This article has just been published by the Irish Left Review, which has the bonus of a nice video link.
http://www.irishleftreview.org/2012/12/18/musical-celebration-subversion/
In 2009 the British National Party
took to promoting English folk music on its website. One particularly favoured
song was Steve Knightley’s Roots:
When the Indians,
Asians, Afro-Celts
It's in their blood, below their belt
They're playing and dancing all night long
So what have they got right that we've got wrong?
Seed, bud, flower, fruit
They're never gonna grow without their roots
Branch, stem, shoot
They need roots…
It's in their blood, below their belt
They're playing and dancing all night long
So what have they got right that we've got wrong?
Seed, bud, flower, fruit
They're never gonna grow without their roots
Branch, stem, shoot
They need roots…
Although Knightley was dismayed by this “betrayal” and “violation” of his “invention”, he
should have realised that such imagery is in perfect harmony with the discourse
of fascism. In 1934 the Nazi musicologist Fritz Stein
maintained that “as long as it remained undiluted and true to its
German roots, folk music was an essential means of gaining respect abroad.”
Furthermore, the juxtaposition of “they” and “we” in Knightley’s verse,
although purportedly privileging the “Indians, Asians, Afro-Celts [sic]”, is in
fact a careless gesture of exclusion.
One
consequence of the BNP’s opportunistic advocacy of English folk music was the
foundation of Folk Against
Fascism (FAF). Describing itself as “neither
left-of-centre nor right-of-centre”, this organisation (which appears to be
moribund at present) claimed to be “simply a coalition of people who care
passionately about British folk culture and don’t want to see it turned into
something it’s not: a marketing tool for extremist politics.”
Both of these well-meaning responses leave something to be
desired, and that something has now been provided by the Anti-Capitalist Roadshow , “a
collective of singers and songwriters: Frankie Armstrong, Roy Bailey, Robb
Johnson, Reem Kelani, Sandra Kerr, Grace Petrie, Leon Rosselson, Janet Russell,
Peggy Seeger, Jim Woodland plus one socialist magician, Ian Saville.” With no feeble nod to being “neither right nor left”,
this collective claims to be “part of the resistance to a capitalism that
functions only on behalf of the wealthy, that aims to shrink the public sphere
and privatise public services,… and that is destructive to the planet.”
Many of the
30 tracks of the collective’s new double album, Celebrating Subversion, deal forcefully
with such specifically British issues as Thatcherism, Tory Chancellor of the
Exchequer George Osborne’s views on “the
benefits lifestyle”, the dismantling of the
National Health Service, the occupation of St Paul’s, the
sinking of the Titanic (as metaphor
for “the practical outcomes of capitalism”), looting during the 2011
London riots, British arms
exports, the Peterloo
Massacre, and the suffragette Emily
Davison, martyred just a century ago.
However, Celebrating Subversion is not thereby
celebrating another form of national navel-gazing, but places these issues in a
firmly internationalist context. Robb Johnson’s Be Reasonable adapts the May ’68 slogan
(itself adapted from Che Guevara) “Soyons réalistes – exigeons l’impossible!”
(“Let’s be realistic – demand the impossible!”). Frankie Armstrong’s Encouragement translates a song by the
former East German dissident (or former dissident) Wolf Biermann (“Don’t let
your strength die. / Don’t let them make you bitter in these bitter times…”).
Armstrong also sings My Personal Revenge
by Nicaraguan songwriter Luis
Godoy, based on words by the Sandanista leader Tomás Borge (“My
personal revenge will be to show you / The kindness in the eyes of my people /
Who have always fought relentlessly in battle / And been generous and firm in
victory.”). Leon Rosselson’s classic Song of the Olive tree, sung here by the
incomparable Manchester-born Palestinian Reem Kelani and introduced by a passionate buzuq solo from Tamer
Abu Ghazaleh, pays homage to the living symbol of Palestinian sumud (steadfastness and resistance).
Kelani sings in Arabic on the rousing Babour
zammar (The Ship Sounded its Horn), a Tunisian “migration anthem” from the
1970s, here dedicated to the memory of Mohamed Bouazizi whose self-immolation
instigated the Tunisian revolution and hence the so-called Arab Spring. Bread and Roses, a song by Dubliner Martin Whelan inspired by
a 1911 poem by American James
Oppenheim, is sung by Roy
Bailey who also gives us They all sang
Bread and Roses by the contemporary American civil rights, labour and community organiser Si Kahn. The collection ends with Proletarian Lullaby by Bertolt
Brecht and Hanns Eisler: “And you,
my son, and I and all our people / Must stand together to unite the human race
/ That unequal classes no more / Will divide the human race.”
Rosselson
was born in 1934, and both Roy Bailey and Peggy Seeger in 1935. The latter,
daughter of the classical composer Ruth Crawford-Seeger, moved to Britain in
1956 to escape anti-communist hysteria in the USA, eventually marrying the
socialist singer-songwriter Ewan McColl. Her contributions to this album are
hard acts to follow; Doggone, Occupation
is On is an adaptation (partly by Dave Lippman) of the dustbowl classic Doggone, the Panic is on by Hesekiah
Jenkins, Progress Train (Seeger) is
as fast and furious as the vehicle it evokes (“The human brain’s an intelligent
fool / Build you a hospital, build you a school / You wake up the very next day
/ The progress train took it all away.”), while the unaccompanied Peacock Street, composed by
“pistol-packin’ momma” Aunt Molly Jackson, exudes a
mixture of pathos, anger and droll humour (p)reminiscent of Janis Joplin’s Mercedes Benz (“I was cold, I was
hungry, it was late in the fall / I knocked down some old big shot, took his
money, clothes and all.”).
At the
other end of the generational scale, feisty Leicester-born Grace Petrie found her voice in 2010 with the
election of the Tory/Liberal coalition government. Her Protest Singer Blues
asks “How many deaths will it take 'til we know /
Too
many people have died?”, decides that “There's no answer blowin' in the wind”,
and concludes: “How many times can a man turn his head / And pretend he just
doesn't see? / 'Cause I'm ashamed, the times they have a-changed / And a better
world was not to be.”
The parody of Dylan is
cheeky, but surely to the point: “neither right-of-centre nor left-of-centre”,
his early songs modified his mentor Woody Guthrie's robust anti-fascism into a
vague, undifferentiated protest that became the hallmark of a generation
unwilling to translate that stance into overt political action. Petrie and the
rest of her Anti-Capitalism Roadshow colleagues reach back to earlier
traditions of activism, and reach across national and sectarian boundaries in a
spirit of generous solidarity. The result would make an ideal Christmas or New
Year’s present for anyone willing to be provoked and inspired as well as
entertained.
Celebrating Subversion
costs Stg £15 (plus postage) can be ordered by emailing info@capitalistroadshow.co.uk,
where you can pay by paypal.
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