Writing, Social Change & Revolution —a Talk with Poetry and Music by Edward Sanders

Writing, Social Change & Revolution: A Talk with Poetry and Music by Edward Sanders

(download as PDF here)

Keynote Address, New York College English Association Spring Conference SUNY New Paltz, April 13, 2007

I’m happy and honored to be here. What an exciting era! The very structure of the nation seems at risk, yet somehow we take resolve and rise up to protect the Bill of Rights, personal freedoms, and are more determined than ever to create a world without war.

My subject is Writing, Social Change and Revolution, and if I say anything that seems outré or what they call beyond the pale, I hope that you will receive it as coming from a long time activist who is determined not to allow a great nation to sail into a right wing quagmire. These war-mad, fear-drenched anguished times require all of us to stay alert, get into action, and put our shoulders to the wheel.

I will try not only to be theoretical, but also very practical, and I’ll bring some poetry and music to the presentation also.

One of the main points of my beliefs comes from a quote from a poem by Allen Ginsberg written after his friend Jack Kerouac passed away in 1969:

Well, while I’m here I’ll
do the work—
and what’s the Work?
To ease the pain of living
Everything else, drunken
dumbshow

(from “Memory Gardens” Oct. 22-29, 1969)

One of the biggest problems in an era of senseless warfare, erosion of rights, global warming, lack of health care, polluted water, the mania of privatization, plus thousands, literally thousands of other pressing issues, is the lack of time.

How can we, as activists, find the time to face the right wing onslaught that threatens the very core of a great nation?

How can we carry on our regular work, in our homes, in our jobs, as scholars and teach- ers, keep up our friendships, while at the same time doing effective work to forge a new direction for America, and a new direction for Gaia, the small planet on a small arm of a small spiral galaxy upon when we briefly dwell?

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"CASEY DID INDEED DIE FOR NOTHING." — Cindy Sheehan's exit statement.

“Good Riddance Attention Whore”
by Cindy Sheehan

Mon May 28, 2007 at 09:57:01 AM PDT

I have endured a lot of smear and hatred since Casey was killed and especially since I became the so-called “Face” of the American anti-war movement. Especially since I renounced any tie I have remaining with the Democratic Party, I have been further trashed on such “liberal blogs” as the Democratic Underground. Being called an “attention whore” and being told “good riddance” are some of the more milder rebukes.

I have come to some heartbreaking conclusions this Memorial Day Morning. These are not spur of the moment reflections, but things I have been meditating on for about a year now. The conclusions that I have slowly and very reluctantly come to are very heartbreaking to me.

The first conclusion is that I was the darling of the so-called left as long as I limited my protests to George Bush and the Republican Party. Of course, I was slandered and libeled by the right as a “tool” of the Democratic Party. This label was to marginalize me and my message. How could a woman have an original thought, or be working outside of our “two-party” system?

However, when I started to hold the Democratic Party to the same standards that I held the Republican Party, support for my cause started to erode and the “left” started labeling me with the same slurs that the right used. I guess no one paid attention to me when I said that the issue of peace and people dying for no reason is not a matter of “right or left”, but “right and wrong.”

I am deemed a radical because I believe that partisan politics should be left to the wayside when hundreds of thousands of people are dying for a war based on lies that is supported by Democrats and Republican alike. It amazes me that people who are sharp on the issues and can zero in like a laser beam on lies, misrepresentations, and political expediency when it comes to one party refuse to recognize it in their own party. Blind party loyalty is dangerous whatever side it occurs on. People of the world look on us Americans as jokes because we allow our political leaders so much murderous latitude and if we don’t find alternatives to this corrupt “two” party system our Representative Republic will die and be replaced with what we are rapidly descending into with nary a check or balance: a fascist corporate wasteland. I am demonized because I don’t see party affiliation or nationality when I look at a person, I see that person’s heart. If someone looks, dresses, acts, talks and votes like a Republican, then why do they deserve support just because he/she calls him/herself a Democrat?

I have also reached the conclusion that if I am doing what I am doing because I am an “attention whore” then I really need to be committed. I have invested everything I have into trying to bring peace with justice to a country that wants neither. If an individual wants both, then normally he/she is not willing to do more than walk in a protest march or sit behind his/her computer criticizing others. I have spent every available cent I got from the money a “grateful” country gave me when they killed my son and every penny that I have received in speaking or book fees since then. I have sacrificed a 29 year marriage and have traveled for extended periods of time away from Casey’s brother and sisters and my health has suffered and my hospital bills from last summer (when I almost died) are in collection because I have used all my energy trying to stop this country from slaughtering innocent human beings. I have been called every despicable name that small minds can think of and have had my life threatened many times.

The most devastating conclusion that I reached this morning, however, was that Casey did indeed die for nothing. His precious lifeblood drained out in a country far away from his family who loves him, killed by his own country which is beholden to and run by a war machine that even controls what we think. I have tried every since he died to make his sacrifice meaningful. Casey died for a country which cares more about who will be the next American Idol than how many people will be killed in the next few months while Democrats and Republicans play politics with human lives. It is so painful to me to know that I bought into this system for so many years and Casey paid the price for that allegiance. I failed my boy and that hurts the most.

I have also tried to work within a peace movement that often puts personal egos above peace and human life. This group won’t work with that group; he won’t attend an event if she is going to be there; and why does Cindy Sheehan get all the attention anyway? It is hard to work for peace when the very movement that is named after it has so many divisions.

Our brave young men and women in Iraq have been abandoned there indefinitely by their cowardly leaders who move them around like pawns on a chessboard of destruction and the people of Iraq have been doomed to death and fates worse than death by people worried more about elections than people. However, in five, ten, or fifteen years, our troops will come limping home in another abject defeat and ten or twenty years from then, our children’s children will be seeing their loved ones die for no reason, because their grandparents also bought into this corrupt system. George Bush will never be impeached because if the Democrats dig too deeply, they may unearth a few skeletons in their own graves and the system will perpetuate itself in perpetuity.

I am going to take whatever I have left and go home. I am going to go home and be a mother to my surviving children and try to regain some of what I have lost. I will try to maintain and nurture some very positive relationships that I have found in the journey that I was forced into when Casey died and try to repair some of the ones that have fallen apart since I began this single-minded crusade to try and change a paradigm that is now, I am afraid, carved in immovable, unbendable and rigidly mendacious marble.

Camp Casey has served its purpose. It’s for sale. Anyone want to buy five beautiful acres in Crawford , Texas ? I will consider any reasonable offer. I hear George Bush will be moving out soon, too…which makes the property even more valuable.

This is my resignation letter as the “face” of the American anti-war movement. This is not my “Checkers” moment, because I will never give up trying to help people in the world who are harmed by the empire of the good old US of A, but I am finished working in, or outside of this system. This system forcefully resists being helped and eats up the people who try to help it. I am getting out before it totally consumes me or any more people that I love and the rest of my resources.

Good-bye America …you are not the country that I love and I finally realized no matter how much I sacrifice, I can’t make you be that country unless you want it.

It’s up to you now.

PHIL RANELIN RULES! by Wayne Kramer

Phil Ranelin Rules!
by Wayne Kramer

Los Angeles is a city of many secrets. How is it that Phil Ranelin remains one of LA’s best-kept secrets? It’s certainly not for lack of effort on his part.

There are restaurants and shops you might only discover for the first time after decades in this town. There are festivals, openings, plays, concerts, movies, lectures, debates, sporting events and scholastic competitions, that come and go that most folks almost never track. Not to mention the natural offerings of mountains, deserts and the ocean, all in a few hours drive. The fact that there are unlimited prospects at hand to enjoy is a blessing, but gifts can get lost in the dust of the chase. Phil Ranelin is one such gift.

Ranelin — trombonist, composer, arranger, bandleader, producer and educator — has been a graceful and humble fixture on the LA music scene since relocating here in 1977 from Detroit. Since his days with Freddy Hubbard, Ella Fitzgerald, Art Pepper, Marcus Belgrave, Sarah Vaughn, Roy Brooks and so many others in appearances at jazz festivals around the world, he has earned the reputation of a respected, diehard, straight-ahead trombonist of the J.J. Johnson tradition. In the modern age, he has moved contemporary music into the avant garde with his work as co-founder of Detroit’s famed TRIBE Records.

Phil works all over town in a dozen different groups from duos to orchestras. And last year he ran a series of lectures through the LA Library system with headings like: Who Is Hampton Hawes? Who Is Dexter Gordon? Who Is Horace Tapscott? Who Is Eric Dolphy? These events were designed to educate people on that greatest of American inventions: Jazz.

His ubiquity was connected with another of LA’ best kept secrets: Barnsdall Art Park. I’ve only lived here since 1994 and I’d never heard of the place. Last Friday, Barnsdall Gallery Theater was the location of one of the best musical events of the year. L.A.’s Cultural Affairs Department presented the Phil Ranelin Jazz Ensemble in concert and it was magnificent. A bravura concert in a superlative setting.

Ranelin was also awarded the 2007 C.O.L.A. Individual Artist Grant, as well as a grant from the Durfee Foundation to compose new works. He unveiled his ”Sweets For Melba” to an adoring audience at last Friday’s premier concert. It was Phil’s loving tribute to the great Los Angeles lady jazz legend and trombonist, Melba Liston, who died in 1999. Ranelin says in his concert program, “Not only was she a solid player in the trombone section of the Quincy Jones, Dizzy Gillespie and Gerald Wilson orchestras, she was without a doubt THE most heralded of all female trombonists and one of the truly great arrangers of 20th century creative music.”

The master musician’s salute took the form of two suites with an intermission. The band featured young piano genius Tigran Hamasyan, drummer Don Littleton, percussionist Taumbu, Nedra Wheeler on acoustic bass, fellow Detroiters Buzzy Jones on woodwinds and Wendell Harrison playing clarinet & tenor saxophone. It was a collection of artists and musicians performing at the very highest level. This was state-of-the-art live music. Way above and beyond the usual retro bop that passes for jazz today. Ranelin’s compositions covered a wide range of feeling and commitment to the imagination that deserves to be heard by much larger audiences.

Today’s “jazz” or “Smooth Jazz” or whatever marketing label is used just doesn’t carry the weight of work that can transcend the status quo. We’re hammered with mediocrity on the airwaves of “jazz” radio. Ranelin is the antidote for the sad state of music. He’s the real thing. A truly artistically refined composer and soloist with something to say, and he expresses it masterfully.

At one point, the music swung hard in the Kansas City tradition with an almost obscenely funky bass solo from Wheeler. Tigran Hamasyan, rising star and winner of this year’s Thelonius Monk International Jazz Competition, drew repeated spirited responses from the jazz-savvy crowd for his forceful and brave explorations. The drummers were understated and propelled the music forward with sturdy rhythmic power, especially on the Latin-tinged themes. Multi-instrumentalists Jones and Harrison provided dynamic musical firepower on every solo outing. Both men are students and masters of the free jazz ethic and they were ambitiously moving it forward into tomorrow’s music. The ensemble sections were singularly innovative, never hackneyed or derivative.

Nedra Wheeler in particular was firmly grounded in the jazz bass style of hard bop, but she skillfully rose up out of tradition to propel the band into stronger and more compelling rhythmic arenas. This lady swings hard.

But it was Ranelin himself who really shone over the course of the night’s music. His solos were like travelogues through history. Not only of jazz, but also of American cultural history. I heard city street corners, fried food, conversations, trends and styles of musics that have come before, but that were now being recontextualized into a living message of who we are. Like the griot he is, Ranelin tells his stories, but they are our stories. Just when you think you know where he’s going, he throws something unexpected at you. This is the joy of art that is so rare in contemporary music. It is the unique expression of the well-considered original thought.

The full house was cheering, whooping and hollering in the way that real music fans will respond when the artist truly delivers the goods. We cannot help ourselves.

I’m shouting it from the rooftops. Phil Ranelin rules!

courtesy Wayne Kramer

IVAW Soldier Faces Retribution For Peace Activity




Guerilla Theater by IVAW in Washington DC March 2007

“Honorably” discharged soldier member of Iraq Veterans Against the War may be judged “inhonorable” because of his anit-war activity

“Adam Kokesh was deployed to Fallujah and received an honorable discharge last November. Since then, he has become active with the national organization, Iraq Veterans Against the War. After participating in Operation First Casualty, a demonstration at which he wore parts of his utility uniform, he received a warning from Major Whyte, an active duty Marine Corps Major who had been assigned to investigate the incident. After replying with a strongly worded email, the Marine Corps decided to prosecute him and separate him from the IRR with an Other Than Honorable Discharge. He could have ignored the letter of notification, but instead chose to exercise his right to challenge the decision in a hearing.”

Today (6/3/07) in Santa Monica, CA simular acts of “guerilla theater” by the IVAW were planned, reenacting civilian Iraqi life in Bagdad for the Third Street Promenade. A flyer handed out by the group reads “The detention of Iraqi civilians combined with corporate fraud has inevitably lead to resentment, distrust, and frustration. This is what is fueling the insurgency and our troops are paying the consequences with their lives and limbs.”

KTL live

“KTL is Stephen O’Malley (SUNN O))), Khanate) and Peter Rehberg (PITA).
A collision amongst the increasingly fading presences between the light and the dark. This work came about as the two were composing sound and music for a piece by Gisèle Vienne and Dennis Cooper, entitled ‘Kindertotenlieder’. It must be stated that this is NOT the soundtrack to said piece, but a separate project.

filmed live at the http://www.donaufestival.at Austria/Krems 30th April 2007”

Bush Admin admits what's been clear since 2002: imperial power USA is never leaving Iraq.

New York Times – June 3, 2007

News Analysis
With Korea as Model, U.S. Ponders Long Role in Iraq
By DAVID E. SANGER

WASHINGTON, June 2 — For the first time, the Bush administration is beginning publicly to discuss basing American troops in Iraq for years, even decades to come, a subject so fraught with political landmines that officials are tiptoeing around the inevitable questions about what the United States’ long-term mission would be there.

President Bush has long talked about the need to maintain an American military presence in the region, without saying exactly where. Several visitors to the White House say that in private, he has sounded intrigued by what he calls the “Korea model, a reference to the large American presence in South Korea for the 54 years since the armistice that ended open hostilities between North and South.

But it was not until Wednesday that Mr. Bush’s spokesman, Tony Snow, publicly reached for the Korea example in talking about Iraq — setting off an analogy war between the White House and critics who charged that the administration was again disconnected from the realities of Iraq. He said Korea was one way to think about how America’s mission could evolve into an “over-the-horizon support role,” whenever American troops are no longer patrolling the streets of Baghdad.

The next day, Defense Secretary Robert M. Gates also mentioned Korea, saying that establishing a long-term American garrison there was a lot smarter than the handling of Vietnam, “where we just left lock, stock and barrel.” He added that “the idea is more a model of a mutually agreed arrangement whereby we have a long and enduring presence but under the consent of both parties and under certain conditions.”

Korea is an attractive analogy for the Bush White House for a host of reasons: a half-century later, South Korea is a raucous democracy and one of the world’s biggest economies. The North is a broken, isolated state, though one that, improbably, has not only survived for more than 50 years but has built a small nuclear arsenal.

But Korea is also the kind of analogy that stokes the fears of those who see Iraq leading to unending war. The model suggests a near-permanent presence in Iraq, though presumably with far fewer troops than the nearly 150,000 now in place.

In a Democratic-controlled Congress, which continues to press for a troop withdrawal deadline, talk of permanent bases is not welcome, though many Democrats acknowledge that the United States cannot simply leave Iraq in chaos. Nor is the idea popular in the Middle East, though some countries are desperate for a strategic counterweight to Iran’s growing power.

Critics on the left who have argued for years that the Iraq war was really about oil leap on such talk as evidence that the administration’s real agenda is to put its forces right on top of Iraq’s still-broken pipelines. Those who fear the next target is Iran — including the Iranians — will see the permanent bases as staging areas, in case the United States decides to take military action against Iran’s nuclear program and deal with the repercussions later.

And the analogy rankles analysts who believe the situation is far less similar to Korea than it is to Vietnam in the ’60s or Beirut in the ’80s, where American bases became the No. 1 targets, and a rallying call for extremists, in an endless guerrilla war.

“It’s not that Iraq isn’t vital,” said Leslie Gelb, the former president of the Council of Foreign Relations, and one of the many experts organized by groups opposing Mr. Bush’s Iraq strategy to shoot back in the analogy war. “It’s just that Korea bears no resemblance to Iraq. There’s no strategy that can create victory.”

<b <historical analogy has been a problem for this administration since the start of the Iraq war in 2003. In the months before the invasion, there was talk of modeling a post-Saddam Hussein Iraq after the successful occupations of Japan and Germany. But even then, historians and analysts were warning against such comparisons, arguing that those were two cohesive societies that were exhausted by years of war and bore little resemblance to the fractured Iraqi society and its potential for internal violence.

The core problem with the Korea comparison, many experts on Asia note, is that when the war ended in 1953, there were bright lines drawn across the 38th Parallel, separating the warring parties. That hardened into the formal Demilitarized Zone, exactly the kind of division that the Bush administration has said it wants to avoid in Iraq.

And while there have been incursions across the Korean border over the years — a famous ax murder, underground invasion tunnels, a few commando raids by boat — those were mostly long ago. Nothing there has approached the Hobbesian state of chaos that is everyday life in Baghdad and Anbar Province.

Some of Mr. Bush’s critics see an effort to reach for any comparison other than Vietnam.

“If we can make this like Korea, then we have been successful,” said the Donald L. Kerrick, a retired general who spent 30 years in the military and has now emerged as one of a cadre of generals criticizing Mr. Bush’s strategy. He said that he did not believe the analogy fit.

Mr. Bush himself has made clear, while in Hanoi late last year for a summit meeting, that he believes America’s mistake in Vietnam was that it gave up too early. “We’ll succeed unless we quit” he told a small group of reporters who asked him what lessons he drew for Iraq. He declined to engage in deeper comparisons, including the fact that President Lyndon Johnson’s dire warnings about what would happen if the United States pulled out of Vietnam — that Communism would spread across Asia — never came to pass.

Administration officials and top military leaders declined to talk on the record about their long-term plans in Iraq. But when speaking on a not-for-attribution basis, they describe a fairly detailed concept. It calls for maintaining three or four major bases in the country, all well outside of the crowded urban areas where casualties have soared. They would include the base at Al Asad in Anbar Province, Balad Air Base about 50 miles north of Baghdad, and Tallil Air Base in the south.

“They are all places we could fly in and out of without putting Americans on every street corner,” said one senior official deeply involved in the development of Iraq strategy. “And our mission would be very different — making sure that Al Qaeda doesn’t turn Iraq into a base the way it turned Afghanistan into one.”

A long-term presence is envisioned by many experts, and it has been raised as a possibility by the Baker-Hamilton Commission, whose report on Iraq has now been embraced by President Bush — five months after he all but dismissed its conclusions. But the problem, as one senior administration official acknowledged last week, is that there is little reason to believe that American bases will stop Iraq from being “the great jihadist training camp it is today.”

As in Korea, the bases may be an effort to prevent calamity and invasion. The question is whether, in the firestorm of Iraq, their contribution to security would outweigh their roles as symbols of occupation or targets of terrorism.

Salvador Dalí's urine and the hallucinogenic fungi of Upper Mongolia

He said: “In this clean and aseptic country, I have been observing how the urinals in the luxury restrooms of this hotel have acquired an entire range of rust colours through the interaction of the uric acid on the precious metals that are astounding. For this reason, I have been regularly urinating on the brass band of this pen over the past weeks to obtain the magnificent structures that you will find with your cameras and lenses. By simply looking at the band with my own eyes, I can see Dalí on the moon, or Dalí sipping coffee on the Champs Élysées. Take this magical object, work with it, and when you have an interesting result, come see me. If the result is good, we will make a film together.”

Cultures We Could Have; Part 1.

The Clash of Civilizations and Sufi Choir

Hippies + Free Jazz + Psychedelia + Youth Choir + Islam


Generated around 1969 by Bay Area Sufi Mystic “Sufi Sam” Lewis, the Sufi Choir’s album attest to an odd yet strangely comfortable mixing of cultures that should be instructive for these bellicose East meets West days. For culture warriors this charming bit of esoterica might appear as a huh?

The back side of this, their 1973 album gives shout outs to:

Northern California Youth Choir, Ether, saints, prophets, Archie Shepp, Aretha Franklin, Carl Shapiro, Asasvati, Lao-Tsu, Children, angels, jinns, Hu, ancients, Sarmad, Dylan Thomas, flowers, Hassan, Hasrat Khaja, Zoroaster, form, Pythagoras, Paul, Air, Marin, Fire, void, Vocha, La Monte Young, Parents, Otis Redding, Joan Baez, Lester Young, Mozart, The Rishis, Roshi, Rabbi Lama, Mansur, Ravi Shankar, Earth, Bob Dylan, Mount Tamalpais, Sakir Hussain, ALLAH, The Golden Gate, Yeats, Rumi, The Holy Spirit, Ali Akbar Khan, Baba Ram Dass, Miles Davis, Pete Seger, The Three Kings, The Incredible String Band, Ajari, Rocky Mountains, The Arizona Desert, The Grateful Dead, Ruth St. Denis, Moses, Orpheus, All those Known or Unknown, Cecil Taylor, Bilie Holiday ….

A HISTORY OF THE FUGS


FUCK FOR PEACE
A History of The Fugs
Exhibition on View from June 2 – September 8, 2007

Why would you not go to this?

FUCK FOR PEACE: A History of The Fugs focuses on The Fugs as a band that was both the result and extension of Kupferberg and Sander’s creative and publishing endeavors. The exhibition will showcase records and ephemera, including posters, flyers, hand-written lyric sheets, songbooks, and fan letters as well as publications by both Kupferberg and Sanders. This is the first exhibition to focus solely on The Fugs, and certainly the first time that all this work has been presented together.

The Fugs recorded seven albums (The Village Fugs, The Fugs, It Crawled into My Hand, Honest, and Tenderness Junction, among them) for Folkways, ESP, and Reprise before playing their final gig at Hershey Park in 1969 with the Grateful Dead. The band’s activism, performances, and song titles (such as “War Kills Babies,” “Kill for Peace,” “Group Grope,” “Coca Cola Douche,” and “I Couldn’t get High”) positioned The Fugs as a seminal voice of sixties underground culture. As such they were the subject of controversy regarding their explicit song lyrics, live shows, and war protests, attracting the attention of the Justice Department and the FBI. Despite their premature demise in 1969, The Fugs regrouped in the 1980s and are still actively recording today.


At Printed Matter in NYC