Bob Dylan’s 116th Dream – a Jerusalem reverie

The Kushner Peace Plan, the long awaited solution to the seventy year old – no, century old – conflict between Israelis and Palestinians is, so we are informed via leaks and leading articles (see those at the end of this post), is about to finally be plonked down on the rickety and sloping negotiating table.

What President Trump has dubbed “the deal of the century” – presumably the now twenty years gone by 21st Century – has been developed, with varying degrees of involvement and disdain from both Israel and the the Palestinians, and from several significant others, including the US’ exclusively autocratic and repressive Arab allies. But the primary architects have been presidential adviser Jared Kushner, special envoy Jason Greenblatt, and US ambassador to Israel David Friedman.

Whether this bird can fly is a subject for much current discussion and conjecture in mainstream and left of mainstream media; and we really can’t predict what will happen at this point in time.

But, if indeed we did need a person with Jewish genes to nudge the Israelis and the Arabs to realize peace in the Holy Land, then maybe Trump should have dispatched the Bobster to the Middle East instead of his ingenue and arguably disingenuous businessman son-in-law Jared Kushner and JK’s highly partisan, blinkered and thus discredited amigos.

You gotta serve somebody

Bob Dylan once sang “… there’s no success like failure, and failure is no success at all”. He also crooned: “it ain’t dark yet, but it’s getting there”. And to complete a trifecta of wisdom: “you don’t need a weatherman to know which way the wind blows”.

He has even worked out the Palestinians cannot be pushed to the negotiating table by the US and it’s corrupt, brutal Arab allies: “So many roads, so much at stake. So many dead ends, I’m at the edge of the lake. Sometimes I wonder what it’s gonna take to find dignity”.

And few could match Bob’s credentials for the gig. How’s this for resumé:

“I’ve stumbled on the side of twelve misty mountains. I’ve walked and I’ve crawled on six crooked highways. I’ve stepped in the middle of seven sad forests. I’ve been out in front of a dozen dead oceans. I’ve been ten thousand miles in the mouth of a graveyard”.

And what will you do now, Mr Dylan?

“I’ll walk to the depths of the deepest black forest where the people are many and their hands are all empty, where the pellets of poison are flooding their waters, where the home in the valley meets the damp dirty prison, where the executioner’s face is always well-hidden, where hunger is ugly, where souls are forgotten, where black is the color, where none is the number”.

And then?

“… I’ll tell it and think it and speak it and breathe it, and reflect it from the mountain so all souls can see it. And I’ll stand on on the water until I start sinkin’, but I’ll know my song well before I start singin’”.

And so, there’s Bob “flashing for the warriors whose strength is not to fight, flashing for the refugees on the unarmed road of flight, an’ for each an’ ev’ry underdog soldier in the night”.

He’s “tolling for the rebel, tolling for the rake, tolling for the luckless, the abandoned an’ forsaked, tolling for the outcast, burnin’ constantly at stake … tolling for the searching ones, on their speechless, seeking trail, for the lonesome-hearted lovers with too personal a tale, an’ for each unharmful, gentle soul misplaced inside a jail”.

And yes, “he’s tolling for the aching whose wounds cannot be nursed, for the countless confused, accused, misused, strung-out ones an’ worse, an’ for every hung-up person in the whole wide universe” …

But the question remains, will Palestinian youth, wild at heart and wired to the world, be “wishin’ and hopin’, and thinkin’ and prayin’”, to quote another zeitgeist philosopher, that one day they’ll be able to “gaze upon the chimes of freedom flashing”.

And will Israelis, with their weapons, walls and wire, their soldier boys and girls, and two millenia of yearning for for a place of greater safety, no longer be “condemned to drift or else be kept from drifting”.

The answer, my friend, is blowin’ in the wind ….

See also, in In That Howling Infinite, A Middle East Miscellany  

Some FaceBook background

I’m finding The Independent’s Middle East correspondent Bel Trew’s reportst very worthwhile and insightful, alongside those of her colleagues Robert Fisk and Patrick Cockburn. Here is Bel’s take on the long awaited Kushner “Plan”, so succinctly encapsulated by Fisk himself:

‘How many times can you fit a South Sea Bubble into a Bermuda Triangle?’

He continued, in fine form:

“Trump’s fey and vain son-in-law, a supporter of Israel’s colonial expansion on Arab land, set off with Trump’s “special representative to the peace process” Jason Greenblatt (who says “West Bank settlements are not an obstacle to peace”) to work out the economic underpinning of Trump’s “deal of the century” …

… Kushner recently went to visit some Muslim killer-states, some of them with very nasty and tyrannical leaders – Saudi Arabia and Turkey among them – to chat about the “economic dimension” of this mythical deal. Middle East leaders may be murderers with lots of torturers to help them stay in power, but they are not entirely stupid. It’s clear that Kushner and Greenblatt need lots and lots of cash to prop up their plans for the final destruction of Palestinian statehood – we are talking in billions – and the Arab leaders they met did not hear anything about the political “dimension” of Trump’s “deal”. Because presumably there isn’t one …

… This very vagueness is amazing, because the Kushner-Greenblatt fandango was in fact a very historic event. It was unprecedented as well as bizarre, unequalled in recent Arab history for its temerity as well as its outrageous assumption … this was the first time in modern Arab history – indeed modern Muslim history – that America has constructed and prepared a bribe BEFORE the acquiescence of those who are supposed to take the money; before actually telling the Palestinians and other Arabs what they are supposed to do in order to get their hands on the loot”.

Read Bel Trew’s article here; and Robert Fisk’s, here.

 

Songs to drive the cold winter away

I am not one who makes much of the festive season, but inspired by the example of my favourite blog, Thom Hickey’s Immortal Juke Box, here are five favourite Christmas songs. No Neil Diamond or Mariah Carey here.

Five

The King, sung here by Canadians Loreena McKennitt and Cyril Smith, from Loreena’s Christmas album To Drive the Cold Winter Away, hails from a long tradition of “Wren King” songs. The king of the title is the wee wren, “the king of all birds”, as many old songs tell it. Through December until Twelfth Night (the sixth of January), it was common among Celtic-speakers in Brittany, Wales, Manx, Scotland, and Ireland for children and adults to cruise their neighbourhoods cadging food, money or booze in return for seeing a Wren that they had captured. This particular “King Wren” song dates from the eighteenth century, although the heavy weaponry was added in the nineteenth.

Health, love and peace be all here in this place
By your leave we shall sing, concerning our King
Our King is well-dressed in silks of the best
In ribbons so rare no king can compare
We have travelled many miles over hedges and stiles
In search of our King unto you we bring.
We have powder and shot to conquer the lot
We have cannon and ball to conquer them all.
Old Christmas is past, twelve tide is the last
And we bid you adieu, great joy to the new

Four

Of all the trees that are in the wood, the holly bears the crown.  Northumbrian Kate Rusby’s rendering of the old English carol The Holly and the Ivy is gorgeous. I reblogged Thom Hickey’s tribute to this lovely song earlier this month. It is worth another look and listen. The lyrics are so bucolic, so timeless:

The rising of the sun
The running of the deer
The playing of the merry organ
Sweet singing in the choir

Three

Loreena sings a lovely version of The Wexford Carol on her Christmas album. But Christmas songs don’t get much more beautiful than this beautiful version by American bluegrass diva Ali Krauss and cellist virtuoso Yo Yo Ma. The carol is believed to have originated in twelfth century Ireland in my mother’s home town of Inis Córthaidh.

Two

In 1961, Dusty Springfield was but a young lass, but even back then, she had a fabulous voice! I was twelve years old and this was the first time I’d heard the Springfields, the Americanesque folk trio founded by her brother Tom. It was the beginning of unrequited puppy-love that ended when I heard the Bobster’s Love Minus Zero No Limit – see my reverie What’s Bob Got to Do With It?  Dusty went on to become one of the greatest soul singers of all time, and Tom gave the world The Seekers. He adapted Bambino from a traditional Italian carol, just as he was later to transform a Russian folk-song into The Carnival is Over.

Santo natale bambino mio…
To you and all mankind,
To you and all mankind, maybe,
And from strife we shall be free.

One

It’s been voted the best Christmas song of all time – in the U.K, that is, because Americans don’t get it, as The Independent discovered – and, yes, it’s my number one because it IS the best Christmas song of all time. And yet, it seems, the “bah humbug!” straighteners and virtue signallers are out to get it, as reported recently by Aussie writer Mark Mordue: Sanitize Clause would rob a Christmas ballad of its soul.

The irascible, untuneful, dentally-disadvantaged Shane McGowan and his hot ceilidh band hit the big time with this “Christmas Eve in the drunk tank” shanty, wonderfully aided and abetted by the gorgeous and doomed Kirsty MacColl, who could’ve been famous but for a rich Mexican in a speedboat. The repartee between these loser-lovers is up there with Burton and Taylor:

I could have been someone
Well so could anyone
You took my dreams from me
When I first found you…

You’re a bum
You’re a punk
You’re an old slut on junk
You scumbag, you maggot
You cheap lousy faggot
Happy Christmas your arse
I pray God it’s our last

When it comes to a Christmas song, how low can you Go? And, as the band kicks in with the accordion and pipes, how high can you fly?

Happy Christmas.

Still tangled up in Bob

Bob Dylan is currently criss-crossing Australia on yet another circuit of his globe-trotting, decades-long Never Ending Tour. He played Sydney’s gorgeous art deco State Theatre the other night, at oure one-time local venu, the small but venerable Enmore Theatre in Newtown, to acclaim from fans young and old.

Veteran Australian folk music critic Bruce Elder wrote somewhat underwhelmingly: “… given the inevitable limitations (his voice is an ageing, husky, adenoidal instrument; he doesn’t talk to the audience; he always offers new interpretations of his old material; every song was delivered from behind his piano; he never tries to establish a rapport with his audience) this was a fascinating stroll through the “great American songbook” via an eclectic reinterpretation of twenty of his songs”. But friends of mine were much more enthusiastic. Stephane wrote me: “I thought of you last night. The show was great, it was fantastic to see him (he is still in good shape at 77!!).  We even saw him smiling and dancing a bit at some stage on a fantastic version of “Gotta serve somebody”. Charles messaged: “It was really, really good. He was in top form. His voice sounded better than it has for quite a while. He played only piano but that with gusto and energy – and sometimes tenderness – throughout. The band cooked and arrangements were brilliantly re-imagined bringing new focus to the lyrics “. And this from Llew: “Started with It Aint Me Babe and Ballad of a Thin Man, so I was happy no matter what else happened. He did an encore of Blowin’ in the Wind and Don’t Think Twice. Not the old versions of course. He never said a word to the crowd”.

At a Bob Dylan concert – and I’ve been to many – we hear what we wish to hear, filtered through the memory of how we heard him all those years ago when we were young and idealistic and our world was new. To this day, I can never get enough of Bob – in all of his many guises. I listen to at least one or two of his songs every week and always discover something I hadn’t heard before. He has been a constant soundtrack to my ever-evolving, often revolving sense and sensibility. I wish that I’d been there in Newtown on Sunday night.

Bob in Newtown

Meanwhile, I have recently read classics professor Richard F Thomas’ scholarly frolic Why Dylan Matters. It is an entertaining and informative if ponderous and overwrought exegesis of the Bobster’s interaction with and intertextualizing (there’s a nice, fresh word for us all) of the old Greek and Roman poets and playwrights, and also poems, plays and folk songs of later vintage, including Rimbaud, of course, and Robbie Burns, and the hunter-collectors Cecil Sharp, Alan Lomax and the eccentric Harry Smith’s encyclopedic Anthology of American Folk Music so well analyzed in Greil Marcus’ insightfull Invisible Republic – Bob Dylan’s Basement Tapes.

And then, last night, by chance I watched the Todd Hayes’s 2007 film I’m Not There, an imaginative and at times surreal biopic inspired by Bob Dylan’s life and music, in which six actors depict different facets of Dylan’s public persona. I first saw the film when it was release and recall being a tad disappointed at the time and unsatisfied – although I did  think that Cate Blanchett was fabulous as electric Bob.

Second time around, however, thought it a marvelous film full of allusions and illusions, facts and fictions, follies and fantasies. The selection of songs was superb, particularly Memphis Blues Again during the many railroad sequences, Ballad of a Thin Man in a smokey Blonde on Blonde cabaret, and The Man in the Dark Black Coat as the leitmotif for the Billy the Kid parable. The mix of extracts from interviews, chronicles, and other stuff was fascinating, and with the lyrics of the songs, demonstrate just what a gifted poet and songwriter Dylan was and is – which is the message Thomas gives in his professorial take on the man.

Cate was, as before, peerless. A great choice if a daring one on the producer’s part.  She has the voice, the gestures, the body language down to a tee. She got a global globe award for that, and an Oscar nomination. Ben Whishaw as French poet Arthur Rimbaud is also very good, as is gorgeous Frenchie Charlotte Gainsbourg as Susie/Sara. And, much to my surprise, Richard Gere was good as the aging Billy the Kid (he got away after Pat Garrett done him in).

The weirdest thing is that just that morning, I was reading the lyrics to Tombstone Blues. And the second song up in I’m Not There was Tombstone Blues, sung by the late Richie Havens and a  little Marcus Carl Franklin who goes by the name of Woody. They didn’t sing the best verses, but there is a cut, later on, to a  Vietnam era President Johnson saying “the sun is not yellow, it’s chicken”. How about that?

With Bob Dylan once more on our fair shores, critic and author Peter Craven explains how Dylan’s “way with words helped change our times”.

It is reproduced below to surmount News Corp’s paywall.


Bob Dylan: rock poet’s way with words helped to change our times

Peter Craven, The Australian, 11th August 2018

For a lot of people who were young in the 1960s and starting to think of themselves as adults, Bob Dylan was a kind of god. And the funny thing is that this image of him as a sort of dynamised genius, a cross between Shakespeare and Marlon Brando, has never really gone away. We thought of him as a great songwriter who was also a great performer and, in a thrilling way, a great poet. And somehow this atmosphere of awe remains.

Dylan released what is probably his greatest album, Blonde on Blonde, in mid-1966 — 52 years ago — yet on his present Australian tour (his first was, you guessed it, in 1966) a lot of bright young kids, millennials aged 22 or so, who are a bit bored with Shakespeare and a bit vague about Brando, will be there along with contingents of their parents or grandparents.

Rock music is partly a domain of classic fashion and no one is going to shift Dylan’s status because, in its contemporary aspect, Dylan created it. As he said to Keith Richards, that old villain of the Rolling Stones, “I could’ve written Satisfaction but you couldn’t have written Desolation Row.” Is that why they gave him the Nobel Prize in Literature two years ago? The fact he could write a 12-minute rock song that could include lines such as:

And Ezra Pound and TS Eliot
Fighting in the captain’s tower
While calypso singers laugh at them
And fishermen hold flowers
Between the windows of the sea
Where lovely mermaids flow
And nobody has to think too much
About Desolation Row

Is it that with Dylan, and especially the Dylan of those great records when the singer went electric (though Desolation Row is plucked out on an acoustic guitar with only the lamentation of the harmonica by way of accompaniment), rock music had thrown up a figure with the courage to trail the greatest artistic pretensions like a cloak?

Think of those mermaids in this long, deliberate monstrosity of a song, so lame with the limitations of musical talent and so grand and sepulchral in the way it overcomes them. Do the mermaids deliberately invoke TS Eliot’s Prufrock (“I have heard the mermaids singing, each to each. / I do not think that they will sing to me.”)?

Who knows? You could almost say who cares, as the logic of Desolation Row is annihilating because — whether by design or accident — it’s a pop-art replica of Eliot’s The Waste Land. It’s as if Dylan has revised and rewritten Eliot’s poem and turned it into his own.

All of which is weird beyond belief. Dylan is the singer-songwriter with the highest reputation in the history of rock music, if not the whole of popular music, yet this reputation depends pretty absolutely on a few hours of music that he wrote in the 60s — between his second LP, The Freewheelin’ Bob Dylan, in 1963 and John Wesley Harding in 1967, where he is already tending towards lean meditations on the bare bones of country music.

The only other album for which the very highest claims continue to be made is Blood on the Tracks,which dates from 1975 and is venerated by many enthusiasts, but which to the diehards sounds a bit like Dylan imitating himself, whatever claims you make for songs such as Tangled Up in Blue and Idiot Wind, and however endearing it is to hear Dylan throw off lines like “Relationships have all been bad / Mine’ve been like Verlaine’s and Rimbaud”.

You can make a case that Dylan is very like Rimbaud — the French teenager who wrote some of the greatest poetry of the later 19th century — not in his relationships but in his relation to language. Like the French adolescent prodigy he took the poetic diction of our tradition — in its further reach, Western civilisation — and remade it in his own image.

So, in one way he’s like Rimbaud because he blazed so young, so briefly and so brilliantly, and lived to outlive his genius. Though it’s odd in a way to think that with Dylan, as with the casualties of rock 50 years ago (such as Jim Morrison, Janis Joplin and Jimi Hendrix), the reputation depends on the early work.

Then again, that’s some kind of norm, isn’t it? Think of how much the Rolling Stones trade on the vigour of what they wrote 50 or more years ago.

The 60s were when popular music upped its ante. Philosopher Raimond Gaita said to me once that before Dylan, anyone at a university was expected to educate themselves in classical music, according to their limits, but afterwards not. It helped of course that Dylan burst on the world in the early 60s with songs such as Blowin’ in the Wind, so that he’s still sometimes thought of as a folk singer and a protest singer.

Poet Robert Lowell, who thought Dylan wrote some great lines though not sustained poems, said he had “a Caruso voice”, and it’s true that he had a voice — and in some sense still does — of such overpowering individuality that it haunts or harrows the soul.

He created his early music by sounding the depths of what he could learn from Woody Guthrie and the blues, but he gave it a grave monumentality that was at the same time radically individual — it sounded like nothing on earth, it didn’t sound like anything that was ordinarily called singing — yet it seemed, too, to speak for the folk, so that when he says in With God on Our Side “The country I come from / Is called the Midwest”, you believe him.

In fact, as “the unwashed phenomenon, the original vagabond” — as Joan Baez, his one-time lover and very beautiful vocal interpreter once called him — Dylan crisscrosses the US. But in his work from the mid-60s — in particular in the great songs on Blonde on Blonde such as Visions of Johanna (“Ain’t it just like the night to play tricks when you’re tryin’ to be so quiet? / We sit here stranded, though we’re all doin’ our best to deny it”) — he sings in a New York accent.

It’s the voice of the greatest of urban metropolises that enunciates that great line from Just Like a Woman — “I was hungry and it was your world”.

How could he dare to write with that kind of plainness and that kind of grandeur? And how could he create such an opalescent, allusive and elusive thing as the side-long, 11-minute Sad-Eyed Lady of the Lowlands? Perhaps it’s an image of the eternally mourning woman, widowed by life: “And your magazine-husband who one day just had to go” — as much a transcendence of the popular culture it plays on as the very greatest of Warhol.

And that’s the trick with Dylan: he inhabits the form of an idiom he is re-creating. He sounds grounded in the deepest folk tradition yet the inimitable voice is the voice of something that a lifetime ago was a form of rock ’n’ roll. Think of the stately ravaged opening of Just Like Tom Thumb’s Blues:“When you’re lost in the rain in Juarez / And it’s Easter time, too / And your gravity fails / And negativity don’t pull you through …” It sounds pretentious to say this sounds like Baudelaire, but it does.

Dylan’s idiom — a language that was at once streetwise and capable of literary reference — also had extraordinary emotional range. Think of the blistering invective of Positively 4th Street and then place it against the lyricism of Love Minus Zero/No Limit (“My love she speaks like silence / Without ideals or violence / She doesn’t have to say she’s faithful / Yet she’s true, like ice, like fire …”) There’s a dazzling simplicity in that but the juxtaposition of “ideals” and “violence” is completely new in the world of popular music.

The times were a-changing and there’s a symbolic sense in which Dylan changed them. Quite early on he could write a song such as The Lonesome Death of Hattie Carroll that had as its refrain “But you who philosophise disgrace and criticise all fears” where “philosophise” is used in the sense of rationalise but the upshot has a Shakespearean effect; it’s as if Dylan bypasses ordinary literary language to create a kind of sung poetry shorn of artifice.

And it’s there in the most lushly romantic and dreamy of Dylan’s songs, Mr Tambourine Man, perhaps the clearest example of why he is such a great songwriter, why he was once such a dazzling singer and why he is a poet.

In Ballad of a Thin Man Dylan derides someone who has been through all of F. Scott Fitzgerald’s books and is described as having discussed lepers and crooks with great lawyers.

I once discussed Dylan with one of the world’s great literary critics, Christopher Ricks — the man who did the knockout edition of Laurence Sterne’s Tristram Shandy and who wrote the knockdown defence of Milton against his modernist critics. Ricks is one of Dylan’s most formidable admirers. He believes that when you put Dylan’s words together with music, he is an extraordinary maker of worlds out of words.

Dylan created for the rock music of the baby boomer generation a poetic language equal to its hubris in thinking it could discover a new heaven and a new earth, that it could encompass a radical new politics and some kind of derangement of the senses that might open up a new spirituality.

It may be that all these things were delusions or potential traps, but the language he used to shape and shade them has outlasted its occasion. That’s why it speaks to the millennials. That’s why they’ll be there in droves to see the grand old man of rock who is also so much more.

Dylan changed the language in which we think and feel.

Decades ago I gave up rock music and tried my way with classical music. But Dylan’s words and music have never left my mind.

When we shore up the ruins of what we have made Western civilisation, how could he not have a high and mighty place? Who do we think could compare with him?

I’ve read a lot about Dylan, and Peter Craven’s article is excellent, but the thing is, no words seem aver to come anywhere near accurately describing what seems to be a very personal and unique relationship / interpretation each fan of Dylan has with his work.


Here are some of the comments posted in respnse to Craven’s piece:

You make sweeping statements of Dylan’s relevance and output in the context of “decades ago I gave up rock music”. Making your critique of the greatest singer/songwriter’s career output rather shallow. “Tried my way with classical music” – good for you! In my experience, and in my own case, Dylan goes deep and has produced extraordinary work over decades, because of his singing and phrasing. The emotion, uniqueness and genius of his singing. Unfortunately his live voice has been off badly, imo, for about a decade now. The man is genius but it isn’t because of the songwriting. He should never have received a Nobel for Lit, that’s says more about the self important (why do we give it so much attention?) Nobel Academy than anything else. Dylan is rock n rolls greatest and most influential singer songwriter by a million miles. He is steep in rock, country, blues, folk and Americana. How predictable we get another tired article in a broadsheet newspaper misunderstandings & representing Dylan and from someone who “gave up Rock decades ago”. Why give up rock? And gave it up for classical, how worthy!!

He also wrote two of the most vicious put- down songs ever: “Like a Rolling Stone” and “Positively Fourth Street”.

Have seen him three times – each time was different. Would see him again. Love the fact that he constantly reinvents his classics and always has a sensational group of musicians with him. This concert is no exception – his piano playing is standout.

Dylan, in centuries to come, will not be so much seen as a singer song writer, but a written history of humans of the western world of the 20th century. Sent from the future to document and capture a deep understanding of the soul of humanity.

You get the impression of Dylan as an almost unsurpassed songwriter but reluctant performer, due to the brilliant cover versions of his songs. Think of Hendrix with All Along the Watchtower, Peter Paul and Mary with Too Much of Nothing (and Blowin’ in the Wind), Manfred Mann with Just Like a Woman and You Angel You, Bryan Ferry with A Hard Rain’s Gonna Fall, and UB40 with I’ll Be Your Baby Tonight.

l And you might add Simon and Garfunkel’s repertoire…The Sounds of Silence, Bridge Over Troubled Waters, and more thought-generating songs.

@Peter “reluctant performer”!!. No one in the history of rock n roll anywhere near is level of fame and influence has performed as many times. He is engaged in the “Never Ending Tour” that has been going essentially non-stop for two decades! Performance is the absolute essence of who and what Dylan is.

At 76 years of age I loved the good music of the 60s, 70s, and 80s. Occasionally I would hear the radio commentator, mention the name Bob Dylan but that was it. Never knew his songs or was ever interested in them.

He’s my favourite songwriter of all time and undoubtedly a genius, but I gave up on his concerts years ago. There seemed little point when he’d be half way into a song before I could actually (sort of) recognise it. I’ll stick to my record collection – and there are quite a few stinkers in there too – and memories of the great concerts.

I don’t agree with much that Peter Fitzsimmons says, but he called Dylan an impressionist and I think that is the best description of him.

No mention of “Lay lady Lay”. my favourite love song. ” whatever colours you have in your mind, I’ll show them to you, you’ll see them shine” Of course ” lay across my big brass bed” is not too shabby either.

His concerts have been unattendable for 30 years. Still a genius.

He may well be a good poet and songwriter. I agree with Bob Rogers, he should leave performing to others.

f only van Gogh painted like da Vinci, imagine how much better his paintings would be!


Things fall apart, the centre cannot hold – 1968 revisited

The serpentine storylines of Nathan Hill’s astonishing debut novel The Nix converge on the chaos and carnage of the Democratic National Convention in Chicago in August 1968, when Hubert Humphrey was selected as candidate to run against Richard Nixon that fall, and Mayor Daley set the city’s finest upon the thousands who had gathered to protest the Vietnam War, racial injustice, and other social and political ills in what contemporary reports described as a “police riot”.

Hill sets the scene beautifully…

“The day before the riots the weather turned. The grip of the Chicago summer loosened and the air was spring-like and agreeable…In the very early dawn there appeared on the ground a thin, slick dew. The world was alive and lubricated. It felt hopeful, optimistic, and therefore disallowable as the city prepared for battle, as National Guard troops arrived by the thousands on green flatbed trucks, as police cleaned their gas masks and guns, as demonstrators practiced evasion and self-defense techniques and assembled various projectiles to lob at the cops. There was a feeling among them all that so great a conflict deserved an nastier day. Their hatred should ignite the air, they thought. Who could feel revolutionary when the sun shined pleasantly on one’s face. The city instead was full of desire. The day before the greatest, most spectacular, most violent protest of 1968, the city was saturated with want”.

Indeed, for most of that year, the western world was full of unfulfilled desires and unsatisfied wants.

In this, the third in a series of posts recalling the tumultuous events of 1968, we review a year that breathless commentators have dubbed “the year that changed America”, and, drawing an even longer bow, “the year that changed the world”. It was indeed a year of seismic social and political change, from the anti-Vietnam War and civil rights movements in America, to protests and revolutions in Europe, and famine in Africa. And as the year ended, Apollo 8 gave us our first view of our sad, blue planet from space.

It was indeed a great year to be alive, young and engaged – although a very great many endured grief, misery and pain, and met violent deaths. Yet, it is in our nature to imagine and indeed, re-imagine our salad days as the best of times and the worst of times. But looking back through our back pages, the year was perhaps no better or worse, no more significant or seminal than any year fore or aft. Like cars seen through the rear-vision mirror, memories always seem a lot closer and bigger. Recall the last verse of Bobby Goldsboro’s tear-jerker Honey, released that February: “…see the tree how big it’s grown. But friend it hasn’t been too long. It wasn’t big”. But we do, however, enhance our depth of perception, and accordingly, our understanding.

1968 conjures up a kaleidoscope of searing images apart from those of police clubbing demonstrators on the streets of Chicago.

A South Vietnamese general blowing out the brains of a Vietcong prisoner on a Saigon street during the Tet Offensive. The Reverend Andrew Young Jr. and his colleagues, on the balcony of the Lorraine Motel in Memphis standing next to the body of Martin Luther King Jr. and point to where the assassin’s bullet was fired. Students at Columbia University taking over campus buildings, only to be hauled away, battered and bloody by police. Parisian protesters hurling tear gas canisters back at the police. Robert Kennedy felled by Sirhan Sirhan in the basement at the Ambassador Hotel in Los Angeles. Soviet tanks rolling into Prague. Women dumping bras and girdles into a trash can on the boardwalk outside Atlantic City’s Miss America pageant. Protesters facing off against coppers and horses in a violent mêlée in front of the US embassy in London’s Grosvenor Square. Tommy Smith and John Carlos on the Olympic medalists’ platform in Mexico City, raising their black-gloved fists in the Black Panther Salute as second-placed Aussie Peter Norman stands tall and silent in solidarity (a stance which would earn him opprobrium in his still prejudiced and conservative homeland).

As young people in the UK, we viewed these scenes to an exciting and eclectic soundtrack of blues, rock and psychedelia as the pop music cavalcade of the ‘sixties rock ‘n rolled on.

The Beatles sang Hey Jude, and The Rolling Stones, Street Fighting Man, and Jimi Hendrix delivered simply the best-ever cover of a Bob Dylan song with his blistering, sinister All Along the Watchtower. Imagining we were Born To Be Wild, we were invited to get our motors running and head out on the highway, or else to “take the load off, take the load for free”. We could pointlessly ponder the mysterious meaningless of MacArthur Park, or just lay back in a hazy daze with the Hurdy Gurdy Man (a strange ditty that has enjoyed a brief comeback with the recent hippy, trippy Romans-versus-druids soap Britannia). Koo-koo-ka-choo, Mrs. Robinson!

Images and music aside, what was it really like to experience 1968?

Christopher Allen, in a piece in The Australian reviews an exhibition commemorating the events of 1968 at the National Library of Australia in Canberra. His is an original overview, advising caution when seeking signs and patterns in contemporary events. The past, as they say, is a foreign country – they see things differently there. “The signs 50 years ago  were alarming, hopeful or dispiriting, depending on your point of view, but above all conflicting, as are the signs today. We will one day know where events on the Korean peninsula or the latest phase of tensions in the Middle East are leading. The shadowy, seemingly fluid future, with its dramatically ­different possible alternatives, will have become the ossified, unchangeable past.

In an entertaining and upbeat piece in The Guardian, Hendrick Herzberg rebuts that cliched putdown of how people who remember the sixties weren’t really there, recounts his own adventures, and claims that “In a modest way, 1968 was the kind of year that pushes history in some unforeseen, astonishing direction – a gentler little brother to 1492, 1776, 1848, 1914, 1945, and 2001”. I would add 1789, 1939, and 1989 and 2011.  Check them out.

I too remember the ‘sixties, and I too was there, albeit not on the political, social or cultural front lines. But I was at Grosvenor Square, occupied the vice-chancellor’s offices, did drugs (soft, mind), dug Cream, read Oz and IT, and totally got into Hair, which opened in London that year. And today, I share Hetzberg’s reverie: “In 1968, the ‘sixties were almost over, but The Sixties have never fully gone away. For me, and no doubt for many others of my vintage, it’s hard to believe that half a century now separates us from that momentous, tumultuous year, and that 1968 is now as distant in time as 1918 – the year of the end of World War I, the consolidation of Bolshevik power in Russia, and the flu pandemic that killed 50 million people – was in 1968. Fifty years from now, it’ll be 2068. The ‘sixties again! I Can’t wait!”

In contrast, Tod Gitlin gazes through a glass darkly in a sober retrospective for The New York Review of Books: “When we fight over the meaning of the past, we are fighting over what, today, we choose to care about. In this way, the 1968 anniversaries stalk 2018, depicting scene after scene of revolt, horror and cruelty, of fervor aroused and things falling apart, and overall, the sense of a gathering storm of apocalypse, even revolution. Inevitably, the “iconic” images of the time feature scenes of brutality, rebellion, and tragedy”.

And indeed, the enduring historical memory of 1968 is one of a succession of seemingly disconnected conflicts and collisions, turmoil and turbulence, not only in the USA but around the world. Yet beneath the apparent chaos, Gitlin seems to suggest, there were patterns that can only be discerned with the benefit of hindsight or as visions from a great height – much like, perhaps, that iconic image of our blue planet.

“Public life seemed to become a sequence of ruptures, shocks, and detonations. Activists felt dazed, then exuberant, then dazed again; authorities felt rattled, panicky, even desperate. The world was in shards. What were for some intimations of a revolution at hand were, for exponents of law and order, eruptions of the intolerable. Whatever was valued appeared breakable, breaking, or broken”.

The pendulum was swinging away from the previous year’s Summer of Love into a darker place. The lyrics of Steppenwolf’s Magic Carpet Ride, released that September, seem, in retrospect, to describe the turning tide: “Last night I held Aladdin’s lamp, so I wished that I could stay, but before the thing could answer me, well, someone took the lamp away. I looked around, and a lousy candle’s all I found”. In November 1968, Jimi Hendrix sang: “Outside in the cold distance, a wildcat did growl. Two riders were approaching, and the wind began to howl”.

There lurked a new narrative, and this was one of backlash and counterrevolution. “What haunted America”, writes Gitlin, “was not the misty spectre of revolution but the solidifying spectre of reaction. As the right consolidated around an alliance of Christian evangelicals, racial backlashers, and plutocrats, the left was unable, or unwilling, to fuse its disparate sectors. The left was maladroit at achieving political power; it wasn’t even sure that was its goal”.

”This country is going so far to the right you won’t recognize it,” Nixon’s attorney general, John Mitchell, said in 1969. He spoke prematurely. And presciently. Fifty years on from this momentous year, all that is old is new again.


Read on and enjoy these articles and the accompanying pictures.

But first, a poignant memento of 1968 from the 1979 film version of the “tribal love-rock musical” (yep, that how it was marketed back in the day) Hair, which i saw in London in the fall of 1968.

And here are other posts in In That Howling Infinite with regard to the ‘sixties: Springtime in Paris – remembering May 1968Encounters with Enoch; Recalling the Mersey Poets; The Strange Death of Sam Cooke; Looking for LehrerShock of the Old – the glory days of prog rock; Window on a Gone World; Back in the day; The Incorrigible Optimists Club

London

Paris

Prague 

 

1968: Year of Counter-Revolution

Associates of Dr. Martin Luther King Jr., the slain civil rights leader lying on the motel balcony, pointing in the direction of the assassin, Memphis, Tennessee, April 4, 1968

Commemorations are the greeting cards that a sensation-soaked culture sends out to acknowledge that we, the living, were not born yesterday. So it is with this year’s media reassembly of 1968. What is hard to convey is the texture of shock and panic that seized the world a half-century ago. What is even harder to grasp is that the chief political victor of 1968 was the counter-revolution.

When we fight over the meaning of the past, we are fighting over what, today, we choose to care about. In this way, the 1968 anniversaries stalk 2018, depicting scene after scene of revolt, horror and cruelty, of fervor aroused and things falling apart, and overall, the sense of a gathering storm of apocalypse, even revolution. Inevitably, the “iconic” images of the time feature scenes of brutality, rebellion, and tragedy: a South Vietnamese general’s blowing out the brains of a prisoner on a Saigon street during the Tet Offensive; the Reverend Andrew Young Jr. and his colleagues, on the balcony of the Lorraine Motel in Memphis, next to the body of Martin Luther King Jr., pointing at where the assassin’s bullet had come from; demonstrators at Columbia taking over campus buildings, then hauled away, battered bloody by cops; Parisian protesters hurling tear gas canisters back at the police; Robert Kennedy felled by Sirhan Sirhan’s shots at the Ambassador Hotel;Soviet tanks rolling into Prague; police clubbing demonstrators at the Democratic National Convention in Chicago; women’s liberation activists dumping girdles, hair curlers, and bras (unburnt) in a trash can on the boardwalk outside Atlantic City’s Miss America pageant; Tommy Smith and John Carlos on the Olympic medalists’ platform in Mexico City, raising their black-gloved fists in defiance.
Helmeted police blocking antiwar protesters in Grant       Park, Democratic National Convention, Chicago, Aug 1

A more thorough survey would take note of social collisions that, however violently repressive, failed to register in America with the same supersaturated significance. For example: the killing of three students in Orangeburg, South Carolina, by highway patrol officers after the students protested segregation at a bowling alley (February 8); the near-deadly shooting of the German radical student leader Rudi Dutschke in Berlin (April 11); Chicago police battering a wholly nonviolent antiwar protest (April 27).

As for less bloody demonstrations, there were so many, so routinely, that TheNew York Times regularly grouped civil rights and antiwar stories on designated pages. Neither does this rundown of calamities take into account images that did not see the light of day until much later, like the color shots of the My Lai massacre (March 16), not published until late 1969—by which time they were almost expected. Or the images that never materialized at all, like the slaughter of hundreds of demonstrating students by troops in Mexico City (October 2).

A feminist protester at the Miss America beauty pageant, Atlantic City, New Jersey, September 7 

Images aside, what was it really like to experience 1968? Public life seemed to become a sequence of ruptures, shocks, and detonations. Activists felt dazed, then exuberant, then dazed again; authorities felt rattled, panicky, even desperate. The world was in shards. What were for some intimations of a revolution at hand were, for exponents of law and order, eruptions of the intolerable. Whatever was valued then appeared breakable, breaking, or broken.

The textureof these unceasing shocks was itself integral to what people felt as “the 1968 experience.” The sheer number, pace, volume, and intensity of the shocks, delivered worldwide to living room screens, made the world look and feel as though it was falling apart. It’s fair to say that if you weren’t destabilized, you weren’t paying attention. A sense of unending emergency overcame expectations of order, decorum, procedure. As the radical left dreamed of smashing the state, the radical right attacked the establishment for coddling young radicals and enabling their disorder. One person’s nightmare was another’s epiphany.

The familiar collages of 1968’s collisions do evoke the churning surfaces of events, reproducing the uncanny, off-balance feeling of 1968. But they fail to illuminate the meaning of events. If the texture of 1968 was chaos, underneath was a structure that today can be—and needs to be—seen more clearly.

Two Viet Cong captured during the Tet Offensive, one already dead, the other about to be executed by pistol shot, Vietnam, May 1968

The left was wildly guilty of misrecognition. Although most on the radical left thrilled to the prospect of some kind of revolution, “a new heaven and a new earth” (in the words of the Book of Revelation), the main story line was far closer to the opposite—a thrust toward retrogression that continues, though not on a straight line, into the present emergency. The New Deal era of reform fueled by a confidence that government could work for the common good was running out of gas. The glory years of the civil rights movement were over. The abominable Vietnam War, having put a torch to American ideals, would run for seven more years of indefensible killing.

The main new storyline was backlash. Even as President Nixon assumed a surprising role as environmental reformer, white supremacy regrouped. Frightened by campus uprisings, plutocrats upped their investments in “free market” think tanks, university programs, right-wing magazines, and other forms of propaganda. Oil shocks, inflation, and European and Japanese industrial revival would soon rattle American dominance. What haunted America was not the misty specter of revolution but the solidifying specter of reaction.

Even as established cultural authorities were defrocked, political authorities revived and entrenched themselves. In so many ways, the counterculture, however domesticated or “co-opted” in Herbert Marcuse’s term, became the culture. Within a few years, in public speech and imagery, in popular music and movies, on TV (All in the FamilyM*A*S*HTheMary Tyler Moore Show) and in the theater (HairOh! Calcutta!), profanity and obscenity taboos dissolved. Gays and feminists stepped forward, always resisted but rarely held back for long. It would subsequently be, as the gauchistes of May ’68 in Paris liked to say, forbidden to forbid.

In the realm of political power, though, for all the many subsequent social reforms, 1968 was more an end than a beginning. After les évènements in France in May came June’s parliamentary elections, sweeping General De Gaulle’s rightist party to power in a landslide victory. After the Prague Spring and the promise of “socialism with a human face,” the tanks of the Soviet-run Warsaw Pact overran Czechoslovakia. In Latin America, the Guevarist guerrilla trend was everywhere repulsed, to the benefit of the right. In the US, the “silent majority” roared. As the divided Democratic Party lay in ruins, Richard Nixon’s Southern strategy turned the Party of Lincoln into the heir to the Confederacy. As the right consolidated around an alliance of Christian evangelicals, racial backlashers, and plutocrats, the left was unable, or unwilling, to fuse its disparate sectors. The left was maladroit at achieving political power; it wasn’t even sure that was its goal.

Counter-revolutions, like their revolutionary bêtes noires, suffer reversals and take time to cohere. The post-1968 counter-revolution held the fort against a trinity of bogeymen: unruly dark-skinned people, uppity women, and an arrogant knowledge class. In 1968, it was not yet apparent how impressively the recoil could be parlayed into national power. “This country is going so far to the right you won’t recognize it,” Nixon’s attorney general, John Mitchell, said in 1969. He spoke prematurely.

1968: the year that changed America

Hendrick Herzberg, The Guardian, April 15, 2018

Where were you in the 1960s? And what were you? A toddler, a grade schooler, a teenager? A young adult? Were you already old enough to form your own memories? Or were you old enough but in the “if you can remember The Sixties you really weren’t there” category?

Of course, if you’re like most people, you were nowhere. You hadn’t been born yet. You didn’t exist. But wherever and whatever you were or weren’t, it’s a safe bet that you’ve heard about The Sixties – quite enough, maybe. Ad nauseam, maybe.

There is a continuing theological controversy among sixtiesologists concerning when The Sixties can properly be said to have begun and ended. Tuesday 8 November1960 – the day Senator John F Kennedy was elected president – has a pretty good claim to the beginning. Kennedy’s campaign slogan, which appeared on every campaign poster, had been LEADERSHIP FOR THE 60’s. Out with the dull, conformist, priggish, crewcut, Eisenhowerish Fifties! In with the dashing, exciting, daring, sexy, slightly longer-haired, Kennedyesque Sixties!

A darker view – the view I take – sets the clock of The Sixties ticking three years later. The assassination of President Kennedy was a crack in time. Like Sunday 7 December 1941; and like Tuesday 11 September 2001; Friday 22 November 1963 was “a date that will live in infamy”. And, like them, it was a day that is remembered in vivid detail by those who experienced it.

I was taking a noontime shower in my Harvard dorm room, having been as usual up till dawn getting out the college daily, the Crimson. I heard a faint, muffled radio news bulletin coming through the wall from the neighboring room. As I dried off, I turned on my own radio. I can still see the edge of the shower stall and the little bathroom window next to it. On the grass below, a girl was standing under a tree, weeping. The Crimson put out an extra that afternoon, but without my help. It felt too much like a schoolboy stunt. Rightly or wrongly, I didn’t want to play newspaperman. I didn’t want to be distracted from the communal grief all around me.

So The Sixties, in this conceit, began either in 1960 or, like Philip Larkin’s sexual intercourse, in 1963. And the ending? That too has long been a subject of debate. There are plenty of nominees, two of which may be considered the frontrunners. Like the beginnings, one is light and one is dark. The light one: Friday 9 August 1974, the day Richard Nixon resigned the presidency, freeing the nation from a quarter-century of having had him to kick around. The dark one: Altamont. Sunday 6 December 1969. Google it. Or see the movie.

It is possible to build a narrative around two currents of the year’s events, currents that melded and crisscrossed and fed off each other, to startling effect: the music, mostly a kaleidoscopic, wildly imaginative explosion of rock’n’roll; and the politics, mostly a politics of protest – protest against the Vietnam war, against racial injustice, and, more broadly, against what was experienced as the joyless, stultifying blandness of mainstream American life.

Those two currents, the music and the protests, washed over me as they did over millions of others. In 1966, a year out of college and a newly minted cub reporter for Newsweek, I was lucky enough to land in San Francisco. Something was happening there, and I found myself in a position to absorb it.

Jefferson Airplane pose for a portrait in San Francisco, 3 August 1968.
                              Jefferson Airplane  San Francisco, 3 August 1968. Photograph: AP
The scene, cultural and political, was quite something. A new kind of music – rooted in blues, rock, and electronica, and supercharged by psychedelia – was drawing motley-dressed weekend crowds to a couple of repurposed old dance halls, the Fillmore Auditorium and the Avalon Ballroom. For $2.50 you could spend hours listening and dancing to bands that were still unknown back east or down south in LA – bands still without record contracts but with wonderful names: Jefferson Airplane, the Grateful Dead, Big Brother and the Holding Company, Quicksilver Messenger Service – often paired with iconic bluesmen like Muddy Waters and James Cotton. The walls were mesmerizingly alive with rhythmically pulsating, ever-changing liquid projections. It was, in the patois of the moment, mind-blowing. For the gentle dreamers that Herb Caen, the San Francisco Chronicle’s gossip columnist, had dubbed hippies, the Fillmore and the Avalon were Carnegie Hall and the Philharmonic.

Like every young man of my generation, I had to reckon with the draft. I was against the war, of course, but I didn’t think I had the stomach to go to jail over it. I had zero desire to go to any more schools, graduate or otherwise. I was unmarried and childless. Canada was not my country, my country was the United States of America. I wasn’t physically or mentally ill and was too proud to fake it. And I wasn’t a conscientious objector. On the other hand, I didn’t want to get killed either. My solution was the US navy.

I got a haircut and reported to the naval base at Newport, Rhode Island, for three months of officer training. From there I asked to be sent to Vietnam, but it wasn’t like it sounds. Unless you were a flier (like John McCain, the future senator), a Seal (like Bob Kerrey, also a future senator) or a member of the Riverine Force (like John Kerry, a future senator, presidential nominee, and secretary of state), being a naval officer in Vietnam, especially a “public affairs” officer like me, posed very little physical risk. Instead, however, the navy, in its wisdom, assigned me to a desk job in lower Manhattan.

As the year rushed on, the pace of events grew ever more frenziedI stole away from the office whenever I could, and devoted the time to salving my conscience. I pitched in at the ramshackle headquarters of the War Resisters League. In March, after Robert Kennedy entered the presidential race, I took to hanging around his Manhattan headquarters, doing layouts and writing headlines for the Kennedy Current, the campaign’s weekly tabloid.

As the year rushed on, the pace of events grew ever more frenzied: the bloody shock of the Tet Offensive; the electoral abdication of President Lyndon Johnson; the assassination of Martin Luther King Jr and the riots that followed; the murder of Robert Kennedy; the chaotic, riotous Democratic convention in Chicago; Nixon’s hairsbreadth victory over Hubert Humphrey in November. And me? Well, at Christmastime I got the orders to Vietnam (as a “recreation officer” at the US base in Da Nang) I’d hoped for two years earlier. Only this time I didn’t want to go. My antiwar sentiments had hardened to the point that I decided I preferred jail to further military service, and I announced my intention to refuse the orders.

Riots in Chicago follow the assassination of Martin Luther King.
       Riots in Chicago follow the assassination of Martin Luther King.
Photograph: Lee Balterman/TimePix/Rex Features

But before I could achieve fame as a martyr for peace an unexpected medical difficulty developed: I had a wisdom tooth pulled, the wound bled for days, and when I was diagnosed with a (relatively mild) form of hemophilia, the navy quickly mustered me out. I had managed to have it both ways: veteran (kind of) and resister (in a way).

Why didn’t I think of that?

In 1968 the sixties were almost over, but The Sixties have never fully gone away. For me, and no doubt for many others of my vintage, it’s hard to believe that half a century now separates us from that momentous, tumultuous year, and that 1968 is now as distant in time as 1918 – the year of the end of World War I, the consolidation of Bolshevik power in Russia, and the flu pandemic that killed 50 million people – was in 1968. Fifty years from now, it’ll be 2068.

The Sixties again! I can’t wait!

This is an extract from the introduction to the 30th-anniversary edition of1968 in America: Music, Politics, Chaos, Counterculture, and the Shaping of a Generation by Charles Kaiser, published in the US by Grove Press on 17 April

Take a look back to our future

Christopher Allen, The Australian, June 23rd 2028

Many Cheers on the Founding of the Revolution Committee of Hubei Province, papercut poster (1968). All images from 1968: Changing Times exhibition, National Library of Australia

Many Cheers on the Founding of the Revolution Committee of Hubei Province, papercut poster (1968). All images from 1968: Changing Times exhibition, National Library of Australia

In one of the most famous stories from ­antiquity, Croesus, the proverbially rich king of sixth-century BC Lydia, in what is now Turkey, was disturbed by the rise of the Medes and the Persians on his eastern borders. Thinking it might be wise to crush these potential rivals before they became a serious threat, he consulted the oracle of Apollo at Delphi, plying it with gifts to ensure a favourable answer. The oracle replied that if he made war on the Persians, a great empire would be destroyed. Croesus accordingly gathered his ­armies and ­attacked, but he was defeated and taken prisoner by Cyrus the Great, founder of the Persian ­Empire.

The oracle had a reputation for accurate yet riddling answers. A half-century after these events, Heraclitus, one of the most brilliant Pre-Socratic thinkers and famous for enigmatic aphorisms, declared: “The lord whose oracle is at Delphi neither reveals nor conceals but sig­nifies.” It is up to us to read the sign he gives, and Croesus had fatally misconstrued that sign in his eagerness to hear what he wanted to hear.

The signs 50 years ago, in 1968, were alarming, hopeful or dispiriting, depending on your point of view, but above all conflicting, as are the signs today. We will one day know where events on the Korean peninsula or the latest phase of tensions in the Middle East are leading. The shadowy, seemingly fluid future, with its dramatically ­different possible alternatives, will have become the ossified, unchangeable past.

The political protests of May 1968 in Paris were among the most significant events of that year. Although partly emulating earlier student agitation in the US, the French protests were much broader in their implications. The term that the French use for this movement, la contest­ation, suggests its universal spirit of ­revolt and its nebulous sense of direction, if not nihilistic disorientation. It was a catastrophic time for many young people caught up in the hysteria and afterwards left to pick up the pieces of interrupted studies and broken careers, in an ambience of cynicism and disenchantment. Ever since the revolution of 1789, the French have been prone to political overexcitement, and throughout much of the 20th century ­communists continued to believe in their own kind of revolution in the same way Christians believe in the second coming.

The zealots thought 1968 heralded the end of days and the imminence of the dictatorship of the ­prole­tariat; but the grassroots movement, spreading from students to workers, was not supported by the Communist Party, which was still committed to a totalitarian and Stalinist model of ­central control. A few months later, a similar pattern evolved within the communist world: the opening up of Czechoslovakia to greater freedom, democracy and independence — the Prague Spring — was crushed in August when Soviet tanks invaded the country and ­occupied its capital.

The events of Paris and of Prague dealt a fatal blow to the credibility of communism in the West; the old left began slowly bleeding to death until its collapse with the fall of the ­Berlin Wall 21 years later. Thus May 1968, as in the story of Croesus, did indeed herald the fall of an ­empire, but not the one the student rioters thought they were going to bring down.

Much else happened in 1968, including the opening of the new National Library in ­Canberra, whose anniversary is the occasion for this exhibition. As we enter the exhibition, we are confronted by a wall of 21 tabloid bills, in the centre of which is one announcing the opening of the library. The remaining headlines sum up many other momentous events of the year, starting with the ­mysterious loss of prime minister Harold Holt, who dis­appeared, presumed drowned, while spearfishing off Portsea in December 1967.

America was shocked by two political assassinations: that of Martin Luther King in April and Robert Kennedy in June. Both events are covered in the exhibition by photographs, posters and copies of contemporary news magazines. Particularly interesting, especially today, is an article about the revulsion against gun culture that followed the death of Kennedy, whose brother, president John Kennedy, had been assassinated less than five years earlier. There are pictures of individuals willingly ­giving up guns at police stations: so many were handed in that the police, as we see in another photograph, ended up disposing of them by dumping them in the sea.

John Gorton Visiting Australian Troops in Vietnam, Australian News and Information Bureau (1968)
John Gorton Visiting Australian Troops in Vietnam, Australian News and Information Bureau (1968)

Meanwhile, the Vietnam War was growing more intense — it was the year of the Tet offensive — and provoking greater opposition at home, mainly because of the draft, of which fatal randomness we are reminded by a set of the wooden balls that were used in the birthday ballots. It was clearly a political mistake to send conscripted soldiers to Vietnam; professional soldiers expect to fight wherever their nation sees fit to send them, but conscripted troops should be reserved for national self-defence.

At the time, however, the spread of commun­ism in Asia looked like a serious ­menace, which it would be smug to discount with the benefit of hindsight. Communism had only recently been suppressed by the British in the course of the Malayan Emergency (1948-60) and, more recently still, by Suharto in Indonesia, in a far bloodier struggle from 1965 onwards. So the threat of violent totalitarian revolution was real. At the same time, there was a prima facie moral justification in helping South Vietnam defend itself against the north. The way that North Vietnamese ­aggression was turned into a fight for freedom in the eyes of many in the West was one of the first examples of the self-destructive neurosis that has afflicted the Western intel­ligentsia for the past couple of generations. A map of ­Vietnam published in the US in 1968 includes an insert labelled “Freedom’s struggle in Asia”, with a pall of black covering Siberia, Mongolia, China and North Vietnam. It is easy to understand the fear of the domino theory in Southeast Asia, and clear that this had serious consequences for Australia.

And to argue that time was running out for the communist dream, and that even China would, within a generation, be starting to build its own unique model, combining capitalist profiteering with communist authoritarianism, would have seemed mere wishful thinking.

For the time being Mao Zedong, after killing 45 million people by starvation during the Great Leap Forward of 1957-62, had launched the almost equally disastrous Cultural Revolution, which lasted from 1966 until his death in 1976, and posters showed beaming peasants and workers celebrating the foundation of new socialist ­regional committees.

This is the great difficulty in anticipating the future: we can imagine plausible scenarios but the really important things are often ones that seem entirely implausible until they happen. It would have seemed far-fetched to suggest that Southeast Asian countries racked with ­poverty and communist insurrection in 1968 would be booming capitalist economies by the early 20th century, but even more unbelievable that one of the most significant threats to s­ecurity, freedom and human rights would one day be the rise of fanatical Islamic belief among the populations of several regional countries. Religion in general was assumed to be a long-spent ­political factor, of marginal relevance in the thinking of left and right.

Even in the Middle East, religion was not yet an important factor. Israel had spectacularly crushed its Arab neighbours in the Six-Day War of 1967 and extended its control over buffer territories in the north and east; its neighbours were angry and humiliated, but were all ruled by secular dictators. Iran was a prosperous, secular and modernising nation under the rule of the shah, even though there was growing opposition to his authoritarian rule. But a map of The Daily Telegraph motor marathon from London to Sydney reminds us how essentially peaceful the region still was: it is many years since such a rally could follow an itinerary from London through Europe to ­Turkey, then on to Tehran, Kabul and Bombay (as Mumbai was then called), before the cars were ferried to Fremantle for the final legs from Perth to Sydney.

Culturally, the period represented a new level of mass consumption of pop music and other media. At the time, pop groups often seemed to give voice to various forms of social and political dissent, but in retrospect their ­objective role was to channel and neutralise the malaise, turning it into harmless entertainment. Television had more or less completed its takeover of family life by 1968; people who used to play the piano or talk or read a book after ­dinner now sat glued to serials and talk shows. TV was a new form of addiction, whose damaging effects we now can begin to understand in the age of far more serious ­addiction to smartphones and other devices.

National Library of Australia at Night from beneath Commonwealth Avenue Bridge near Regatta Point, Canberra, (1968, detail), by Max Dupain
National Library of Australia at Night from beneath Commonwealth Avenue Bridge near Regatta Point, Canberra, (1968, detail), by Max Dupain

The final part of the exhibition is devoted to the conception, planning and building of the new library. Canberra, only 55 years old in 1968, was still in the process of growing into its ­ambitious urban design. An area from Capital Hill down to the lake had been designated as a special ceremonial triangle, destined to house not only the new Parliament House but also some of the most significant cultural edifices of the new city. These included the National ­Library on one side and the National Gallery, which was established in 1967 and opened in 1982. The new library was a favourite project of Robert Menzies as prime minister, and the exhib­ition includes correspondence and his speech in introducing the National Library­ bill in 1960. Although he retired in January 1966, his successor Holt ­invited him to lay the foundation stone in March that year.

In his speech on that occasion, Menzies expressed­ the hope he would live long enough to see the white marble structure ­reflected in the waters of the lake: this is exactly how Max Dupain photographed the finished structure in 1968. Seeking grandeur in the depth of distance, he takes a view of the new building from across the lake at night, so the library appears as a small but radiant temple-like form, its reflection shimmering silently on the dark waters.

1968: Changing Times.  National Library of Australia, Canberra, Until August 12, 2018

https://www.theaustralian.com.au/arts/review/1968-changing-times-national-library-of-australia-look-back-at-future/news-story/ccefaad03c8a41c8b86a2820f5d53ca4

 

That was the year that was

Reviewing 2017, I am reminded of Game of Thrones‘ Mance Rayder’s valedictory: “I wish you good fortune in the wars to come”.

On the international and the domestic front, it appeared as if we were condemned to an infernal and exasperating ‘Groundhog Day’.

Last November, we welcomed Donald Trump to the White House with bated breath and gritted teeth, and his first year as POTUS did not disappoint. From race-relations to healthcare to tax reform to The Middle East, South Asia and North Korea, we view his bizarro administration with a mix of amusement and trepidation. Rhetorical questions just keep coming. Will the Donald be impeached? Are we heading for World War 3? How will declining America make itself “great again” in a multipolar world set to be dominated by Russia Redux and resurgent China. Against the advice of his security gurus, and every apparently sane and sensible government on the globe (including China and Russia, but not King Bibi of Iz), his Trumpfulness recognized Jerusalem as the capital of Jerusalem. Sure, we all know that Jerusalem is the capital of Israel – but we are not supposed to shout it out loud in case it unleashed all manner of mayhem on the easily irritated Muslim street. Hopefully, as with many of Trump’s isolationist initiatives, like climate change, trade, and Iran, less immoderate nations will take no notice and carry on regardless. The year closes in, and so does the Mueller Commission’s investigation into Russia’s meddling in the last presidential election and the Trumpistas’ connivance and complicity – yes, “complicit”, online Dictionary.com’s Word of the Year, introduced to us in her husky breathlessness by the gorgeous Scarlett Johansson in a spoof perfume ad that parodies Ivanka Trump’s merchandizing.

Britain continues to lumber towards the Brexit cliff, its unfortunate and ill-starred prime minister marked down as “dead girl walking”. Negotiations for the divorce settlement stutter on, gridlocked by the humongous cost, the fate of Europeans in Britain and Brits abroad, and the matter of the Irish border, which portends a return to “the troubles” – that quintessentially Irish term for the communal bloodletting that dominated the latter half of the last century. The May Government’s hamfistedness is such that at Year End, many pundits are saying that the public have forgotten the incompetence of Labour leader Jeremy Corbyn, and predict that against all odds, his missus could soon be measuring up for curtains in Number Ten.

Beset by devilish twins of Trump and Brexit, a European Union written-off as a dysfunctional, divided bureaucratic juggernaut, appears to have found hidden reserves of unity and purpose, playing hardball with Britain, dismissing the claims of Catalonia and Kurdistan, rebuking an isolationist America, and seeing-off resurgent extreme right-wing parties that threaten to fracture it with their nationalist and anti-immigration agendas. Yet, whilst Marine Le Pen and Gert Wilders came up short in the French and Dutch elections, and centrists Emmanuel Macron and Angela Merkel hold the moderate middle, atavistic, autocratic and proto-fascist parties have risen to prominence and influence in formerly unfree Eastern Europe, driven by fear of a non-existent flood of refugees from the Middle East and Africa (these are headed for the more pleasant economic climes of Germany, Britain and Scandinavia), and perhaps, their historically authoritarian DNA. Already confronted with the Russian ascendency in the east, and the prospects of the Ukrainian – Donetsk conflict firing up in the near future, the EU’s next big challenge is likely to be reacquainting itself with its original raisin d’etre – the European Project that sought to put an end to a century of European wars – and addressing the potential expulsion of parvenu, opportunistic member states who fail to uphold the union’s democratic values. As a hillbilly villain in that great series Justifed declaimed, “he who is not with is not with us”.

The frail, overcrowded boats still bob dangerously on Mediterranean and Aegean waters, and the hopeful of Africa and Asia die hopelessly and helplessly. Young people, from east and west Africa flee poverty, unemployment, and civil war, to wind up in Calais or in pop-up slave markets in free but failed Libya. In the Middle East the carnage continues. Da’ish might be finished on the battlefields of Iraq and Syria, with the number of civilian casualties far exceeding that of dead jihadis. But its reach has extended to the streets of Western Europe – dominating headlines and filling social media with colourful profile pictures and “I am (insert latest outrage)” slogans. Meanwhile, tens, scores, hundreds die as bombs explode in Iraq, Syria, Yemen, Egypt, Afghanistan and Pakistan, with no such outpourings of empathy – as if it’s all too much, too many, too far away.

Bad as 2017 and years prior were for this sad segment of our planet, next year will probably not be much better. The autocrats are firmly back in the saddle from anarchic Libya and repressed Egypt to Gulf monarchs and Iranian theocrats. There will be the wars of the ISIS succession as regional rivals compete with each other for dominance. Although it’s ship of state is taking in water, Saudi Arabia will continue its quixotic and perverse adventures in the Gulf and the Levant. At play in the fields of his Lord, VP Pence declared to US troops in December that victory was nigh, the Taliban and IS continue to make advances in poor, benighted Afghanistan. Meanwhile, Africa will continue to bleed, with ongoing wars across the Sahel, from West and Central Africa through to South Sudan,  ethnic tensions in the fragile nations of the Rift Valley, and further unrest in newly ‘liberated’ Zimbabwe as its people realize that the military coup is yet another case what The Who called “meet the old boss, same as the new boss”.

This Syrian mother and her child were rescued by the Greek Coast Guard.

In our Land Down Under, we endured the longest, most boring election campaign in living memory, and got more of the same: a lacklustre Tory government, and a depressingly dysfunctional and adversarial political system. Politicians of all parties, blinkered by short-termism, and devoid of vision, insist on fiddling whilst the antipodean Rome burns. All this only accentuates Australians’ disenchantment with their representatives, warps their perception of the value and values of “democracy”, and drives the frustrated, disgruntled, fearful and alienated towards the political extremes – and particularly the Right where ambitious but frustrated once, present and future Tory politicians aspire to greatness as big fishes in little ponds of omniphobia.

Conservative Christian politicians imposed upon us an expensive, unnecessary and bitterly divisive plebiscite on same-sex marriage which took forever. And yet, the non-compulsory vote produced a turnout much greater than the U.K. and US elections and the Brexit referendum, and in the end, over sixty percent of registered voters said Yes. Whilst constituencies with a high proportion of Muslims, Hindus, Christians and Chinese cleaved to the concept that marriage was only for man and women, the country, urban and rural, cities and states voted otherwise. The conservatives’ much-touted “silent majority” was not their “moral majority” after all. Our parliamentarians then insisted on dragging the whole sorry business out for a fortnight whilst they passed the legislation through both Houses of Parliament in an agonizingly ponderous pantomime of emotion, self-righteousness and grandstanding. The people might have spoken, but the pollies just had to have the last word. Thanks be to God they are all now off on their summer hols! And same-sex couples can marry in the eyes of God and the state from January 9th 2018.

Meanwhile, in our own rustic backyard, we are still “going up against chaos”, to quote Canadian songster Bruce Cockburn. For much of the year, as the last, we have been engaged in combat with the Forestry Corporation of New South Wales as it continues to lay waste to the state forest that surrounds us. As the year draws to a close, our adversary has withdrawn for the long, hot summer, but will return in 2018, and the struggle will continue – as it will throughout the state and indeed the nation as timber, coal and gas corporations, empowered by legislation, trash the common treasury with the assent of our many governments.

And finally, on a light note, a brief summary of what we were watching during the year. There were the latest seasons of Game of Thrones and The Walking Dead. The former was brilliant, and the latter left us wondering why we are still watching this tedious and messy “Lost in Zombieland”. Westworld was a delight with its fabulous locations and cinematography, a script that kept us backtracking to listen again to what was said and to keep up with its many ethical arcs and literary revenues. and a cavalcade of well cast, well-written and original characters. Westworld scored a post of its own on this blog – see below. The Hand Maid’s Tale wove a dystopian tale all the more rendered all the more harrowing by the dual reality that there are a lot of men in the world who would like to see women in servitude, and that our society has the technology to do it. To celebrate a triumphant return, our festive present to ourselves were tee-shirts proclaiming: “‘ave a merry f@#kin’ Christmas by order of the Peaky Blinders”.  And on Boxing Day, Peter Capaldi bade farewell as the twelfth and second-best Doctor Who (David Tennant bears the crown), and we said hello to the first female Doctor, with a brief but chirpy Yorkshire “Aw, brilliant!” sign-on from Jodie Whittaker.

Whilst in Sydney, we made two visits to the cinema (tow more than average) to enjoy the big-screen experience of the prequel to Ridley Scott’s Alien and the long-awaited sequel to our all-time favourite film Blade Runner. Sadly, the former, Alien: Covenant, was a disappointment, incoherent and poorly written.  The latter, whilst not as original, eye-catching and exhilarating as its parent, was nevertheless a cinematic masterpiece. It bombed at the box office, just like the original, but Blade Runner 2049 will doubtless become like it a cult classic.

This then was the backdrop to In That Howling Infinite’s 2017 – an electic collection covering politics, history, music, poetry, books, and dispatches from the Shire.

An abiding interest in the Middle East was reflected in several posts about Israel and Palestine, including republishing Rocky Road to Heavens Gate, a tale of Jerusalem’s famous Damascus Gate, and Castles Made of Sand, looking at the property boom taking place in the West Bank. Seeing Through the Eyes of the Other publishes a column by indomitable ninety-four year old Israeli writer and activist Uri Avnery, a reminder that the world looks different from the other side of the wire. The Hand That Signed the Paper examines the divisive legacy of the Balfour Declaration of 1917. The View From a Balcony in Jerusalem reviews journalist John Lyons’ memoir of his posting in divided Jerusalem. There is a Oh, Jerusalem, song about the Jerusalem syndrome, a pathology that inflects many of the faithful who flock to the Holy City, and also a lighter note, New Israeli Matt Adler’s affectionate tribute to Yiddish – the language that won’t go away.

Sailing to Byzantium reviews Aussie Richard Fidler’s Ghost Empire, a father and son road trip through Istanbul’s Byzantine past. Pity the nation that is full of beliefs and empty of religion juxtaposes Khalil Gibran’s iconic poem against a politically dysfunctional, potentially dystopian present, whilst Red lines and red herrings and Syria’s enduring torment features a cogent article by commentator and counterinsurgency expert David Kilcullen.

On politics generally, we couldn’t get through the year without featuring Donald Trump. In The Ricochet of Trump’s Counterrevolution, Australian commentator Paul Kelly argues that to a certain degree, Donald Trump’s rise and rise was attributable to what he and other commentators and academics describe as a backlash in the wider electorate against identity and grievance politics. Then there is the reblog of New York author Joseph Suglia’s original comparison between Donald Trump’s White House and Shakespeare’s Julius Caesar. But our particular favourite is Deep in the Heart of Texas, a review of an article in The New Yorker by Lawrence Wright. His piece is a cracker – a must-read for political junkies and all who are fascinated and frightened by the absurdities of recent US politics.

Our history posts reprised our old favourite, A Brief History of the Rise and Fall of the West, whilst we examined the nature of civil wars in A House Divided. Ottoman Redux poses a hypothetical; what if The Ottoman Empire has sided with Britain, France and Russia in World War I? In the wake of Christopher Nolan’s blockbuster movie, Deconstructing Dunkirk looked at the myths surrounding the famous evacuation. On the seventieth anniversary of the birth of India and Pakistan, we looked at this momentous first retreat from Empire with three posts: Freedom at Midnight (1) – the birth of India and Pakistan, Freedom at Midnight (2) – the legacy of partition, and Weighing the White Man’s Burden. Rewatching the excellent sci-fi drama Westworld – one of the televisual gems of 2017 –  we were excited to discover how the plays of William Shakespeare were treasured in the Wild West. This inspired our last post for the year: The Bard in the Badlands – Hell is empty and the devils are here, the title referencing a line from The Tempest.

Happy Birthday, Indiaekkent

Our continuing forest fight saw us return to Tolkien’s Tarkeeth, focusing this time around on fires that recalled Robert Plant’s lyrics in Ramble On: In the darkest depths of Mordor. The trial in Coffs Harbour of the Tarkeeth Three and the acquittal of two of our activists were chronicled on a series of interviews recorded by Bellingen’s Radio 2bbb, whilst other interviews were presented in The Tarkeeth Tapes. On a lighter note, we revisited our tribute to the wildlife on our rural retreat in the bucolic The Country Life.

And finally to lighter fare. There was Laugh Out Loud – The Funniest Books Ever. Poetry offerings included the reblog of Liverpudlian Gerry Cordon’s selection of poetry on the theme of “undefeated despair”: In the dark times, will there also be singing?; a fiftieth anniversary tribute to Liverpool poets Roger McGough, Adrian Henri and Brian Patten, Recalling the Mersey Poets; and musical settings to two of our poems, the aforementioned Oh, Jerusalem, and E Lucevan Le Stelle.

And there was music. Why we’ve never stopped loving the Beatles; the mystery behind The Strange Death of Sam Cooke; Otis Redding – an unfinished life, and The Shock of the Old – the Glory Days of Prog RockLegends, Bibles, Plagues presented Bob Dylan’s laureate lecture. We reprised Tales of Yankee Power – how the songs of Jackson Brown and Bruce Cockburn portrayed the consequences of US intervention in Latin America during the ‘eighties. And we took an enjoyable journey into the “Celtic Twilight” with the rousing old Jacobite song Mo Ghille Mear – a piece that was an absolute pleasure to write (and, with its accompanying videos, to watch and listen to). As a Christmas treat, we reblogged English music chronicler Thom Hickey’s lovely look at the old English carol The Holly and the Ivy, And finally, for the last post of this eventful year, we selected five christmas Songs to keep the cold winter away.

Enjoy the Choral Scholars of Dublin’s University College below. and here are Those were the years that were : read our past reviews here:  2016   2015 

In That Howling Infinite is now on FaceBook, as it its associate page HuldreFolk. Check them out.

And if you have ever wondered how this blog got its title, here is Why :In That Howling Infinite”?

See you in 2018.

 

 

Why we’ve never stopped loving the Beatles

I have always wanted to write a tribute to the Beatles, but I can’t better Australian journalist and author David Leser’s piece in the Sydney Morning Herald on Nov 25-26 2017.

So here it is in full, pictures included: 

I was 6½ years old when I saw the Beatles perform Love Me Do on Britain’s Granada Television. Like anyone old enough to remember that moment in 1962, I was thunderstruck – by the harmonies, the haircuts and the wavering harmonica that John Lennon was playing.

Our generation had never heard anything like it – not until we heard Please Please Me, and then I Saw Her Standing There, and then From Me to You, and then She Loves YouI Want to Hold Your HandCan’t Buy Me LoveI Feel FineTicket to RideHelp …

They just kept coming didn’t they? One glorious foot-stomping pop classic after another. Songs that took us to places of head-shaking ecstasy in less than 2½ minutes, blending influences of rock ‘n’ roll, rhythm ‘n’ blues, rockabilly, skiffle and – later – reggae, folk, country and western, Indian, psychedelia and string quartets.

Songs that started with choruses. Songs that went from minor falls to major lifts. Songs with beautiful bridges and mysterious openings, like that indescribable shimmering announcement of A Hard Day’s Night, or the 16-minute medley that concluded Abbey Road, their final recorded album. (And, yes, Abbey Road was always my favourite, even though Rubber SoulRevolverSgt Pepper and The White Albumcould always ambush me with their brilliant innovations.)

Songs that were arrows aimed at the collective heart of nations. Songs that captured the tempo and temper of a generation. Songs that saw two geniuses – John Lennon and Paul McCartney – hunting as one pair to become the greatest songwriting duo in history – and this before George Harrison finally emerged from their oversized shadow.

 Songs that came to represent arguably the greatest outpouring of melody from one source since Mozart. Not scores of good songs. Hundreds of great songs that are still being analysed, deconstructed and, of course, played today.
I was eight when the Beatles came to Australia in 1964 and 300,000 people poured onto the streets of Adelaide to welcome them. I had photos of the Beatles all over my bedroom wall (actually I still have photos all over my wall, although not my bedroom) and I remember crying when my mother went to see them at the Sydney Stadium and told me I couldn’t go.

It was as if I’d lost a member of my own family, which in a way I had; only to be repeated 21 years later when George Harrison died from cancer.

The Beatles were the stuff that dreams and screams were made of and like millions of boys my age, I learnt to play guitar and sing because of them. I fell in love to the Beatles. And with the Beatles – George first, then Paul, then John, then George all over again.

And, truth is, this love has never deserted me – nor many in my generation – no matter how far we’ve travelled from their phenomenon, in time and space. Of course there were other loves too:  the Beatles’ great rivals – the Rolling Stones, the Who, Cream; the Beatles’ successors – Led Zeppelin, Talking Heads and Fleetwood Mac; the Jewish songwriters – Bob Dylan, Leonard Cohen and Paul Simon; the androgynous ground breakers Bowie, Michael Jackson and Prince; not to mention Nick Drake, Tim Buckley, Van Morrison, Cat Stephens and Bruce Springsteen. And all this well before we’d even entered the ’90s.

Such a long list of musical loves, but never like that first great love. And now that Paul McCartney is about to arrive on our shores after a near 25 year absence it feels appropriate to reflect on why this should be so, notwithstanding the millions of words already penned about the Greatest Band the World has Ever Known.

 I remember the moment as though it were yesterday – standing in a hospital corridor waiting to see my sick grandmother – as a woman in the room next door yelled to her deaf mother: ‘Did you hear mum? A madman just shot John Lennon.’

It was always about the music, but the multiple stories that attached themselves to the Beatles were no less compelling. Two motherless Liverpool teenagers, one caustic and witty (Lennon), the other conciliatory and hugely ambitious (McCartney), crossing their city one day to find the only person who could teach them the B7 chord.

And then, in the space of a few short years, forging a songwriting partnership that would see them, by early 1964, capturing 60 per cent of the American singles market, all top five positions on the Billboard’s singles and then, the following week, 14 of the top 100 US singles.

The Beatles give a press conference during their 1964 Australian tour.

They’d honed their stage craft during their Hamburg years (1960-62) when – among the bouncers, gangsters and sex workers of the notorious Reeperbahn​ – they’d performed 800 hours on stage, mostly on Preludin to stay awake, with show-stopping songs like Ray Charles’ What’d I Say.

They were the Rolling Stones before the Rolling Stones ever declared themselves a white Chicago blues band from London. For one thing, McCartney was a virtuoso musician who already knew his way around his left-handed guitar by the age of 15.

Son of a big band leader, he was steeped in famous music hall songs, while also imbued with the rock ‘n’ roll of Fats Domino, Little Richard, Elvis and Chuck Berry, not to mention the revival of British jazz, known as skiffle. Plus he could sing harmonies like an angel and he taught Lennon how to tune his guitar.

By the time he’d reached his prime, he was playing bass, electric guitar, acoustic guitar, piano, harmonica, trumpet, recorder, oboe, flugelhorn, cello, violin, harpsichord, even the drums.

“Mr Lennon, is Ringo Starr the best drummer in the world?” a breathless interviewer once asked John Lennon. “Ringo isn’t even the best drummer in the Beatles,” Lennon replied.

It was an apocryphal story and it belied Ringo’s mastery – his rock-steady backbeat, his tom tom grooves, his syncopated propulsion, his languid rolls. As McCartney noted after Ringo first sat in for original drummer Pete Best: “I remember the moment standing there and looking at John and then looking at George, and the look on our faces was like …what is this? And that was the moment, that was the beginning, really, of the Beatles.”

And then the so-called “Quiet Beatle” George Harrison, the lead guitarist, whose magnificent songwriting talent only began to fully reveal itself in 1968, four years after Beatlemania had swept the world, with songs like While My Guitar Gently WeepsHere Comes the Sun and Something, the latter Frank Sinatra describing as “the greatest love song ever written.”

All great stories naturally have their tension and for the Beatles it was, firstly, the global hysteria that saw them turn their backs on live performances in favour of the studio. There they would end up penning their most brilliant songs – Day TripperWe Can Work it OutNorwegian WoodNowhere ManIn My LifePaperback WriterEleanor Rigby. And all this before they got around to Sgt PepperThe White AlbumLet it Be and Abbey Road.

It was the tension also of the Lennon-McCartney rivalry that, at its best, would see them trading song for song – Lennon’s Strawberry Fields Forever for McCartney’s Penny Lane; or lyric for lyric, as in Day in the Life, arguably their greatest collaboration.

At its worst, though, was the feud that finally erupted in the wake of manager Brian Epstein’s death from a drug overdose in 1967. That’s when, according to Lennon, McCartney began bossing the others around, trying to assert his will over the band.

Lennon was withering about McCartney in his final Rolling Stoneinterview, claiming McCartney was an “egomaniac” who’d tried to destroy – subconsciously – his [Lennon’s] songs. He also damned Yesterday, the most covered song in history, with faint praise.

“Well, we all know about Yesterday,” he said. “I have had so much accolade for Yesterday. That is Paul’s song, of course, and Paul’s baby. Well done. Beautiful … and I never wished I had written it.”

That final interview came three days before Lennon was gunned down and whatever chance there might have been of a true reconciliation between these old Liverpool friends ended with those five shots from Mark Chapman’s .38 Special revolver.

In the 47 years since the Beatles disbanded the question has often been asked: “Who was the better songwriter, Lennon or McCartney?” In 2014, an American documentary crew attempted to provide an answer after spending 10 years asking 550 musicians, directors and actors for their verdict.

One respondent said it was like choosing between your mum and dad. Another said it was like deciding between “food, shelter and clothing”. Lennon got the highest number of votes, although when US President Barack Obama awarded Paul McCartney the annual Gershwin prize for popular song in 2010 he described the now 75 year-old McCartney as “the most successful songwriter in history.

“He has composed hundreds of songs over the years – with John Lennon, with others, or on his own. Nearly 200 of those songs made the charts. Think about that. And stayed on the charts for a cumulative total of 32 years. His gifts have touched billions of lives.”

My friends and I are among those billions, although I might be the most hopelessly devoted of all. Once a month a few of us gather for a night of Beatles songs and I’ll be damned if I’m still not trying to work out the complex chord progressions and the high notes to their two and three-part harmonies.

My daughters, too, are fans, even though they were born two decades after it all ended. When each girl turned five I gave them the complete works of the Beatles with the instruction: “If you want to learn about songwriting and melody then listen to this.”

My elder daughter is now a singer-songwriter, my younger daughter a photographer. No prizes for guessing where we’ll be the night McCartney rolls back the years.Liverpool

See also: Recalling the Mersey Poets 

A Brief History of the Rise and Fall of the West

The great and the good, the wise and the weary, have all offered a definition of ‘history’. To Napoleon, it was “a myth that men agree to believe”. Historian Marc Bloch observed that it was “an endeavour towards better understanding”. His Nazi killers disagreed – their’s was a less nuanced, more zero-sum approach. Abba Eban, long time Israeli foreign minister, wrote that it “teaches us that men and nations behave wisely once they have exhausted all other alternatives”. Aldous Huxley wrote “that men do not learn very much from the lessons of history is the most important of all the lessons that history has to teach.” And channeling Mark Twain and Karl Marx, Buffy Summers remarked, “You know what they say. Those of us who fail history are, doomed to repeat it in summer school”. But best is John Banville’s admission in The Sea that “the past beats inside me like a second heart”. Simply put, we like to see some pattern, some sense of order to it all. Arthur Schlesinger Jr. commented: “The passion for tidiness is the historian’s occupational disease”. Niccolo Machiavelli wrote: “Whoever wishes to foresee the future must consult the past; for human events ever resemble those of preceding times. This arises from the fact that they are produced by men who have ever been, and shall ever be, animated by the same passions. And thus they necessarily have the same results”. And yet, whilst seeking patterns, we cannot really use them to predict outcomes. And it is impossible to know what really happened. The past is another country and all that. All we can say for sure is that in the end, history will remember where we end up much more than how we got there. And, history takes time. All the time in the world.

As Mark Twain remarked sardonically, “history doesn’t repeat itself. A best, it sometimes rhymes”. A recent rhyme was evident when an opulent exhibition on the life and legacy of Alexander The Great of Macedon was brought from ‘old world’ St.Petersburg, the twice renamed city of Peter The Great of Russia, to ‘ new world’ Sydney, Australia. For all his ‘greatness’, young Alexander was, like Lord Byron “mad, bad, and dangerous to know”, but with murderous psycho mixed in. In his ‘Inferno’, Dante had him standing in the river of boiling blood, along with war-mongers and murderers. Why don’t these people just stay at home! Well, what would you think? You are minding your own business down beside the rivers of Babylon, and then suddenly, there’s an army of 50,000 Greeks on the other bank intent on doing damage. Or there you are, beside the sacred Indus, just about to tuck into your chicken vindaloo, when a rampaging horde of homesick Greeks come charging over the horizon. And you ask to no one in particular, because they have all been massacred or enslaved by now, “Why don’t they do the things they do back in their own bloody country?” And there you are on the banks of the Tigris, minding your own business, and keeping out of the way of the Mukhabarat, when over the horizon in a cloud of dust and disco sweeps a column of armoured vehicles and hordes of ka-firi-n with rifles and ray-bans. And you ask to no one in particular, because they have all been bombed or strafed by now, “Why don’t they do the things they do back in their own bloody country?” Plus ça change, plus c’est la meme chose. Nothing much has changed, really.

Which brings us back perhaps, to what Basil Fawlty called ‘the bleeding obvious”. Beyond the scholars’ passion for patterns, and the dry dialectics of cause and effect, there is the personal dimension. Who were the actual inhabitants of ‘history’? What did they think and feel? The thinking of another time can be hard to understand. Ideas and ideologies once compelling may become unfathomable. And the tone and sensibility that made those ideas possible is even more mysterious. We read, we ponder, and we endeavour to empathize, to superimpose the template of our value system, our socialization, our sensibilities upon the long-dead. And thence, we try to intuit, read between the lines, draw out understanding from poems, plays, novels, memoirs, pictures, photographs, and films of the past. We feel we are experiencing another facet of the potential range of human experience. But in reality, we are but skimming the surface, drawing aside a heavy curtain for a momentary glimpse through an opaque window into the past. Simply put, people who lived ‘then’ are not at all the same as we who live ’now’.

Over two and a half thousand years ago, the controversial Greek poetess Sappho wrote:”I tell you, someone will remember us; even in another time”. And so we do, for one thing is for certain: we all love a good story. As they say, in Arabic, as indeed in all tongues, times and places, “ka-n ya ma ka-n bil ‘adim izzama-n wa sa-lifi al aSri wa la-wa-n”‘ or, “once upon an time”.

So, let us walk down what Welsh poet RS Thomas called ‘the long road of history”, beginning with, yes, the usual suspects: power and pride, greed, and aggrandizement, and as accessories after the fact, dolour, devastation, and death.

Time: Year Zero of the Christian era. Place: The Mediterranean littoral

Often, with overwhelming political and military power and economic wealth come arrogance, decadence, and complacency. And with lean and hungry barbarians on the borderland, the geographical interface between the desert and the sown, and soon hanging around the gates, so the seeds of decline and destruction are scattered and germinate. The Pharaohs conquered and ruled over much of North Africa and the Middle East for centuries. Indeed, the first historical record of a ‘formal’ set piece battle between two armies took place in 1468 BCE at Meggido, just south east of Haifa in present day Israel – some five thousand Egyptians took on and bested two thousand Canaanite soldiers of local city states. But Egypt was to fall to the ascendant and ambitious Greeks and Persians, and later, the Romans. And down went these mighty successors. Thebes, Athens, Sparta, Persepolis, Ctesiphon, Rome, Carthage, Byzantium, Constantinople. Grand names, but now bones, bones, dry bones. The Bard of Avon declaimed “The cloud-capp’d tow’rs, the gorgeous palaces, the solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve”. As Percy B Shelley intoned: “My name is Ozymandias, king of kings: look on my works, ye Mighty, and despair!” Nothing beside remains. Round the decay of that colossal wreck, boundless and bare, the lone and level sands stretch far away”.

It was the English historian Toynbee who suggested that “civilizations die from suicide, not murder”. They lose their “mojo”. The 14th Century Arab philosopher of history, Ibn Khaldun, called it “assabiyah” – in short, they lose their élan, their sense of direction and their minds. His point was that the moribund Byzantine and Sassanian empires were broke and militarily overstretched, corrupt, venal and soft, and hence no match for the desert hardened, combat keen, tribally cohesive, spiritually zealous warriors of the one true faith.

At the dawn of the Christian era, the known world was divided up between the those Romans and Persians, who themselves had subjugated and subsumed the Greeks and Phoenician Carthaginians, and Hittites and Assyrians respectively (in the east, the Chinese and Indians boasted powerful, prosperous civilizations as old as The Pharaohs, but this is not their story). Anyhow, the Romans, who morphed into the Byzantines with the loss of the western empire (to nomadic rovers from out of the east) in the third and fourth centuries, and the Persians, were over extended and overspent, slave societies living off the land and labour of conquered peoples. Until they were challenged and defeated by another ascendant power. Those Arabs of Arabia and of the imperial marches.

For generations this lot had served as mercenaries and satraps of both empires, and fired up by the energy and unity of a new but hybrid faith, and muscled up with a martial spirit built upon generations of mercenary employment and privateering, stormed the sclerotic empires from within and without, and in the space of fifty years after the prophet’s death, built a domain that extended from Spain to Afghanistan. Modern genetic analysis has shown that the bloodline of these desert conquerors is as much a mosaic as most other overlords. Assyrian, Babylonian, Hittite, Persian, Egyptian, Nubian, Greek, Phoenician, Roman, Arabian, Hebrew. And whoever else may have been passing through. Many races came and settled, and many too were invaded and scattered. The ruins and artefacts endure still to remind us of their passage.

And this genetic calabash was stirred some more with the Arab conquests. As they surged eastwards and westwards, slaves were sent homewards as plunder and labour. This was the modus operandi of carnivorous empires throughout history. The Babylonians did it; the Romans too. They conquered and controlled though mass death and deportation, dragging their broken subjects in tens and hundreds of thousands across the known world. So too with the Arabs, therefore, as hundreds of thousands of souls from afar afield as the Pyrenees and the Hindu Kush ended their days in Cairo, Damascus, Jerusalem, and Baghdad. Blue eyed blondes and redheads, sallow skinned Turkic and Chinese. You see their heirs today in Homs and Aleppo, Gaza and Hebron. In a fascinating post-classical irony, the European empires were likewise catalysts for ethic trans-migration. The suburbs of Paris and Marseilles, Birmingham and Bradford reflect the colours, cuisines, and conflicts of once-upon-a-homeland.

It is the view of some revisionist historians that whilst Mohammad and his revelations provided the impetus for the Arab “surge”, the religion that we know as Islam was actually retrofitted to the Arab adventurers’ ethos, a kind of ex post facto justification for what was in reality an old fashioned smash and grab. They suggest, therefore, that Islam and the role of Mohammad within it as the messenger and final word were cleverly constructed one to two hundred years after his death by Arab dynasties seeking legitimacy and heavenly sanction for their own aggrandizement. But then, wasn’t it always thus? As Jarred Dimond and others have written, this pandering to invisible friends and post-mortem insurance is part of our genetic baggage. It goes back to way back, to Neanderthals, and before them, to chimpanzees, our closest relatives).

Notwithstanding this, these parvenus ushered in the flowering of Arab culture in the arts, architecture, literature, and science as caliphs encouraged intellectual inquiry, and invited polymaths from across the known world to abide in their domains. Indeed, much of the work of the Greek and Roman philosophers, mathematicians, astronomers, doctors and scientists was translated into Arabic and preserved for posterity when the Roman Empire was overrun by waves of barbarians, the beginning of what are called The Dark Ages.

One other ‘safe house’ for these tracts during these dire days was Ireland, in the monasteries of the far west, where monks would meticulously copy rare texts, often embellishing them with their own, ‘Celtic’ art work. The Book of Kells owes a stylistic debt to the monasteries of the Byzantine Levant. And whilst we digress on the subject of books, it is believed by some scholars that The Quran was not actually written in Mecca or Medina, but most likely in Baghdad, which did not exist whilst Mohammad breathed. Learned iconoclasts also purport that it was originally written in Aramaic, the language of the Levant at the time of Jesus, and that Arabic has not yet evolved as a written language. The Torah, the basis of Jewish law and custom, and of The Bible, was written in Babylon and not Jerusalem. And The New Testament? Well. that was assembled all over the shop: in cosmopolitan Athens, Rome, the desert solitudes of Syria and the Sinai. The Quran itself drew on both of these. Such is the power of foundation myths. There are always issues surrounding the literal ‘Word of God’.

Contrary to popular assumptions, these centuries were not that dark at all. The Islam tide was turned at Tours by the Frankish forces of Charles ‘the Hammer’’ Martel, named nostalgically for the Israelite rebel who defied and defeated the Seleucid Greeks in the Maccabee Revolt in the second century BCE. Charlemagne founded the French monarchy which endured until the unfortunate Louis the Last lost his head to the French revolutionaries in 1793. The Western Christian church established many fundamentals of law, politics and theology that endure to this day. There was, nevertheless, a lot of fighting, most of it between squabbling European potentates, and a major doctrinal rift in the Christian Church that saw it bifurcate, often with accompanying bloodshed, into the Catholic Church of Rome, and the Eastern Church of Constantinople. Between the Christian ‘West’ and the Muslim ‘East” however, there endured an armed peace interspersed with occasional warfare until the eleventh century. The Byzantine heirs of Constantine were reasonably content to maintain a kind of Cold War with the many fractious emirs who ruled the lands to their east, and to sustain their power and influence through canny diplomacy, alliances, mercenaries, and proxies (It is testament to the ‘byzantine’ skills of these emperors and their servants that the empire endured for a thousand years as a powerful political, economic, and military force until Constantinople fell to the Ottoman Mehmed the Conqueror in 1453).

Things changed utterly for east-west relations towards the end of the eleventh century. The heirs to the Roman Empire in the west, the Franks and the Normans, descendants of those nomadic marauders who broke the power of Rome, fired up with religious zeal and the prospects of material gain, embarked upon a series of Crusades to free the Holy Land, the paths that Jesus trode, from the heathen Mohammedan. But do not for a moment dismiss the power of religious fervour in those far-off days. The promise of a full remission of all sins and a place in paradise was a powerful motivator. Nevertheless, God and gilt, backed by martial grunt, conveniently colluded with another new power, out of the east. The Mongols had spilled out of the steppes of central Asia, having conquered the ancient Chinese empire, and once again, the nomads were on the move as the sons and heirs of Genghis Khan sought khanates and kingdoms of their own in the west. And when they advanced into the Levant, they came up against, and collaborated with the Franks against the Saracens. History is never black and white – the crusaders also did deals with Muslim warlords if it suited their common interests. In their politics as well as their lifestyles, many ‘went native’.

It was always thus. The barbarians, usually horsemen originating from central Asia, surge in from the wild lands, devastate the settled lands, and take the cities. In Eastern as well as Western Europe, and the Middle East, they came, they saw, they conquered, and they moved in. Settled down, intermingled, and developing a taste for the good life, and gave up their roving, rampaging ways. We are their heirs and successors, us descendants of Celts and Saxons, Goths and Vikings, Vandals and Huns, as are French people, Italians, Spaniards, Turks, and Arabs.

Vaslily Grossman encapsulated all this poignantly and succinctly in An Armenian Sketchbook: “The longer a nation’s history, the more wars, invasions, wanderings, and periods of captivity it has seen – the greater the diversity of its faces .Throughout the centuries and millennia, victors have spent the night in the homes of those whom they have defeated. This diversity is the story of the crazed hearts of women who passed away long ago, of the wild passion of soldiers intoxicated by victory, of the miraculous tenderness of some foreign Romeo towards some Armenian Juliet”.

The story of the Vandals is an epic in itself. From out of what we now call Sweden they came, ethnic kin to the Norsemen and Vikings. Scouring through the Baltic lands, and present day Poland, Germany, and France, they settled in Spain. Andalusia is Arabic for ‘Land of the Vandals’. And eventually they established a kingdom in Libya, challenging and then paying tribute to the ascendant Roman Empire.

But the Norsemen were not quite finished with the east. On a rail of the gallery of the beautiful Aya Sofya basilica in Istanbul, there is some graffiti carved by Halvden, a 9th Century soldier of the Emperor’s Varangarian Guard, an elite force of Viking mercenaries. One commander of this guard was Harald Hardrada, who, as King of Norway, died in Yorkshire at the Battle of Stamford Bridge, the first of two kings to die during the English summer of 1066. Whilst specifically the imperial bodyguard, the Varangarians fought on the empire’s frontiers against Arab pirates and raiders, marauding nomads from the steppes, Saracens, Normans and Bulgarians. How Harald came to Mickelgard, or Great City, as the Norsemen called Contantinople, is a story in itself, but the sagas say that he even travelled to Jerusalem, protecting caravans of Christian pilgrims. Just picture it. A brigade of Norseman slashing and bashing their way through the wadis and wastelands of Syria, fifty years before the first crusaders put Jerusalem to the sword. One further Scandinavian digression: in 1110, Sigurd, the teenage King of Norway, having fought his way around the Mediterranean with a sixty ship fleet massacring infidels as he went, landed at Acre in Palestine and wintered in what the Norsemen called Jorsalaberg (See Harald Went a ‘Viking).

“If I forget thee, Oh Jerusalem!” The Arabs call the city ‘Al Quds’, “The Holy’. It was deemed sacred from pre-history. Those aforementioned iconoclast scholars suggest that Jerusalem was actually the holiest place in Islam, and that like Islam itself and the Prophet, Mecca and Medina were retrofitted to suit the conqueror’s narrative. A city of the mind as much as of this earth, it haunts the prayers and dreams of three faiths, and to this day, it is coveted and contested. “The air above Jerusalem”, wrote Israeli poet Yehuda Amichai, “is filled with prayers and dreams, like the air above cities with heavy industry. Hard to breath”. Arthur Koestler wrote: “The angry face of Yahweh is brooding over the hot rocks which have seen more holy murder, rape and plunder than any other place on earth”. Perhaps it is because Jerusalem is mankind’s number one hot spot. “There’s this thing that happens here, over the Hell Mouth”, says Buffy, “where the way a thing feels – it kind of starts being that way for real. I’ve seen all these things before – just not all at once”. More Jews have probably died violently in Jerusalem than in the Holocaust. And countless folk of other faiths have likewise perished.

Razed down to the bedrock like Jerusalem of old

Razed down to the bedrock like Jerusalem of old

The crusader kingdoms of Palestine lasted a hundred years, leaving their castles and churches to remind us of their passing, and have haunted the Arab historical memory to this day. The Arabic word for foreigner, ‘faranjiye’ is derived from Frank (or maybe not – it is also said that Varangarian derived from the Greek Varangos, for the Scandinavian Varing or Vara, either a placename or a family name, which became the Arabic Varank). They fell to the Kurdish warlord from Tikrit (hometown of Saddam Hussein, small world that it is), Salah ad Din Ibn Ayyubi, and were restored to the House of Islam. But even this renowned soldier and schemer could not escape the assassin’s poison forever (it may have been just typhoid, but why spoil a good yarn?). He was supplanted by other despots, not the least, the famed one-time slave, the blonde, blue-eyed Mameluk Barbars who ruled Egypt, conquered Syria, and died when he inadvertently ate the poison he intended for his dinner guest. And then, out of the east, came the aforementioned Mongols, and these brought the house down. They conquered, settled, assimilated, and then weakened and fell as they, in their turn, were supplanted by, yes, another nomad band, this time the Turkic Ottomans (and again, out of central Asia). That’s how assabiyeh works. Once you have it, you have to work on it. Lose it and you are done.

The Ottoman Empire inherited the Arab, Islamic patrimony and assumed the caliphate as the official ‘Deputy of God’. The Ottoman Caliphate, successor to the famed Umayyad and Abbasid Caliphates of Damascus and Baghdad, endured until its abolition in 1924 by Kemal Ataturk, the creator of modern Turkey. It was restored in 2014 as ad Dawlet al Islamiye fi Iraq w ash Sham or Da’esh. We will get to that later, but meantime, the wars and plagues and famines that beset the Middle East brought an end to the golden age of Arab civilization, with all its ecumenical, martial, intellectual, artistic, and scientific adventurousness (the same wars, plagues, and famines scoured the western world too, but these had less far to fall). And so, time stood still for Islam and the Arab world, as the outlying, often neglected provinces of the ascendant Ottoman Empire. It is said of old, that before the advent of the Mongol lord, Hulagu, a cockerel could graze from Baghdad to Basra without alighting to earth, such was the fertility and prosperity of the Land of the Two Rivers. In the wake of the Mongol, with his mass slaughter and the destruction of the long-lasting irrigation systems, came the Arab proverb: “When God made Hell he did not think it bad enough so he created Mesopotamia.” The place never recovered, although the Marsh Arabs of southern Iraq endured through all of this until the present, when their way of life was finally destroyed by Saddam.

Meanwhile, the focus of our story shifts westwards with the crusader armies returning home, bringing with them a taste for the luxuries of the east, and scientific and philosophical ideas and inventions lost to the west during the Dark Ages (what they didn’t take home, however, was a tolerance for folk of different colours and creeds). The Islamic world settled into the backward looking atrophy that we see today. And in time, came the rise of the great European powers. To Western Europe came the social and economic upheavals of war and plague, and the social and intellectual unravelling that was to lead to the age of discovery. Came the power of the papacy, the questioning of that power, the end of the feudal system and the rise of absolute monarchy, and the invention of the printing press and with it, the dissemination of knowledge. All this set the stage for the next act.

Enter the Spanish and Portuguese, resource poor and priest-ridden, astutely patronizing the adventurers, and hence, made wealthy and powerful on the riches that then flowed in from the New World. Enter the inquisition and the straighteners of religious conformity, the bedrock of imperial power. And enter also, the mercantile nations who challenged their claim to the Americas (sanctioned and sanctified as it was by Alexander, the Borgia Pope) and papal supremacy: England, France, and Holland. The era of world empires thus began against a backdrop of trade and religious wars that would set the stage for the very gradual evolution of what would become democratic institutions. But that was way, way down the bloody track.

The wars of religion, between Catholicism and Protestantism morphed into great powers’ wars by proxy (for there is nothing new under the sun). These endured some two hundred years, giving us the renaissance and the reformation, and many, many people perished. And amidst the scramble for colonies and resources, and the ever-widening scope of scientific and intellectual inquiry, there ensued interminable blood-letting. Folk got much too close to the fire, literally and figuratively. Many were dragged there, and many were eager pyromaniacs. The Thirty Years War wasn’t called that for nothing, and unlike The Hundred Years War between France and England before that, which enjoyed a few time-outs between bouts, this was an interminable danse macabre that was at once mediaeval and mid-20th Century in its savagery. ‘Full on’ is the term we use today. It is said that it staggered to an end in 1648 because the combatants just collapsed with exhaustion.

And in its shattered wake, came the decline of the Spanish and the Portuguese, and the ascendency of the English, the French, and the Dutch. Germany and Italy were still a profusion of principalities and oppressed satellites, Russia had yet to emerge out of an anarchic fog, and the USA had not even been thought of. Meanwhile, in the most populous parts of the planet, the Chinese and Indian empires carried on ever, in splendid isolation, narcissistic and ethnocentric, though not above trading profitably with the occident. The potentates that is – the lower orders were, and in many in many ways remain, in a state of repression and submission.

So came an era of religious and intellectual ferment and the mass movement of peoples across the known world and beyond it, to the Americas. Innovation in transport, communications, industry and warfare, and the trans-global transit of armies and of international commerce in goods and in humanity literally changed the face of the planet. Eleven million slaves crossed the Atlantic in four centuries. Over forty million migrants “went west” in less than one. The inscription on Our Lady Of The Harbour, a gift from the Old World to the New, still says: “Give me your tired, your poor, your huddled masses, yearning to breathe free, the wretched refuse of your teeming shore, send these, the homeless, tempest tost to me, I lift my lamp beside the golden door”. And so indeed did folk travel, fleeing poverty and pogroms, powerlessness and persecution, seeking “a new home in the sun”. From the glens of the Gael, from the shtetl and the steppe, from Old Europe and Old Asia. The Great American Dreaming. Today, some 1,300 airplanes a day cross ‘the pond” (475,000 transits a year).

And the printing press and the bible in the vernacular changed the way men thought. Merchants and missionaries and military men, seekers and makers of fortunes, slavers and saviours, prophets and potentates, philosophers and pamphleteers, poets and painters. Enlightenment, revolution, and war. And in America, the creation of democratic institutions.

Royal France was a midwife to this American Revolution, and endured the ironic blowback when French armies returned home harbouring the virus of republicanism and the concepts of liberty and equality. Be careful what you wish for, for liberty wields a two-edged sword as the revolution devours its children. Mounting the scaffold, the doomed Girondin Manon Roland exclaimed “Oh Liberty, what crimes are committed in thy name!” The redoubtable journalist Robert Fisk noted that freedom and liberty often had to crawl over broken glass.

And thence, the Nineteenth Century and the Age of Revolutions – political, industrial, and ideological, bountiful and bloody. And the rise of new empires – Russia, Germany, and the USA, competing with the old, and all extending their power and influence throughout the world, conquering and colonizing the oldest – India, China, and the Ottomans – and spanning the globe. The Americas, Africa, Asia, Australasia, no place was beyond the reach of the empire’s military and mercantile power, and no indigene was safe from the depredations of these latter-day Medes and Assyrians. Diamond again: it was all down to “guns, germs, and steel”. The ‘discovered’ world was ripe for plunder. For land, for minerals, for food. And if the natives got fractious, we had machine guns and gun boats to back us up. For this was the era of militant and muscular Christianity and gunboat diplomacy, synergized in a divine plan to render the world a holier and happier place. Rudyard Kipling said it best: “Take up the White Man’s burden, send forth the best ye breed. Go bind your sons to exile to serve your captives’ need”. A new age of Empire had arrived wherein competing white countries seeking economic and political aggrandizement, sent their boys to die far away from home. The West, it seemed, had got its mojo back!

So far away from home

So far away from home

A little known facet of that century’s history is that contemporaneous to the western expansion of ‘These United States” and the spread of British red across the globe, Imperial Russia was moving eastwards. One outstanding volume of George McDonald Fraser’s rollicking, picaresque and quite political incorrect Flashman series sees the eponymous anti-hero fleeing eastwards out of The Crimea having precipitated the disastrous Charge Of the Light Brigade (Captain Nolan was fitted up), and making his way through the vast Asian hinterland, one step ahead of the invading Czarist armies, and of sundry Muslim warlords. In the Flashman books, the unreconstructed villain of Thomas Hughes’ Victorian yarn “Tom Brown’s Schooldays” is roving and rogering his way through the late nineteenth century, somehow managing to escape by the skin of his teeth from one military disaster after another, including Custer’s famous “Last Stand” at Little Big Horn, and the last stand of the 44th Foot at Gandamak during the disastrous First Afghan War of 1842.

Amidst the humour and ribaldry is a poignant reminder of those ‘lost worlds’ that succumbed to the relentless blade of progress, a theme revisited in Thomas Berger’s Little Big Man and Theodore Olsen’s Soldier Blue, set in the American West, and Vincent Cronin’s The Last Migration and James A Michener’s Caravans, set in Iran and Afghanistan respectively. Ibn Khaldun’s ‘asabiyyah’ is no match for modern weaponry.,

With trade and economic wealth creation came the rise of the middle class. The urban, mercantile elite who seek political power commensurate with their economic clout thus demand a say in how they are governed. In an age of mass production and the beginnings of mass communication, we see the emergence of the masses as a political concept, and of mass society in which rulers are responsive and reactive to the needs fears, and rages of the masses and their representatives. The times of Machiavelli give way to those of Marx. And the focus of history is as much on the ruled as on the rulers.

So passed the Nineteenth Century. The Old World ruled. The New had its own preoccupations, with civil war and western expansion. The east and the south were conquered and colonized. God (European and most probably, English-speaking) was in His heaven and all was good and right in the world. The old scourges continued as they has since time immemorial: plague and famine, drought and flood, economic boom and bust, migration and invasion, war and peace, and comme d’habitude, death and destruction on a large scale. Good times and bad times as ever, with little to impede the onward march of progress. A reporter once asked Gandhi: “What do you think of Western civilization?” The Mahatma replied: “I think it would be a very good idea”.

In came the Twentieth Century. Same old, same old, but with markets and machines much more efficient, and likewise our capacity to create and destroy. A time of totalitarian regimes and total war, social change and technological wizardry. In 1905, the Imperial Russian Navy sailed eighteen thousand miles to the Korea Strait only to be broken by the Imperial Japanese Navy. There was a new boy on the block, and once the guns of Tsushima Bay had fallen silent, signalling that the white man could indeed be beaten, and thence, the decline of the colonial empires of old as the “our new-caught, sullen peoples” threw off their chains. In the political, economic, military and demographic spheres, balances of power changed, and changed again. In the wake of two World Wars, from Old Europe to the USA and the Soviet Union, and then, in these present times, to a totally new configuration that reflects the transitory rise and fall of nations. As I write, we see a hesitant America and a struggling Europe competing with a resurgent and belligerent Russia, and the rise and rise of its fellow BRICs, Brazil, India and China – an ascendency that is not however assured in this unstable and unpredictable world of ours. And in the post-Cold War, global financial crisis world of wide-open borders and the mass movement across them of people, goods, and capital, everything has a price and can be bought and sold. Immoral mathematics: “in these shifting tides, bombs and babies, girls and guns, dollars, drugs, and more besides, wash like waves on strangers’ shores – damnation takes no sides” (from E Lucevan le Stelle).

And passing strange it is that whilst we can place men on the moon and machines on Mars, we still live in a world riven by superstition. We have come through the age of enlightenment, the age of revolutions, the age of machines, the age of mass society, mass war, and of mass communications, And yet, we are so, so ignorant. We thought that the rising tide of progress and knowledge would raise all the boats. But how wrong we were. The Muslims in their glory days would refer to what went before as al Jahiliyya, the age of ignorance. But in so many ways, we have returned there. Helped in no small part by their more atavistic descendants who see some wisdom and benefit to all in reverting to a mediaeval ethos and lifestyle.

One thing is pretty certain. We are almost closing a circle. The history of the West, for the past two millennia has been dominated by the emergence and triumph of Christianity and of Islam. As the early Muslims saw it, al Dar al Harb and al Dar al Islam, the houses of war and peace respectively. A pretty good description if the terms are used interchangeably. Much of what has passed has been refracted through the prisms of these theologies. Call it crusade or call it jihad; or call it blow back on a grand scale. The legacy of two millennia of empire is coming back up the pipes. “Take up the White Man’s burden (or any conqueror’s burden, in fact) and reap his old reward: the blame of those ye better, the hate of those ye guard”.

For surely, “by all ye cry or whisper, by all ye leave or do, the silent, sullen peoples shall weigh your gods and you”. Weigh them all and find them wanting. In compassion and loving kindness, in reason and rationality, in patience and peacefulness. And the greatest, saddest irony of all for all who have a passion for history and for charting the unbroken story of humankind, and for those with this passion who treasure the depths of their cultural lineage through all the fugues, follies, and fault lines of our heritage, is the dawning realization and regret, that after two millennia, the religion that kicked off so much controversy and conflict, schism and schadenfreude, brilliance and bigotry, bounty and bloodshed, that was the heir to ancient faiths and the progenitor of many more, is probably now doomed in the lands wherein it was born.

It’s as if over a millennium of painful, staggering, stuttering, blood soaked, inventive, and pioneering progress has meant naught, and that we might as well have remained in the dark, literally and figuratively. “It is written in the Book of Days where the names of God a wrought, where all our dead a buried and all our wars a fought”. We range through “the battlefields and graveyards and the fields our fathers knew”. The cartography of carnage: Bali, Beslan, Gaza, Grozny, Kabul, Kigali, Sabra, Srebrenica, to mention but a few of those “far-away places with strange sounding names”. ”Many have perished, and more most surely will”. This latter quotation is adapted from Auden’s often overlooked masterpiece The Age of Anxiety, a meditation on a world between the wreckage of The Second World War and the foreboding for the impending armed peace. “The bane of bad geography, the burden of topography. The lines where they’re not meant to be are letters carved in stone”. And all this against a back-drop of the revolution despoiled, hijacked and betrayed. “The revolution’s father, the hero psychopath” shows us how hopes and dreams can be “fooled by the riddle of the revolution”. “Words carried far in time and space will topple tyrants, but there’s no salvation”. (see In That Howling Infinite – Poems of Paul  Hemphill)

When Miranda exclaimed “what brave new world, with such people in’t!’, when the dismal Dane moaned ‘what a piece of work is man, how noble in reason, how infinite in faculty, in form and moving, how express and admirable’, was the Bard being singularly ironic? He was writing at the dawn of the Sixteenth Century when the wars of religion were well under way, and yet, the reign of Elizabeth had brought a degree of civil calm, and King James was determined to heal the schisms, using his translation of The Bible as his balm. Reasons to be cheerful, perhaps. The Thirty Years War had yet to devastate continental Europe, and the English Civil war had still to come. Sweden had not yet ravaged Eastern Europe (yes, the Swedes had indeed attempted world dominion before ABBA). The Pilgrim Fathers were not to set sail for a decade, the Inca and Aztec were already no more, and as the Plains Indians rode the range mounted on the descendants of the conquistadors’ horses, the American West had not yet been discovered let alone ‘won’.

Some digression, that! So, back to where are we now, in the first decade of the 21st century. A world of wonders, no doubt, of technological advances in medicine, machines, and mass communications. But the new millennium began with the destruction of the Twin Towers, and war in Afghanistan and Iraq. The wars in these sad states continue. Conflagrations now engulf Syria, Libya, and Yemen, and turmoil threatens Egypt and Turkey. These are all the battlegrounds of old. Alexander marched this way and back (he burned Persepolis and died in Babylon, and his body, embalmed in gold, lies waiting to be discovered). In 1853 Czar Nicholas I of Russia demanded the right to protect Christian shrines in Ottoman Jerusalem, setting in train the chain of events that led to the Crimean War, and thence to the dissolution of the once grand Ottoman Empire. Indeed, the long decline and eventual demise of what the ascendant Europeans called ‘the sick man of Europe”, accompanied by Europe’s cultural and political – and in the case of France, territorial – conquest of the Muslim Middle East and South Asia bred a bitterness that endures and manifests today. In June 1914, in Sarajevo, a former outpost of that empire, a wrong turn put Archduke Franz Ferdinand, the heir to the throne of the imminently moribund Habsburg Empire in pistol range of Bosnian Serb Gavrilo Princip. The sixth attempt on his life that morning sounded the first shot of “the war to end all wars”, which led, incidentally to the destruction of the long-declining Ottoman Empire, to the Balfour Declaration, and to the Sykes Picot Agreement that created the tortured Middle East that today is the sum of all our fears.

So, we are still paying the price as all these ghosts watch over a brave new world of asymmetrical, ideological warfare weaponized by the Lords of War who know no frontiers or ethics, and waged by rag-tag armies who likewise know neither. The sundered and sullied tribes of man are caught up in the dreams and fears of their fathers and grandfathers, all the old hatreds and habits, schemes and shibboleths, the ethnic, sectarian and partisan traps of their elders. “There rides the mercenary, here roams the robber band. In flies the emissary with claims upon our land. The lesser breed with savage speed is slaughtered where he stands, his elemental fantasy felled by a foreign hand” (from ‘Freedom Comes’).

Over to the good and the noble players of the new Great Game who wage those ‘savage wars of peace’ that are “the white man’s burden”. As the seventeenth century philosopher Thomas Hobbes expounded gloomily, “I show in the first place that the state of men without civil society (which state may be called the state of nature) is none other than a war of all against all; and that in that war, all has a right to all things”. He had the English civil war on his mind, but, if he had slept for over four hundred and fifty years, and awoke today, he would cry “See! What did I tell you?” In the war of all against all, Homer’s blinded Cyclops is staggering around, endeavouring to catch the one who robbed him of his sight.

And he wages his savage wars of peace with weapons that would make the inquisition jealous. In his tombstone of a book about Lebanon’s civil war, and Israel’s intervention therein, the redoubtable journalist Robert Fisk 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 mortals. Made in America, used on Arabs, by Jews. But it happens anywhere and everywhere, inflicted by anyone on everyone.

And meanwhile, back in the lands of the rich folks, economic recession and high unemployment, and political and social instability, financial graft and funny money dressed up in manufactured metaphors like derivatives, sub-prime mortgages, and collateralised debt obligations. And in the lands of the poorer folks, those “faraway places with strange sounding names”, as The Springfields once sang, and of those who are climbing out of the mud, a sliding scale of prosperity and poverty, venality and violence. And threatening all of us, environmental degradation and climate change, with ice caps melting, low lands flooding, pasturelands turning to dust, and oceans becoming deserts. Fires and floods, and twisters and earthquakes, famines and plagues. As Joni Mitchell sang, paraphrasing Yeats, “Surely some revelation is at hand, surely it’s the second coming and the wrath has finally taken form” (the word ‘apocalypse’ is derived from the Greek for ‘revelation’).

We are not on the ‘Morningtown Ride’ to Honalee, but are we on the road to Pichipoi? This not the last stand of the 44th Foot at Gandamak but are we Israelites looking out over Canaan Land? We are not climbing Jacob’s ladder to Paradise, but are we sliding down the road to Ragnarok? In Dante Alighieri’s Inferno, the poet begins his descent into Hell saying:”I came to myself in a dark wood where the straight way was lost”. Journeying down and then back up through the seven levels of Hell, he finally returns to the surface saying: “And thence we emerged to see the stars again”. We yearn, to quote Nigella Lawson, “that blissful moment when the bagpipes stop”. But in all truth, the crystal ball is shattered. All bets are off. Everyone has a game, and all is now in play. And remember what Bob said: “Come writers and critics who prophesize with your pen, and keep your eyes wide, the chance won’t come again. And don’t speak too soon for the wheel’s still in spin, and there’s no tellin’ who that it’s namin’, for the loser now will be later to win, for the times they are a-changin”’.

Epilogue
Yarmouk Camp, Damascus 2014

Yarmouk Camp, Damascus 2014

Since I wrote this history, the final paragraph has effectively been mugged by reality. The heady days of February 2011, with the green of the Arab Spring fresh sprung from the soil of the economic and political bankruptcy of the Arab Middle East, had not yet transformed into a long, hard and bloody winter. Five years on, the wars of the Arab Dissolution have dragged the world into its vortex. Great Power politics and proxy wars are taxing intellectual and actual imaginations.

The fall of longtime dictators Zine el Abidine Ben Ali of Tunisia and Hosni Mubarak of Egypt, was precipitated by the yearning of their oppressed and impoverished people, and particularly the young, for freedom, justice, dignity and employment, and an end to endemic corruption, nepotism and brutality. It was followed rapidly by the outbreak of insurrections in Syria, Libya, and Yemen that have led, five years later, to the virtual destruction and disintegration of these countries, the ongoing dismantling of Iraq, and an expanding arc of violence, bloodshed and repression from Morocco to Pakistan, that has extended southwards across Africa into Mali, Nigeria, Somalia and the Sudans, and their unfortunate neighbours.

Civil war and economic desperation have propelled millions of refugees across the Mediterranean and the Aegean into Europe, threatening the unity and stability of the European Union. Islamic fundamentalism has filled the vacuum created by crumbling dictatorships and vanishing borders, unleashing atavistic, uncompromising and vicious Jihadis against their own people and coreligionists, and onto the streets of cities as far apart as Paris, Istanbul, Beirut, Djakarta, and Mogadishu. In Syria particularly, but also in Iraq, Libya and Yemen, outsiders have intervened to further complicate the chaos, rendering an early end to these wars a forlorn hope.

In the game of political ifs and buts, the world reaps the whirlwind of bad decisions by our owners and rulers. If “the Coalition of the Willing” hadn’t destroyed Iraq in the Third Gulf War; if the war in Afghanistan hadn’t been subcontracted out to warlords and private security firms; if the west hadn’t propped up tyrants and kleptocrats for decades; if it hadn’t turned a blind eye to its Saudi friends financing and inspiring the Salafi Killers; if the US had destroyed the Da’esh convoys as they crossed the open desert to capture and desecrate Palmyra; if the Russians had attacked IS rather than other Syrian militias; if the coalition had made as many bombing runs as the Russians. If so many events that had come before had not happened – the fall of the Shah and Iraq’s invasion of Kuwait (apparently given the nod by the US), and the wars that ensued; the Russian invasion of Afghanistan and the civil war that followed it; the rise of al Qa’ida. If, if, if. But, at the end of the day, Muslims pay the price, and yet, it will have to be Muslims who sort it out. Western boots on the ground will not fix it, but, rather, as in days of yore, it will create yet another whirlwind for us all to reap.

We are in midst of what could be described as the final phase of the Wars of the Ottoman Succession. The lines drawn on maps by British and French bureaucrats in the years after The Great War have been dissolved. The polities fabricated by Messrs Sykes and Picot, and manifested in the mandates that evolved into the present states of Syria and Iraq have effectively disintegrated. The future of the other former mandates, Lebanon, Jordan and Israel, is uncertain, as is that of Turkey, the country which rose out of the ashes of defeat and civil war to inherit the Ottoman Anatolian heartland. Indeed, new states could emerge from the maelstrom. A Kurdistan long denied; a partitioned Iraq; Ottoman redux: and the atavistic Islamic Caliphate.

All is, as Kent lamented in King Lear, “cheerless, dark and deadly.

Children of the Revolution

Children of the Revolution

© Paul Hemphill 2013, 2016. All rights reserved

The featured image: Timeless. A Syrian moment, in Foreign Policy 23rd July 2012. Paul Simon once sang “On the side of a hill in a land called somewhere”. Little changes.
The Destruction of the Temple, AD70, Francesco Hayes
So Far From Home, William Barnes Wollen’s The Last Stand of the 44th Foot at Gandamak, 13th January 1842 (1898). The phrase ‘so far from home’ is the title of young Mary Driscoll’s 1847 account of her migration from Ireland to America.
Yarmouk Camp, Damascus February 2014. Al Jazeeraz 26 February 2014
Babes in the Wilderness. Syrian children in the eye of the storm. Al Jazeera, September 2011

Some References

In addition to a multitude of Wiki and Google searches, and references to and quotations from many songs and poems, including my own poetry and verse , special note is made of the following books that I have read of late that have inspired this piece:

Karen Armstrong, Fields of Blood (Knopf)
Thomas Cahill, How The Irish Saved Civilization (Sceptre)
William Dalrymple, From The Holy Mountain (Harper Perennial)
William Dalrymple, Return Of A King (Knopf)
Robert Fisk, The Great War For Civilisation (HarperCollins)
Robert Fisk, Pity The Nation (Andre Deutsch)
Vaslily Grossman, An Armenian Sketchbook (NYRB Classics)
Tom Holland, In The Shadow Of The Sword (Doubleday)
Robert D Kaplan, The Revenge Of Geography (Random House)
Amin Malouf, The Crusades Through Arab Eyes (Schoken)
Simon Sebag Montefiore, Jerusalem, The Biography (Orion)
Simon Winchester, Atlantic (HarperCollins)

 

Tales of Yankee Power

When Jackson Browne released Lives in the Balance in 1986, critics reckoned that its contemporary content, the USA’s bloody meddling in Central America, limited its appeal and long-term significance. And yet, here in the early twentieth first century, with the wars of the Arab Dissolution dragging the world into its vortex, the Great Power politics and proxy wars that taxed intellectual and actual imaginations in that seemingly distant decade jump back into the frame like some dystopian jack in the box. As Mark Twain noted, “history doesn’t repeat itself, but it does rhyme”.

Lives in the Balance was certainly a record for and of its times. Months before the Iran-contra scandal broke, Browne sang “I want to know who the men in the shadows are, I want to hear somebody asking them why. They can be counted on to tell us who our enemies are but they’re never the ones to fight or to die”. After the “arms for hostages” deals hit the news, increased public awareness of the US’ secret and dirty war in Nicaragua inspired him to produce a video for the title track well after the album had passed its sales peak.

Lives in the Balance

The album’s other songs sustained the assault. Soldier of Plenty condemns America’s paternalism towards its poor Latin neighbours. Lawless Avenues, with poignant Spanish lyrics by Browne and Warren Zevon’s old friend and collaborator, Jorge Calderón, takes us down the mean streets of Latino Los Angeles before sending its young anti-hero off to die in America’s wars. In the driving and ironic For America, Browne regrets his prior indifference and qualifies his conflicted patriotism: “I have prayed for America; I was made for America; it’s in my blood and in my bones. By the dawn’s early light! by all I know is right, we’re going to reap what we have sown”. in Til I Go Down, he sings “I’m not gonna shut my eyes, I’ve already seen the lies on the faces of the men of war leading people to the killing floor”. This song aptly plays out the end credits of the harrowing academy award winning The Panama Deception  which documents the US’ invasion of that unfortunate country.

Browne was not the first mainstream singer and songwriter to address America’s long and troublesome relationship with its Latin American neighbours. In his 1983 Stealing Fire and 1984 World of Wonders, Canadian Bruce Cockburn gave us the tragically beautiful Nicaragua and Santiago Dawn and the visceral If I Had a Rocket Launcher. On The Trouble With Normal (1983), there is Tropic Moon, with its cinematic imagery, and the lyrically deceptive Waiting For The Moon. The theme is the same as Browne’s – the North’s intervention in the politics of the South – particularly when comes to financing and arming rogue militias and warlords, and pliable, vicious and corrupt dictators: “Yanqui wake up, don’t you see what you’re doing, trying to be the Pharoah of the West bringing nothing but ruin…You’re my friend but I say Yanqui go home!”

World of Wonders

In this sad world, whenever Uncle Sam (or Uncle Ivan for that matter) plays his hand, something wicked this ways comes: “Little spots on the horizon into gunboats grow – waiting for the moon to show. Might be a party, might be a war when those faceless sailors come ashore. Whatever’s coming, there’s no place else to go, waiting for the moon to show”.

Cockburn’s poetic muse trumps Browne’s agit-prop. These lines from Tropic Moon are nonpareil: “Away from the river, away from the smoke of the burning, fearful survivors, subject of government directives. One sad guitar note echoes off the wall of the jungle. Seen from the air they’re just targets with nowhere to run to”. And: “the light through the wire mesh plays on the president’s pistol like the gleam of bead of sweat in the flow of a candle”.

Very little has changed since Browne and Cockburn sang their Tales of Yankee Power. “But who are the ones that we call our friends? These governments killing their own? Or the people who finally can’t take anymore, and they pick up a gun or a brick or a stone. And there are lives in the balance; there are people under fire; there are children at the cannons; and there is blood on the wire”. And if you were one of those people, why wouldn’t you say “If I had a rocket launcher, I would retaliate!“  As Cockburn sings in Santiago Dawn, “military thugs with their dogs and clubs spreading through the poblacion, hunting whoever has a voice, sure that everyone will run. They come in strong but its not that long before they know its not that easy to leave. To keep a million homeless down takes more than a strong arm up your sleeve”.

From Petrograd to Palestine, the story-line endures. The eighties were also the years of Russia’s Afghan quagmire, which led, ideologically if not geographically to the Chechen pogroms; and of a decade of bloodletting in Lebanon and in what in reality was the First Gulf War, that between Iran and Iraq. The Berlin Wall fell a few years before the events that drove these records, inspiring an outpouring of optimism as the countries of Eastern Europe broke free of the Soviet thrall. But this was not the Kumbaya moment that dreamers yearn for. Ensuing decades have seen a cartography of carnage: Bali and Beslan, Gaza and Grozny, Kabul and Kigali, Manhattan and Mogadishu, Sarajevo and Srebrenica.

We witness the anatomy of the new world economy in which millions of souls are on the move and everything can be traded for value. Bombs and babies, girls and guns, dollars, drugs and more besides. False prophets and bad dreams, broken promises and forlorn hopes, obscured visions and false horizons. “Many have perished, and more most surely will” – a line taken from WH Auden’s often overlooked masterpiece The Age of Anxiety, a meditation on a world in transition between the wreckage of The Second World War and foreboding for the impending armed peace that was itself to endure for another forty five years.

It is sadly ironic that our present world is passing through another time of uneasy transition, between the fixed certainties of great power rivalry and the intractable and bloody asymmetrical conflicts of today.

Paul Hemphill, November 2015

Postscript

The other day, I was listening to Dire Straits’ excellent 1985 album Brothers in Arms, and was reminded that several of the songs thereon refer, albeit obliquely, to the “bush wars” of Central America, and possibly also, to the US and Soviet Union’s proxy wars in Southern Africa and Afghanistan. There is Ride Across the River, with its Latino mood, and the beautiful and haunting title track. And there is The Man’s Too Strong, a powerful indictment of the cult of “the big man” that plagues countries all over the world. How often have these tyrants “re-written history with my armies and my crooks. Invented memories. I did burn all the books”. And how often too have they been tolerated, supported and bankrolled by Uncle Sam and Comrade Ivan.

Somewhere In Syria

Author’s Note:

This post is very much a companion piece to my recent post, Allende’s Desk and Osama’s Pyjamas, another tale of Yankee power, and its subject matter echoes that of A Brief History of the Rise and the Fall of the Westand my poem  E Lucevan le Stelle.

Its story does not relate to Bob Dylan’s cryptic and nihilistic Señor (Tales of Yankee Power), from Street Legal (1978), played here by bluegrass wiz Tim O’Brien. As for the meaning of the Bobster’s song, well, that’s pretty hard to fathom. A cowboy fever dream, perhaps; one of those strange illusions you channel in the early morning between sleeping and waking, more about mood than meaning. Perhaps it deserves a post of its own one find day.

Listen to Lives in the Balance in full be clicking on the blue text. Amid the its hard-hitting political commentary sits In the Shape of a Heart, considered to be one of Browne’s finest love songs. Yet this too might be regarded as controversial with regard to what it may or may not imply about the doomed relationship it describes. But like “the ruby she wore on the chain around her neck”, it is a finely cut gem.

 

Legends, Bibles, Plagues – Bob Dylan’s Nobel Lecture

In Invisible Republic,  his masterful telling of the story behind “The Basement Tapes”, Greil Marcus, quotes Bob Dylan: “Traditional music is based on hexagrams. It comes about from legends, Bibles, plagues, and it revolves around vegetables and death”.

And this is precisely the theme of Dylan’s belated Nobel Lecture, a presentation that is in its style, scope and subject matter, a a laid-back, folksey spoken edition of the long-awaited and probably never to be written “Chronicles – Volume 2”.

Constructed around his précis of three of the many books that have influenced his writing over more than half a century – Moby-Dick, All Quiet of the Western Front, and The Odyssey – he recalls how he had mined the literary canon for myth and meaning, often uncertain and uncaring about how one ended and the other began. As he concludes:

“If a song moves you, that’s all that’s important. I don’t have to know what a song means. I’ve written all kinds of things into my songs. And I’m not going to worry about it – what it all means”.

The full text of Bob’s lecture follows this recording:

Bob Dylan’s Nobel Lecture

When I first received this Nobel Prize for Literature, I got to wondering exactly how my songs related to literature. I wanted to reflect on it and see where the connection was. I’m going to try to articulate that to you. And most likely it will go in a roundabout way, but I hope what I say will be worthwhile and purposeful.

If I was to go back to the dawning of it all, I guess I’d have to start with Buddy Holly. Buddy died when I was about eighteen and he was twenty-two. From the moment I first heard him, I felt akin. I felt related, like he was an older brother. I even thought I resembled him. Buddy played the music that I loved – the music I grew up on: country western, rock ‘n’ roll, and rhythm and blues. Three separate strands of music that he intertwined and infused into one genre. One brand. And Buddy wrote songs – songs that had beautiful melodies and imaginative verses. And he sang great – sang in more than a few voices. He was the archetype. Everything I wasn’t and wanted to be. I saw him only but once, and that was a few days before he was gone. I had to travel a hundred miles to get to see him play, and I wasn’t disappointed.

He was powerful and electrifying and had a commanding presence. I was only six feet away. He was mesmerizing. I watched his face, his hands, the way he tapped his foot, his big black glasses, the eyes behind the glasses, the way he held his guitar, the way he stood, his neat suit. Everything about him. He looked older than twenty-two. Something about him seemed permanent, and he filled me with conviction. Then, out of the blue, the most uncanny thing happened. He looked me right straight dead in the eye, and he transmitted something. Something I didn’t know what. And it gave me the chills.

I think it was a day or two after that that his plane went down. And somebody – somebody I’d never seen before – handed me a Leadbelly record with the song “Cottonfields” on it. And that record changed my life right then and there. Transported me into a world I’d never known. It was like an explosion went off. Like I’d been walking in darkness and all of the sudden the darkness was illuminated. It was like somebody laid hands on me. I must have played that record a hundred times.

It was on a label I’d never heard of with a booklet inside with advertisements for other artists on the label: Sonny Terry and Brownie McGhee, the New Lost City Ramblers, Jean Ritchie, string bands. I’d never heard of any of them. But I reckoned if they were on this label with Leadbelly, they had to be good, so I needed to hear them. I wanted to know all about it and play that kind of music. I still had a feeling for the music I’d grown up with, but for right now, I forgot about it. Didn’t even think about it. For the time being, it was long gone.

I hadn’t left home yet, but I couldn’t wait to. I wanted to learn this music and meet the people who played it. Eventually, I did leave, and I did learn to play those songs. They were different than the radio songs that I’d been listening to all along. They were more vibrant and truthful to life. With radio songs, a performer might get a hit with a roll of the dice or a fall of the cards, but that didn’t matter in the folk world. Everything was a hit. All you had to do was be well versed and be able to play the melody. Some of these songs were easy, some not. I had a natural feeling for the ancient ballads and country blues, but everything else I had to learn from scratch. I was playing for small crowds, sometimes no more than four or five people in a room or on a street corner. You had to have a wide repertoire, and you had to know what to play and when. Some songs were intimate, some you had to shout to be heard.

By listening to all the early folk artists and singing the songs yourself, you pick up the vernacular. You internalize it. You sing it in the ragtime blues, work songs, Georgia sea shanties, Appalachian ballads and cowboy songs. You hear all the finer points, and you learn the details.

You know what it’s all about. Takin’ the pistol out and puttin’ it back in your pocket. Whippin’ your way through traffic, talkin’ in the dark. You know that Stagger Lee was a bad man and that Frankie was a good girl. You know that Washington is a bourgeois town and you’ve heard the deep-pitched voice of John the Revelator and you saw the Titanic sink in a boggy creek. And you’re pals with the wild Irish rover and the wild colonial boy. You heard the muffled drums and the fifes that played lowly. You’ve seen the lusty Lord Donald stick a knife in his wife, and a lot of your comrades have been wrapped in white linen.

I had all the vernacular all down. I knew the rhetoric. None of it went over my head – the devices, the techniques, the secrets, the mysteries – and I knew all the deserted roads that it traveled on, too. I could make it all connect and move with the current of the day. When I started writing my own songs, the folk lingo was the only vocabulary that I knew, and I used it.

But I had something else as well. I had principals and sensibilities and an informed view of the world. And I had had that for a while. Learned it all in grammar school. Don Quixote, Ivanhoe, Robinson Crusoe, Gulliver’s Travels, Tale of Two Cities, all the rest – typical grammar school reading that gave you a way of looking at life, an understanding of human nature, and a standard to measure things by. I took all that with me when I started composing lyrics. And the themes from those books worked their way into many of my songs, either knowingly or unintentionally. I wanted to write songs unlike anything anybody ever heard, and these themes were fundamental.

Specific books that have stuck with me ever since I read them way back in grammar school – I want to tell you about three of them: Moby-Dick, All Quiet on the Western Front and The Odyssey.

President Barack Obama presents rock legend Bob Dylan with a Medal of Freedom, Tuesday, May 29, 2012, during a ceremony at the White House in Washington. (AP Photo/Charles Dharapak)

Moby-Dick is a fascinating book, a book that’s filled with scenes of high drama and dramatic dialogue. The book makes demands on you. The plot is straightforward. The mysterious Captain Ahab – captain of a ship called the Pequod – an egomaniac with a peg leg pursuing his nemesis, the great white whale Moby Dick who took his leg. And he pursues him all the way from the Atlantic around the tip of Africa and into the Indian Ocean. He pursues the whale around both sides of the earth. It’s an abstract goal, nothing concrete or definite. He calls Moby the emperor, sees him as the embodiment of evil. Ahab’s got a wife and child back in Nantucket that he reminisces about now and again. You can anticipate what will happen.

The ship’s crew is made up of men of different races, and any one of them who sights the whale will be given the reward of a gold coin. A lot of Zodiac symbols, religious allegory, stereotypes. Ahab encounters other whaling vessels, presses the captains for details about Moby. Have they seen him? There’s a crazy prophet, Gabriel, on one of the vessels, and he predicts Ahab’s doom. Says Moby is the incarnate of a Shaker god, and that any dealings with him will lead to disaster. He says that to Captain Ahab. Another ship’s captain – Captain Boomer – he lost an arm to Moby. But he tolerates that, and he’s happy to have survived. He can’t accept Ahab’s lust for vengeance.

This book tells how different men react in different ways to the same experience. A lot of Old Testament, biblical allegory: Gabriel, Rachel, Jeroboam, Bildah, Elijah. Pagan names as well: Tashtego, Flask, Daggoo, Fleece, Starbuck, Stubb, Martha’s Vineyard. The Pagans are idol worshippers. Some worship little wax figures, some wooden figures. Some worship fire. The Pequod is the name of an Indian tribe.

Moby Dick is a seafaring tale. One of the men, the narrator, says, “Call me Ishmael.” Somebody asks him where he’s from, and he says, “It’s not down on any map. True places never are.” Stubb gives no significance to anything, says everything is predestined. Ishmael’s been on a sailing ship his entire life. Calls the sailing ships his Harvard and Yale. He keeps his distance from people.

A typhoon hits the Pequod. Captain Ahab thinks it’s a good omen. Starbuck thinks it’s a bad omen, considers killing Ahab. As soon as the storm ends, a crewmember falls from the ship’s mast and drowns, foreshadowing what’s to come. A Quaker pacifist priest, who is actually a bloodthirsty businessman, tells Flask, “Some men who receive injuries are led to God, others are led to bitterness.”

Everything is mixed in. All the myths: the Judeo Christian bible, Hindu myths, British legends, Saint George, Perseus, Hercules – they’re all whalers. Greek mythology, the gory business of cutting up a whale. Lots of facts in this book, geographical knowledge, whale oil – good for coronation of royalty – noble families in the whaling industry. Whale oil is used to anoint the kings. History of the whale, phrenology, classical philosophy, pseudo-scientific theories, justification for discrimination – everything thrown in and none of it hardly rational. Highbrow, lowbrow, chasing illusion, chasing death, the great white whale, white as polar bear, white as a white man, the emperor, the nemesis, the embodiment of evil. The demented captain who actually lost his leg years ago trying to attack Moby with a knife.

We see only the surface of things. We can interpret what lies below any way we see fit. Crewmen walk around on deck listening for mermaids, and sharks and vultures follow the ship. Reading skulls and faces like you read a book. Here’s a face. I’ll put it in front of you. Read it if you can.

Tashtego says that he died and was reborn. His extra days are a gift. He wasn’t saved by Christ, though, he says he was saved by a fellow man and a non-Christian at that. He parodies the resurrection.

When Starbuck tells Ahab that he should let bygones be bygones, the angry captain snaps back, “Speak not to me of blasphemy, man, I’d strike the sun if it insulted me.” Ahab, too, is a poet of eloquence. He says, “The path to my fixed purpose is laid with iron rails whereon my soul is grooved to run.” Or these lines, “All visible objects are but pasteboard masks.” Quotable poetic phrases that can’t be beat.

Finally, Ahab spots Moby, and the harpoons come out. Boats are lowered. Ahab’s harpoon has been baptized in blood. Moby attacks Ahab’s boat and destroys it. Next day, he sights Moby again. Boats are lowered again. Moby attacks Ahab’s boat again. On the third day, another boat goes in. More religious allegory. He has risen. Moby attacks one more time, ramming the Pequod and sinking it. Ahab gets tangled up in the harpoon lines and is thrown out of his boat into a watery grave.

Ishmael survives. He’s in the sea floating on a coffin. And that’s about it. That’s the whole story. That theme and all that it implies would work its way into more than a few of my songs.

Moby-Dick

All Quiet on the Western Front was another book that did. All Quiet on the Western Front is a horror story. This is a book where you lose your childhood, your faith in a meaningful world, and your concern for individuals. You’re stuck in a nightmare. Sucked up into a mysterious whirlpool of death and pain. You’re defending yourself from elimination. You’re being wiped off the face of the map. Once upon a time you were an innocent youth with big dreams about being a concert pianist. Once you loved life and the world, and now you’re shooting it to pieces.

Day after day, the hornets bite you and worms lap your blood. You’re a cornered animal. You don’t fit anywhere. The falling rain is monotonous. There’s endless assaults, poison gas, nerve gas, morphine, burning streams of gasoline, scavenging and scabbing for food, influenza, typhus, dysentery. Life is breaking down all around you, and the shells are whistling. This is the lower region of hell. Mud, barbed wire, rat-filled trenches, rats eating the intestines of dead men, trenches filled with filth and excrement. Someone shouts, “Hey, you there. Stand and fight.”

Who knows how long this mess will go on? Warfare has no limits. You’re being annihilated, and that leg of yours is bleeding too much. You killed a man yesterday, and you spoke to his corpse. You told him after this is over, you’ll spend the rest of your life looking after his family. Who’s profiting here? The leaders and the generals gain fame, and many others profit financially. But you’re doing the dirty work. One of your comrades says, “Wait a minute, where are you going?” And you say, “Leave me alone, I’ll be back in a minute.” Then you walk out into the woods of death hunting for a piece of sausage. You can’t see how anybody in civilian life has any kind of purpose at all. All their worries, all their desires – you can’t comprehend it.

More machine guns rattle, more parts of bodies hanging from wires, more pieces of arms and legs and skulls where butterflies perch on teeth, more hideous wounds, pus coming out of every pore, lung wounds, wounds too big for the body, gas-blowing cadavers, and dead bodies making retching noises. Death is everywhere. Nothing else is possible. Someone will kill you and use your dead body for target practice. Boots, too. They’re your prized possession. But soon they’ll be on somebody else’s feet.

There’s Froggies coming through the trees. Merciless bastards. Your shells are running out. “It’s not fair to come at us again so soon,” you say. One of your companions is laying in the dirt, and you want to take him to the field hospital. Someone else says, “You might save yourself a trip.” “What do you mean?” “Turn him over, you’ll see what I mean.”

You wait to hear the news. You don’t understand why the war isn’t over. The army is so strapped for replacement troops that they’re drafting young boys who are of little military use, but they’re draftin’ ‘em anyway because they’re running out of men. Sickness and humiliation have broken your heart. You were betrayed by your parents, your schoolmasters, your ministers, and even your own government.

The general with the slowly smoked cigar betrayed you too – turned you into a thug and a murderer. If you could, you’d put a bullet in his face. The commander as well. You fantasize that if you had the money, you’d put up a reward for any man who would take his life by any means necessary. And if he should lose his life by doing that, then let the money go to his heirs. The colonel, too, with his caviar and his coffee – he’s another one. Spends all his time in the officers’ brothel. You’d like to see him stoned dead too. More Tommies and Johnnies with their whack fo’ me daddy-o and their whiskey in the jars. You kill twenty of ‘em and twenty more will spring up in their place. It just stinks in your nostrils.

You’ve come to despise that older generation that sent you out into this madness, into this torture chamber. All around you, your comrades are dying. Dying from abdominal wounds, double amputations, shattered hipbones, and you think, “I’m only twenty years old, but I’m capable of killing anybody. Even my father if he came at me.”

Yesterday, you tried to save a wounded messenger dog, and somebody shouted, “Don’t be a fool.” One Froggy is laying gurgling at your feet. You stuck him with a dagger in his stomach, but the man still lives. You know you should finish the job, but you can’t. You’re on the real iron cross, and a Roman soldier’s putting a sponge of vinegar to your lips.

Months pass by. You go home on leave. You can’t communicate with your father. He said, “You’d be a coward if you don’t enlist.” Your mother, too, on your way back out the door, she says, “You be careful of those French girls now.” More madness. You fight for a week or a month, and you gain ten yards. And then the next month it gets taken back.

All that culture from a thousand years ago, that philosophy, that wisdom – Plato, Aristotle, Socrates – what happened to it? It should have prevented this. Your thoughts turn homeward. And once again you’re a schoolboy walking through the tall poplar trees. It’s a pleasant memory. More bombs dropping on you from blimps. You got to get it together now. You can’t even look at anybody for fear of some miscalculable thing that might happen. The common grave. There are no other possibilities.

Then you notice the cherry blossoms, and you see that nature is unaffected by all this. Poplar trees, the red butterflies, the fragile beauty of flowers, the sun – you see how nature is indifferent to it all. All the violence and suffering of all mankind. Nature doesn’t even notice it.

You’re so alone. Then a piece of shrapnel hits the side of your head and you’re dead. You’ve been ruled out, crossed out. You’ve been exterminated. I put this book down and closed it up. I never wanted to read another war novel again, and I never did.

Charlie Poole from North Carolina had a song that connected to all this. It’s called “You Ain’t Talkin’ to Me,” and the lyrics go like this:

I saw a sign in a window walking up town one day.
Join the army, see the world is what it had to say.
You’ll see exciting places with a jolly crew,
You’ll meet interesting people, and learn to kill them too.
Oh you ain’t talkin’ to me, you ain’t talking to me.
I may be crazy and all that, but I got good sense you see.
You ain’t talkin’ to me, you ain’t talkin’ to me.
Killin’ with a gun don’t sound like fun.
You ain’t talkin’ to me.

Bob Dylan and Robbie Robertson

The Odyssey is a great book whose themes have worked its way into the ballads of a lot of songwriters: “Homeward Bound, “Green, Green Grass of Home,” “Home on the Range,” and my songs as well.

The Odyssey is a strange, adventurous tale of a grown man trying to get home after fighting in a war. He’s on that long journey home, and it’s filled with traps and pitfalls. He’s cursed to wander. He’s always getting carried out to sea, always having close calls. Huge chunks of boulders rock his boat. He angers people he shouldn’t. There’s troublemakers in his crew. Treachery. His men are turned into pigs and then are turned back into younger, more handsome men. He’s always trying to rescue somebody. He’s a travelin’ man, but he’s making a lot of stops.

He’s stranded on a desert island. He finds deserted caves, and he hides in them. He meets giants that say, “I’ll eat you last.” And he escapes from giants. He’s trying to get back home, but he’s tossed and turned by the winds. Restless winds, chilly winds, unfriendly winds. He travels far, and then he gets blown back.

He’s always being warned of things to come. Touching things he’s told not to. There’s two roads to take, and they’re both bad. Both hazardous. On one you could drown and on the other you could starve. He goes into the narrow straits with foaming whirlpools that swallow him. Meets six-headed monsters with sharp fangs. Thunderbolts strike at him. Overhanging branches that he makes a leap to reach for to save himself from a raging river. Goddesses and gods protect him, but some others want to kill him. He changes identities. He’s exhausted. He falls asleep, and he’s woken up by the sound of laughter. He tells his story to strangers. He’s been gone twenty years. He was carried off somewhere and left there. Drugs have been dropped into his wine. It’s been a hard road to travel.

In a lot of ways, some of these same things have happened to you. You too have had drugs dropped into your wine. You too have shared a bed with the wrong woman. You too have been spellbound by magical voices, sweet voices with strange melodies. You too have come so far and have been so far blown back. And you’ve had close calls as well. You have angered people you should not have. And you too have rambled this country all around. And you’ve also felt that ill wind, the one that blows you no good. And that’s still not all of it.

When he gets back home, things aren’t any better. Scoundrels have moved in and are taking advantage of his wife’s hospitality. And there’s too many of ‘em. And though he’s greater than them all and the best at everything – best carpenter, best hunter, best expert on animals, best seaman – his courage won’t save him, but his trickery will.

All these stragglers will have to pay for desecrating his palace. He’ll disguise himself as a filthy beggar, and a lowly servant kicks him down the steps with arrogance and stupidity. The servant’s arrogance revolts him, but he controls his anger. He’s one against a hundred, but they’ll all fall, even the strongest. He was nobody. And when it’s all said and done, when he’s home at last, he sits with his wife, and he tells her the stories.

____________________

So what does it all mean? Myself and a lot of other songwriters have been influenced by these very same themes. And they can mean a lot of different things. If a song moves you, that’s all that’s important. I don’t have to know what a song means. I’ve written all kinds of things into my songs. And I’m not going to worry about it – what it all means. When Melville put all his old testament, biblical references, scientific theories, Protestant doctrines, and all that knowledge of the sea and sailing ships and whales into one story, I don’t think he would have worried about it either – what it all means.

John Donne as well, the poet-priest who lived in the time of Shakespeare, wrote these words, “The Sestos and Abydos of her breasts. Not of two lovers, but two loves, the nests.” I don’t know what it means, either. But it sounds good. And you want your songs to sound good.

When Odysseus in The Odyssey visits the famed warrior Achilles in the underworld – Achilles, who traded a long life full of peace and contentment for a short one full of honor and glory – tells Odysseus it was all a mistake. “I just died, that’s all.” There was no honor. No immortality. And that if he could, he would choose to go back and be a lowly slave to a tenant farmer on Earth rather than be what he is – a king in the land of the dead – that whatever his struggles of life were, they were preferable to being here in this dead place.

That’s what songs are too. Our songs are alive in the land of the living. But songs are unlike literature. They’re meant to be sung, not read. The words in Shakespeare’s plays were meant to be acted on the stage. Just as lyrics in songs are meant to be sung, not read on a page. And I hope some of you get the chance to listen to these lyrics the way they were intended to be heard: in concert or on record or however people are listening to songs these days. I return once again to Homer, who says, “Sing in me, oh Muse, and through me tell the story.”

http://www.svenskaakademien.se/en/nobel-lecture

© THE NOBEL FOUNDATION 2017. The Nobel Foundation has not obtained the right to assign any usage right to the Nobel Lecture to any third party, and any such rights may thus not be granted. All rights to the Nobel Lecture by Bob Dylan are reserved and the Nobel Lecture may not be published or otherwise used by third parties with one exception: the audio file containing the Nobel Lecture, as published at Nobelprize.org, the official website of the Nobel Prize, may be embedded on other websites

Read also: Blind Willie McTell – Bob Dylan’s Americana and Ahab’s Madness