Denise Sullivan

Author, Journalist, Culture Worker

“Lord, they cut George Jackson down”

GeorgeJacksonGerFrontBob GeorgeJacksonSpainFrontBob Dylan’s 1971 single, “George Jackson,” a remembrance for the radicalized convict and Black Panther who died in a San Quentin prison shoot-out on August 21, 1971, remains one of his most mysterious recordings.  Not only does “George Jackson” mark the songwriter’s return to topical song form and to touring after a long hiatus, his subject remains as misunderstood to a general audience as does the singer and his songs.
Less than a month after the prison shooting in California, a historic event at Attica Correctional Facility wherein prisoners took control of the prison to protest its poor conditions resulted in more fatalities—an unmistakable call for prison reform. Perhaps it was that call to which Dylan was responding when in November, he cut and released “George Jackson,” a 45-rpm record that reached the Top 40 in January of 1972.
Opening with the blues trope, “I woke up this morning,” Dylan’s “George Jackson” is not a typical blues song, though it surely addresses the larger topic of racial and socio-economic oppression from which a certain style of blues was born. It also leaves a record of Jackson and his story.
“The power of George Jackson’s personal story remains painfully relevant to our nation today, with its persistent racism, its hellish prisons, its unjust judicial system, and the poles of wealth and poverty that are at the root of all that,” wrote historian Howard Zinn in an updated version of Jackson’s Soledad Brother. Wresting larger truths from the events of 1971, Dylan delivered his summation in these often quoted lines from “George Jackson”

Sometimes I think this whole world
Is one big prison yard
Some of us are prisoners
The rest of us are guards

Dylan cut two versions of “George Jackson” for a double sided seven-inch: A “big band” version featuring Kenny Buttrey (drums), Ben Keith (steel guitar), and Leon Russell (bass), and a solo acoustic version. Among the various issues of the single—and there are many—is a picture sleeve with an image of Dylan performing at the Concert for Bangladesh (pictured above, it remains sought-after by record collectors). Here’s a version of Dylan’s song recorded by reggae band, Steel Pulse:

The details of the Jackson case are still debated today by scholars, historians, and those who remember the events. As the story goes, it was a 70-dollar robbery that landed Jackson in state prison, his sentence indeterminate. Guards took an instant dislike to Jackson on the inside and his sentences were extended following events occurring at Soledad State Prison in which three Black inmates and a white guard were killed.  Using his time in solitary to educate himself, Jackson studied psychologist Franz Fanon (The Wretched of the Earth), Marx, and Mao, and came to understand the incarceration of poor Blacks for petty crime in a political context. A leader in moving prisoners to radicalize, Jackson joined the Black Panthers and became one of the group’s most celebrated members, despite  J. Edgar Hoover’s declaration in 1969 that the Black Panthers were public enemy number one.

Published in 1971, Soledad Brother: The Prison Letters of George Jackson, was greeted with a positive reception by intellectuals and political progressives. That Jackson had been framed for conspiring to kill a guard in the Soledad incident was a widely held belief; his defenders were vocal and his case was a cause célèbre. But a few days before the Jackson trial was to begin, a riot broke out in San Quentin in which inmates and guards were again slain and Jackson was among those killed as he ran across the yard in an alleged escape attempt. In 2015, Hugo Pinell, the last incarcerated member of the San Quentin Six, was killed while serving his life sentence, much of it in solitary confinement.

The following is a live recording of Joan Baez singing “George Jackson.”

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Filed under: Angela Davis, Arts and Culture, Black Power,, Bob Dylan, Protest Songs, , , , ,

Remembering Tony Kinman

Tony and Chip Kinman, photo by Marcus Leatherdale

There was an anti-authoritarian pulse that coursed through Tony Kinman’s work until the end: When Kinman lost his life to pancreatic cancer in May, rock ’n’ roll lost one of its greatest champions.

Working side by side for decades with his brother Chip Kinman, whether it was in their first wave political punk band The Dils, or producing his brother’s new rock ’n’ blues band, Ford Madox Ford, Kinman left his own unique imprint on rock ‘n’ roll: Working upstream and against trends, he carried a torch for all that was holy and good about the music, always questing for the possibility that it would manifest its original intention to upset and forever change things like it did in its formational 1950s. When that promise didn’t deliver, he dug deeper toward the source, searching for rock’s proverbial lost chord.

READ THE ENTIRE APPRECIATION AT TOURWORTHY.

Filed under: Protest Songs, Punk, , ,

Country Music On The Move

Sometimes inspiration comes from the unlikeliest of sources.  Country music, for example, is not the kind of music I generally turn on when seeking comfort, enjoyment, or consolation. You might say I’m not a big fan. I will admit I’m slightly allergic to the sound of fiddles, banjos, mandolins, or anything that twangs.  That all said, when the lyrics are really saying something and the artist is using their notoriety to make change, I’m all ears.  In this month’s column, we celebrate Sturgill Simpson, Keith Urban, and the other country music artists who’ve decided enough is enough: These musicians are taking a stand against gun violence, misogyny, racism, and the other ills of our nation in decline. Read the entire story at Tourworthy.

Filed under: Arts and Culture, column, Protest Songs, Women's rights, , , ,

Back On The Chain Gang

Dear Readers,

It’s an unusual post where I want to send you away from my site and toward another, but that’s the case this evening…As it happens, I’m back on the rock ‘n’ roll beat and want to point you to a couple of publications where my work is now playing:

Last week, a group of former colleagues launched No Recess! a music and culture site that aims to bring you some good reading on rock ‘n’ roll, resistance, and whatever else they feel like.

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Check my contributions, a column titled What Are We Gonna Do Now? and subtitled Rock and Resist or Rollover.  I also contribute a book review of the new autobiography by the Band’s Robbie Robertson.   And here’s a film review of I Called Him Morgan), and a news brief (an item on John Hurt Jr.)

I’m also filing a monthly column over at Tourworthy.  My first piece is on the Latino psychedelic soulsters with a message, Chicano Batman.   I hope you’ll look deeper into these new publications and lend them your eyes (and ears) as they keep you up-to-date on the sounds that matter, on the music that’s making a difference. As ever, thanks for reading!

Filed under: Protest Songs, rock 'n' roll, video, You Read It Here First

Three Women: Yoko Ono, Buffy Sainte-Marie & Nina Simone

Coincidence or likely story, three of the great freedom singers of our time, Yoko Ono, Buffy Sainte-Marie and Nina Simone were born on nearly consecutive days in February.

 

Yoko Ono is of course a conceptual artist, a recording artist, a peace activist, wife of the late John Lennon and mother of Sean Ono Lennon. Born on February 18 in Tokyo, at 84, Ono remains a working artist and advocate for peace and human rights.

Born on February 20, 1941, Buffy Sainte-Marie turns 76 this year.  She is still a vital recording and touring artist, fronting a band, and waging peace and freedom, particularly for the First Nations people of North America.

Though she passed on in 2003 at the age of 70, North Carolinian and world citizen Nina Simone continues to win over listeners with her unique vocal and composition style and revolution rhetoric that truly remains unmatched since her prolific ’60s and ’70s period. Though she adapted her songbook as times changed, Simone kept it fierce and strong until breast cancer took her off the road in her 60s. She would have turned 84 on February 22.

All three women hold unique distinctions as pioneering vocal stylists and composers of depth and substance—pro-woman, anti-war and anti-racist—which found them as revered as they are reviled.  Yet those of us who appreciate the work, who lived in times that crossed with theirs, who were lucky enough to have seen them perform or simply feel the enormity of their contributions to the modern music canon shall pause, listen, and give thanks in the coming days that these three extraordinary 20th Century women were born.

Read more on Ono, Sainte-Marie and Simone in Keep on Pushing:  Black Power Music From Blues to Hip Hop.

 

Filed under: anti-war, Arts and Culture, Black Power,, Buffy Sainte-Marie, Nina Simone, Protest Songs, Rock Birthdays, video, Women in Rock,

Bob Dylan: Nobel Laureate

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The Thursday morning announcement that Bob Dylan has won the 2016 Nobel Prize in Literature, seems to have struck a raw nerve among (mostly) male novelists and some crabby millennials on social media who were intent on disputing the 75-year-old American songwriter’s worthiness of the honor. We pay no attention to them other than to say, they are entirely wrong: Dylan is a writer the likes of which we will never again see in our lifetimes. That we lived in his time and were able to see him perform his written work just happens to have been our good luck and privilege, an idea suggested by the writer Paul Williams and one I believe should be kept close at hand when the inevitable bashing and clashing continues.

The Nobel committee called Dylan’s work “poetry for the ear,” celebrating him for “having created new poetic expressions within the great American song tradition;” authors Joyce Carole Oates and Mary Karr weighed in with a series of favorable tweets as did the great Salman Rushdie who offered comparisons to Orpheus and Faiz.

Meanwhile author Gary Shteyngart (Absurdistan) used his twisted sarcasm to tweet, “books are kinda gross.” Irvine Welch (Trainspotting) was a little more coarse, and Hari Kunzru (My Revolutions) wins for angriest. That Dylan is a songwriter, and an innately American one, touring during his country’s likeliest darkest hours yet was not enough to stop the novelists’ outbursts: All three were born outside of the USA and are well read here, though none among them have written anything that can remotely compare to the beauty of “Mr. Tambourine Man” and “Visions of Johanna” nor anything as compelling as “Masters of War,” “Ballad of a Thin Man,” “It’s Alright Ma (I’m Only Bleeding)” or “Subterranean Homesick Blues.” Their lyricism has not been likened to that of Keats, Blake, and Shakespeare, like Dylan’s work has been. Of course this is barely scratching the surface of a long list of Dylan-writings, including songs, poems, memoirs and screenplays, and possible reasons for other writers’ grievances. One is tempted to simply list the titles and produce evidence of the full bodied depth and freshness to the work that stretches out following the ’60s and into the ’70s, ’80s and beyond, whether it be the collaborative Desire or high watermarks Infidels and Oh Mercy, or late work like “Not Dark Yet” from Time Out of Mind and “Mississippi” and “Sugar Baby” from the 21st Century magnum opus, Love and Theft, released on September 11, 2001.

Read the entire article at Down With Tyranny!

Filed under: anti-war, Arts and Culture, Bob Dylan, Poetry, Protest Songs, racism,

Postmodern Times Requiem

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Poet Janice Mirikitani, GLIDE co-founder and housing activist, at State of the City Forum on Gentrification Issues, curated and moderated throughout 2014-15 by Denise Sullivan at Modern Times Bookstore Collective

How does a revolutionary bookstore and its personnel survive in the new Gilded Age?  A rhetorical question perhaps, but often asked, discussed, debated, and ultimately decided at 2919 24th Street in San Francisco, Modern Times Bookstore Collective. After 45 years of selling incendiary books to the loving people, the bookstore will close its doors next month.

You say you’re sad? We are too. You hope another independent radical bookstore will take its place. How can it?

Modern Times is where the brave, the broken, the bleeding hearts go to be repaired and refreshed, to be fed by literature and conversation, made (mostly) by Marxists,  Radical Queers, revolutionary sweetheart poets, and organized minds, the kind who protect Black Lives and Sacred Waters; your housing advocates, labor unionists, People’s politicians, Green partiers, anti-ablist, anti-ageist, anti-capitalist, anarchist cooks, militant vegans, and hopeful activists. And then there were the passersby who knew–there was a bathroom inside.

It was dirty in there: Waged that  war once or twice and lost it. I heard the staff of another neighborhood bookstore, never mind its name, speak ill of our sacred, safe, Spanish-speaking (ok, poor-Spanish-speaking), space. It hurt, but why reply and dignify ignorance: We were too busy anyway, blasting the surveillance state, police terror, environmental crisis, and the racist, sexist, bully nation.

We’ve been beat up, we’ve been thrown out, but we’re not down. We’re coming up, coming out, over the wall, across the bridge, under the freeway, on the block, in the chamber, in the jail cell, special housing unit, death row, and we’re gonna be alright. Because we don’t stop, you don’t stop, and there is no. sleep. ’til recall. Just know, even when the power gets cut, and the nights grow long and cold, Modern Times still sees you, and the little light that shines from your heart.

Written on October 11, 2016, barely revised, and read live that night at the Mission Bookstores/ Litquake Benefit, accompanied by Victor Krummenacher on guitar. Long live Modern Times Bookstore Collective.

Filed under: anti-war, Arts and Culture, Book news, California, Never Forget, Now Playing, Protest Songs, racism, San Francisco News,

Loudon Wainwright’s Terrifying Vision

DMP_Loudon-Wainright-542x445A righteous pundit, Loudon Wainwright III has been pursuing music since the late ’60s, debuting with a self-titled album in 1970. Aside from his honest and deeply felt songs on relationships and life circumstances, he’s long written satirical work, a style he calls “musical journalism,” best demonstrated over an album’s length on 1999’s Social Studies (he sticks it to O.J. Simpson, Tonya Harding, and Jesse Helms). For awhile he was the in-house songsmith for Nightline and is occasionally commissioned songs for NPR. His latest is a hilarious nightmare vision of this year’s U.S. Presidential election.

Read The Entire Post and Hear The Song At Down With Tyranny!

Filed under: anti-war, Arts and Culture, Folk, Protest Songs, , , ,

Remembering The Outlaw: Eugene McDaniels

A portion of this post originally appeared here as an obituary in July, 2011.8765 It has been updated and amended as a remembrance.

Rare groove chasers know well the name Eugene McDaniels; his 1971 album for Atlantic, Headless Heroes of the Apocalypse is a standard-bearer for psychedelic soul/funk/jazz rhythms and is borrowed frequently for its samples (most famously by A Tribe Called Quest and the Beastie Boys). The album is a fierce statement of Black pride, anger, and frustration, equally powered by a super-soul fever, a yearning for world peace, and ultimately love. A showcase for McDaniels’s breadth as a composer, from folky singer-songwriter styles (“Susan Jane”) to proto-rap (“Supermarket Blues”), his strongest words are demonstrations of righteous indignation (“The Lord is Black, his mood is in the rain…he’s coming to make corrections”).  His reward for creating such a unique piece of work was to have it recalled from the shelves and suppressed by Nixon’s White House; it remains a lost classic and is a story waiting to be told.

McDaniels is also the composer of “Compared to What,” the jazz-soul wartime protest made famous by Les McCann and Eddie Harris, a worldwide hit in 1969.

Born in Kansas City in 1935, McDaniels studied at the Omaha Conservatory of Music, and graduated from Omaha University. After forming a band in the 1950s, and singing with the McCann trio, he signed with Liberty Records and hit in 1961 with “A Hundred Pounds of Clay,” followed by five more Top 40 hits, including “Tower of Strength.” With six hit records to his credit, McDaniels turned his focus to writing (he worked closely with Roberta Flack and ultimately wrote her hit “Feel Like Making Love,” among others). Following the success of “Compared to What,” by the time he attempted to relaunch his solo career as a singing and songwriting artist with his 1970 album The Outlaw, McDaniels had developed an intensely personal and pointed new style and direction. Fearless with his melodies and in his verses, the instrumentation on his early ’70s companion albums was a wild combination of folk-funk: electric and acoustic bass brushed against guitar, drums, and piano. The arrangements combined with the lyrics to strike inner chords of deep recognition, touching places in the heart  only music can reach. McDaniels injects each song with theatrical and emotional soul power, delivering the verses with a fascist-fighting folker’s impeccable style of oration.  Incensed and confused by injustice, his notes echo and stretch, like the sound of someone losing his mind. His elegy for the genocide of America’s indigenous population, “The Parasite (For Buffy),” dedicated to Native American and folksinger Buffy Sainte-Marie, is a shining example of his dramaturgical song style that places his subjects in a social, political. and psychological context. But McDaniels’s revolution of the mind is a peaceful one; though he paints pictures of hell and all hell breaking loose, his narrator does not advocate use of violence as a solution. Rather, violence is portrayed as the problem.

In Keep on Pushing: Black Power Music From Blues to Hip Hop, I touched on McDaniels’s status as one of Nixon’s Enemies. It was in fact his story that in part inspired me to probe 50 years of freedom singing, and how resistance in song is received (or not) by a mass audience.  I remain deeply curious on the subject, but when my faith in music and in people is lagging, I pull out Headless Heroes of the Apocalypse and find it restores and inspires me. Whatever darkness he’s describing, the McDaniels point of view remains poised and unique; his higher consciousness and keep-on-pushing spirit bleeds between the notes of each slyly rendered gospel-laced track. Years later, the Beastie Boys would turn to McDaniels, nicknamed the Left Rev McD, for a sample, as would the Afro-centric, conscious hip-hoppers, A Tribe Called Quest who used a piece of “Jagger The Dagger” throughout People’s Instinctive Travels and the Paths of Rhythm. John Legend and the Roots brought back a version of “Compared to What,” which was most recently updated by the trumpet player and bandleader Terence Blanchard (with E-Collective featuring PJ Morton).

Eugene McDaniels made it real—no comparison. Listen below to “Supermarket Blues,” his musical statement from 1971 on racial profiling, police violence, and white supremacy: It sounds as fresh as the day it was recorded.

Filed under: Arts and Culture, Books, Eugene McDaniels, Folk, Jazz, Keep On Pushing, Protest Songs, Roots of Rock'n'Soul, , ,

New Ebook, Shaman’s Blues

shamans_bluesWhat was meant to be a short, between books project is now officially a new ebook, Shaman’s Blues. As an author from traditional publishing and as a person who spends much of her energy as a books advocate and activist, it’s a strange twist that my own title is available through that infamous bookstore-eating electronic channel. Let’s just say it’s an experiment for this writer and others like me: We’re in processing of discovering whether it’s possible to earn a living from our books instead of owing our publishers infinitely. Whether it’s possible to do that, as I’ve heard some writers have done, remains to be discovered. The good news in all this is a hardcover edition of the book will be available October 1 at independent booksellers and libraries (ordering details will appear here soon). And if you’re a traveler or fan of e-reading, Shaman’s Blues is available to you at no cost, beginning Friday August 22-Sunday August 24. For now, please visit the Blooming Twig/Sumach-Red blog for a taste of what you’ll find inside. And thanks for taking a chance on Shaman’s Blues.

Filed under: Book news, Books, California, Jim Morrison, Poetry, Protest Songs, You Read It Here First

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