one way, how many terrorist attacks, bombings or assassinations are we prepared to accept as the price of preserving our freedom? Conversely, how much privacy, freedom and civil liberty are we prepared to surrender in order to prevent those attacks? You can’t have your cake and eat it too. In a democracy, this is a decision that only the people can make. Technocrats—especially security professionals whose budget and advancement depend on the outcome, or politicians who know they will shoulder the blame for any attack—can’t be allowed to decide this for us. At the same time, if society decides a certain level of risk is acceptable, we can’t go back and retrospectively change our minds after the event, retroactively punishing security officials or political leaders for risk-management decisions we made as a society. What we need is a public, informed debate on this set of trade-offs, along with safeguards to protect ourselves and against unintended consequences.

 The third threat—the effect on regional terrorist groups—is something that Australia has done well since 9/11, and where current policy seems pretty well calibrated. Assistance to regional partners, information sharing, cooperation on regional security preparedness, and joint investigation when incidents occur, are all things that have been in place since 2003, after the first Bali bombing, and they have largely been effective in our region. We need to think about widening that regional network, and about how to react to increased threats, but in general terms I think we have those settings about right.

 The final threat—the destabilizing effect of ISIS in the Middle East and North Africa—is the one against which our troops are currently engaged in Iraq. To me, the logic of this is extremely clear. We’ve already talked about how attractive ISIS is to disaffected elements within our own society. It has an appeal precisely because of what seems to be an unbroken string of military victories, because it seems t successful, and it offers people the chance to share in that success and significance. We can turn our society upside down in order to deal with the threat from this side, or we can go to where ISIS is—currently, the Middle East and parts of North Africa—and inflict damage on the group that takes the shine off of it, shows people it can be defeated, and emphasizes that joining ISIS is a fool’s errand, it’s pretty dangerous over there, and you might not make it back. If we want to limit the restrictions to our freedom in this country, and relax those restrictions before they become permanent, we MUST deal with ISIS where it currently is.

 I am emphatically NOT talking about reinvading and reoccupying Iraq—that was a disaster the first time around, and doing it again wouldn’t make it any better. I’m also not talking a campaign destroy Assad militarily. I’m talking about a targeted effort using a combination of air power, special operations, military assistance and a limited number of combat troops to destroy the capacity of ISIS, break up the state it’s creating, encourage local opposition to take it down, and put enough pressure on Assad to force a negotiated settlement to the Syrian civil war, one in which secular democracy, with international support, plays a key role.

 I want to end with two concluding observations. The first is to re-emphasize something that I, and others, have been saying ever since 9/11, namely that this is a long war, a multi-generational struggle between two fundamentally opposed sets of values. It has already gone on for half a century, and it has just as long to run.

 One mistake we made after 9/11 was to focus too narrowly on al Qaeda, as if killing senior leaders equated to defeating the organization, and as if defeating al Qaeda equated to ending the terrorist threat. Let’s not make the same mistake again with ISIS. We will defeat ISIS, I have absolutely no doubt about that. But if we don’t also think more broadly, across all four of those threat categories, we’ll find ourselves back here again in another few years. Worse than that, al Qaeda hasn’t gone away, it’s eclipsed but far from defeated, and there’s every possibility it will compete with, or even partner with, the remnants of ISIS in the next phase of this long conflict.

 If we want to succeed in that conflict, we MUST find ways to deal with the threat that are cheap enough, non-intrusive enough, and sustainable enough, that we can maintain them essentially indefinitely, without destroying the free society we seek to protect.

And that’s my final point. I’ve spent a lot of time tonight speaking about what we’re fighting against, the enemy’s ideology and strategy. But let’s remember what we’re fighting for, those values on which our society is founded, and on which—whatever else we might disagree on—we have wide consensus.

 We believe in individual freedom, and the personal responsibility that comes with that. We believe in the pursuit of happiness, the sanctity of human life, in a secular state whose authority derives from consent of the governed, and whose purpose is to serve the needs of its citizens. We believe in a free market economy, as tempered by appropriate regulation, and in the rule of law as established by human society. We believe in respect for the rights of others, in gender equality including women’s autonomy, reproductive freedom, and freedom of sexual relations between consenting adults. We believe in social justice based on equality of opportunity and access, and in human progress through innovation and creativity.

 Yes, we disagree among ourselves on how to balance these values, and on what form they should take, and on their relative priority. But let’s recognize how utterly, and unalterably foreign these beliefs are to salafi-jihadists like al Qaeda, ISIS, or any of their fellow travellers, including even those who don’t actively use violence. Intolerance of difference, religion as a total explanation for all aspects of life, communal over individual purpose, the imposition of beliefs on others by force, the subjugation and oppression of women, a cult of death perpetrated by a hyperviolent nihilistic band of exterminators, a theocratic state whose authority derives from Allah rather than from its people, a non-rational cult of authority, intolerance of sexual or gender freedom, hostility to innovation and progress, and a return to the supposedly righteous ways of the seventh century.

 ISIS and groups like it are horrendous, but they’re not unique: in some ways, they’re just the latest in a long line of ideological enemies of liberal democracy, foes of the enlightenment that go back to 18th century Absolutist monarchism, Clericalism, and Authoritarianism, to 19th century ideas like Slavophilism and Communism, and to 20th century movements like the Nazi racial community of blood and soil, Fascism, Japanese militarism, or Stalinism. Today’s threat will go the way of those historical threats, I have no doubt about that—but it won’t happen without effort from all of us, a conscious effort to preserve our freedoms here at home, and to extend those freedoms to ALL members of our society, even as we defend them abroad.

http://www.cis.org.au/publications/speeches/article/5381-what-are-we-fighting-for-islamism-and-the-threat-to-liberal-values

 David John Kilcullen is an Australian author, strategist and counterinsurgency expert and is currently the non-executive Chairman of Caerus Associates, a strategy and design consulting firm that he founded. From 2005 to 2006, he was Chief Strategist in the Office of the Coordinator for Counterterrorism at the U.S. State Department. Kilcullen was a senior counter-insurgency advisor to General David Petraeus in 2007 and 2008, where he helped design and monitor the Iraq War troop surge, and was then a special advisor for counter-insurgency to Secretary of State Condoleezza Rice. He has has been a Senior Fellow of the Center for a New American Security, and an Adjunct Professor at the Paul H. Nitze School of Advanced International Studies at Johns Hopkins University. He has written three books: The Accidental Guerrilla, Counterinsurgency, and Out of the Mountains.