Tuesday, October 12, 2021

May Day! Crowdsourced Tour Promotion

If I'm going to have crowds, they need to be sourced!

From October 19th through November 19th I'll be on tour in Europe, and then northern California just after.  Your help getting the word out will mean the difference between audiences, and crickets!

Booking a tour is one part of the equation in this line of work.  That involves communicating with a whole bunch of really high-quality folks, some of whom run venues, others of whom are working with them to make a local event happen.  They're all trying to get the word out among their networks, but what will really amplify their efforts is if everyone who has gotten to the point of clicking on this blog post and reading this paragraph will take a moment to look at where I'm playing (below) and tell a friend in one of those towns about my upcoming gig there.

Most of the info below is expanded upon in more detail at davidrovics.com/tour, including with things like links for buying tickets online in some cases, but the basic info of date, venue, and town is below, along with posters for gigs that have their own cool graphics...

October

19  Kitchen Garden Cafe with Jess Silk, Birmingham
21  Katie Fitzgerald's, Stourbridge
22  Liverpool Irish Center, Liverpool
23  Don't Extradite Assange Rally at BBC Broadcasting House, London
23  Telegraph at the Earl of Derby, London
25  Folk in the Cellar at the Betsey Trotwood, London
26  The Folklore Rooms, Brighton
27  The Wax Cactus, Worthing
29  The Fox & Newt, Leeds
30  The Old Coal Yard, Newcastle


November

5  Corner Pocket Snooker Centre, Dalkeith (Edinburgh)
7  The Squirrel Bar with Paul Sheridan, Glasgow
10  Nachbarschaftshaus Urbanstraße, Berlin
13  FLEX, München
15  Nachitgall, Köln
17  The American Bar, Belfast
19  The Red Devil with Pol Mac Adaim, West Belfast
22  Flow Restaurant and Bar, Mendocino
23  House concert in San Francisco










Monday, October 11, 2021

Antifascist Playlist

Understanding fascism through the lens of the songs of, um, David Rovics.

I woke up one morning once again thinking about how to stop fascism, and a Google Alert mentioned a song I wrote that I had forgotten about, about people who went on trial for defending themselves against being attacked by Nazis, and I thought, I should compile a playlist.  In the process of doing that, and putting it together more or less chronologically, I realized that this playlist could use an extended introduction.

In putting together a playlist like this, my first challenge was to figure out which songs really belong in it.  This is more complicated than it may appear.  I may have mostly been going on instinct here in choosing which songs to put in and which to leave out, but to the extent that thought was involved, this required answering the question, what is fascism, and what isn't fascism?

In many important ways, the answer is irrelevant, and in other ways, the answer is crucially important.

Why it's irrelevant is when we're talking about the oppression of humans by other humans, this has come in so many different forms over the centuries.  I've written many songs about American apartheid -- slavery and Jim Crow.  Many others about genocide, pogroms, massacres, the clearing of the west, interning people in reservations.  Many more about imperial, genocidal wars, such as those waged against the peoples of Korea and Vietnam by the US Air Force.  US policies of slavery, genocide, and carpet-bombing all rival the worst horrors committed by the Nazis, as unimaginably horrific as they were.  But was or is it fascism?

Yes and no.  But for the purposes of this playlist, with its aims of brevity and specificity, no.  Why?

Because no matter how bad anything that happened before the twentieth century was -- including slavery and genocide, two of the worst imaginable things humans could do to other humans on a systematic basis -- it was not fascism.  Why?

Because fascism, or national socialism, as it is/was also known, was/is fundamentally a response to socialism -- a response to the fear of socialism, and a response to actually existing forms of it.  The national socialist movement in Europe, North America, and elsewhere, that rose up in the wake of the Russian Revolution after 1917, was a response to the Russian Revolution and the global atmosphere at the time that gave rise to it.

After the Russian Revolution, the ruling classes around the world realized they needed to up their game -- they needed to respond to this development, in a big way.  To cut a very long story short, they did respond.  Responses were complex, and varied over time and place radically.  Initially, the response in the US was a campaign of state terror waged against socialists, communists, anarchists, and any other element of society opposed to the continuation of rule by the robber barons of capitalism.  The response following the 1920's, with the election of Franklin Roosevelt to the White House, was very different, with a government more sympathetic to the welfare of the working class, much like those that were in power in Scandinavia then.  

In many countries, there were powerful elements of society pushing for a more egalitarian future, with some of the more enlightened elements of the powers-that-be realizing that major changes were necessary in order to maintain their hegemony, and not go the way of the USSR, with a successful worker uprising toppling the capitalists and the tsar's head rolling on the floor and all that.  But in these same countries, such as in the US and in Sweden, other elements of the ruling class were more interested in massacring workers who rose up -- and they did, repeatedly, in 1931, and at other times.  These elements of the ruling class -- along with major segments of society at large -- were sympathetic to the rising fascist movements in Italy, Germany, and elsewhere, and were hoping to see something like that in the US.  Some of the more prominent supporters of fascism in the US that you've probably heard of include industrialist Henry Ford and aviator Charles Lindbergh.

The policies of the fascists -- not necessarily reflective of the beliefs of all of their supporters, but the actual policies of the actual fascists in power in Italy and Germany in the 1930's -- were designed to mimic elements of real socialism, and not in small ways.  While poverty, hunger, and unemployment characterized life for the working class in much of the UK and the US, for example, in Germany there was more or less full employment, as there was in Moscow.  The full employment in Germany was largely dedicated to building up the country's military capacity, for many years prior to the beginning of hostilities in what became known as World War 2, but it also was directed at the general well-being of the German working class, who were generally in much better shape than their counterparts in most of the other countries still recovering from the devastation wrought by the last war they had all been in with each other.

Within the ranks of the fascist movement -- as with other political movements -- there are, and were, divisions.  These have included elements that are attracted to the cause out of more anti-elitist, underdog sorts of notions, hoping this would be a movement to serve the interests of the working class -- interests which many people now and in the past have not felt were not being served by the left parties that have sometimes been in power, or have failed to ever seize it in the first place.

These days, it's become fashionable in certain dark corners of the more anarchist wings of the internet to accuse people on a fairly wanton basis of being fascists or fascist sympathizers if they (we) are trying to understand the phenomenon of fascism, in its current or even historical contexts.  We are told that by making a distinction between different current and historic divisions within national socialist movements, we are encouraging "entry-ism," we are "platforming," we are basically trying to taint an otherwise pure left with fascist idea, somehow or other.

This orientation belies a deep confusion, and a profound misunderstanding of what fascism -- national socialism -- is all about, and why it has attracted so many millions of fanatical adherents around the world over the course of the past century.  It's not dangerous to talk about this stuff -- it's dangerous not to talk about it.  It's not dangerous to talk to fascists and understand why they became fascists, it's dangerous not to do that.  We will only possibly win this argument by engaging in it.



The Playlist


There are 24 songs in the playlist, more or less organized chronologically. You absolutely have to listen to the songs to understand why the songs are relevant -- I am by no means going to explain that here, just so you understand. The music is the main thing, what I'm now about to write is only accompanying material, to highlight certain aspects of the songs themselves.

1933 is the year Hitler came to power, and is the title of the first song in the playlist. As with most of the songs I've written about history, I wrote this one because of how prescient events of 1933 in Germany seemed in the period following the election of Donald Trump in 2016. Trump's appeal to the defeated and disenfranchised American working class mirrored Hitler's appeal to the German people. Both actively engaged in demonizing and scapegoating groups of people both within their national borders and outside of them, who generally had nothing to do with directly causing the problems that Hitler and Trump were supposedly so concerned about.

By later in the 1930's, my nanny Lola was one of many German Jews who fled Germany. Lola was part of an organized effort to get the children out, called the Kindertransports. She lived out the war in London, under the regular bombardment of German planes and missiles. At the end of the war, she married a New Yorker and moved to New York City, where I was born a couple decades later.

Popular history here tends to peg World War 2 as beginning when the US officially entered the war, in 1941, with the bombing of Pearl Harbor. Not with the US naval blockade on Japan that preceded the attack. In what they call the European theater, the date is often 1939, when Germany invaded France (again). But it was years earlier when German and Italian troops and armor were first sent to Spain to defend the military junta from the people there. The Americans who volunteered to fight fascism in Spain in the years during which the US was officially neutral on the question were mostly organized under the banner of the Abraham Lincoln Battalion.

Many of the leftwing refugees from the Spanish Civil War who survived and escaped went to France, where they were generally treated terribly by the authorities. This got much worse when Germany invaded -- except for the lucky few who sailed to Chile, on a boat that was made available through the efforts of many people, including the Chilean poet, Pablo Neruda.

Even as German troops were invading European countries, the US, Canada, and many other nations were refusing to take in refugees, such as the family of the famous Dutch Jewish girl, Anne Frank, whose father tried and failed to find asylum for him and his family in North America. He was sent back. The official atmosphere of hostility towards eastern and southern Europeans, Jewish or otherwise, in the United States and Canada at the time would be hard to overstate.

While Henry Ford was one of many supporters of fascism in the United States, Chiune Sugihara was one of many opponents of fascism from the Empire of Japan. He and his wife, Yukiko, were directly responsible for saving the lives of tens of thousands of Jewish refugees, who were able to get out of Russia before the Nazi troops arrived, using visas signed by the rebel diplomat. Many of the refugees survived the war by hiding out in China, living under Japanese occupation. To this day, their descendants refer to themselves as Sugihara Survivors.

The overwhelming majority of Polish Jews who weren't able to get out of Poland with the help of diplomats like Sugihara were condemned to die in the Nazi death camps, after being herded into ever-smaller ghettos. Once only a small fraction of what was once a large and thriving Jewish population was left, the Jews of Warsaw rebelled, fighting the Nazi troops for 28 days and nights, in what is widely considered to be among the very most impressive urban rebellions in the history of urban rebellions, in April and May, 1943.

Later in 1943, the Nazis were planning on rounding up all the Jews of Denmark, but a Nazi official spilled the beans and, possibly with the assistance of Danish physicist Neils Bohr, convinced the Swedish king it was time to give asylum to the Danish Jews. The Danish resistance soon began the boatlift operation, which successfully saved the lives of 95% of the Jews of Denmark.

In June, 1944, US, British, Canadian, Polish, Danish, and other soldiers from Allied nations landed in France, as the Soviet Army was making its way westwards, into Germany, at the cost of millions of Soviet soldiers and civilians, and a country completely destroyed. Losses among the soldiers landing in Normandy were also tremendous.

Among the principal victims of fascism in Germany were the Germans. "First they came for the communists" is a quote made famous later. One of those communists they came for was Hamburg City Council member, Franz Jacob, who was eventually executed in 1944.

Many of the losses in lives among members of the Dutch resistance to fascism during the Nazi occupation of the Netherlands happened during the last few months of the war. One of the resistance members killed, in a drive-by shooting while standing on a sidewalk in his home city of Eindhoven, was a young man named Henk Streefkerk.

On May 1st, 1945, Soviet troops liberated an international group of women who had been imprisoned at Ravensbruck, who were on a forced march to Berlin, being led by the SS. Upon realizing they were free, they started singing "The Internationale," and were joined by the Soviet soldiers.

In the decades following World War 2, Germany became a society that made huge strides in coming to terms with its horrifying recent past. One of the many traditions that became commonplace across the country was that of the Stumbling Stones -- little bronze squares embedded into sidewalks in most of the cities in Germany, and some other countries as well, informing anyone who looks at them who used to live at that address, or who ran a shop there, before they were deported to Auschwitz or wherever else, and info like the date of their deportation and death.

In the decades following World War 2, the contradictions that existed within many countries that gave rise to the many different militant social movements that existed before the war, continued to exist after the war. In many cases, that got worse by the 1980's, with the dissolution of industry in many western countries, the loss of so many millions of union jobs, the rise of technology, further automation, and the precarious gig economy. Among the ranks of police officers in many different countries, fascism continued to be a popular idea. This was true of the highest-paid uniformed officer on the Portland police force, before he retired.

It was also true of the fascist on the Max Train in Portland who stabbed two men to death, and almost killed a third. It was true of the guy in the bar who had the misfortune of harassing CeCe McDonald, before he was stabbed to death with a pair of scissors right in the middle of his swastika tattoo -- right before CeCe then went to prison.

In many formerly Warsaw Pact countries, fascism has been especially popular in the past few decades, with the collapse of the former regime, which called itself socialist. Whether or not it was socialist, depends on who you ask. In any case, in answer to the collapsed state of affairs, fascism became popular. Especially in Serbia. But also in Bulgaria, where one Nazi had the misfortune of dying one night, as he attacked two Roma men at a train station in Sofia. No one knows who stabbed him, but Jock Palfreeman went to prison for it.

The ideology of white supremacy in the US obviously has so much to do with the ideology of national socialism. Anyone familiar with fascism is aware that many of the biggest inspirations of the fascist movement in Europe were the race-based systems of oppression originating in the US, especially. So there has long been both explicit and implicit connections between the white supremacist movement in the US and the fascist movement, to the extent that they are separate at all. The mass murderer who took the lives of so many people at the African Methodist church in South Carolina is a case in point.

The case of the Rotherham 12 in England is a classic example of how the police typically collude with fascists, even in countries run by people who like to portray themselves as liberal democrats. Antifascist marchers were deliberately "escorted" by police to a known far right hangout, at which point attacks ensued. Those who defended themselves against the far right hooligans were arrested, homes raided by police at dawn. For years, they faced potential prison time, until finally being acquitted. This pattern has repeated itself in many different countries over many decades.

When the far right rallied in Charlottesville, Virginia -- including many explicitly fascist members of the right -- one of them drove his car into a group of marchers, wounding many, killing one. Vehicular and other such attacks have since become commonplace across the country.

With the rise of Trump and his xenophobic policies, one descendant of people who lived under Nazi occupation in the Netherlands, Will Van Spronsen, felt the time had come to make a stand, White Rose-style, knowing he faced certain death in his effort to free those detained at the ICE facility in Tacoma, Washington.

Similarly, Michael Reinoehl was doing security in downtown Portland, Oregon after a day of physical conflict with the far right on the streets of the city, when Trump supporters descended on the place in hundreds of flag-draped pickup trucks. The inevitable happened again, when he shot and killed a member of a far right group who he thought was about to do the same to someone else. He was killed in a hail of bullets by police from several different jurisdictions days later, none of whom had their body cams on. This was yet another indication of the sympathies of the police in such situations.

Woody Guthrie's guitar had written on it the phrase, "this machine kills fascists." It wasn't that his guitar had a special function, like James Bond's guitar would. Woody was talking about the power of words, to foment movements, to inspire people, and to educate and organize them. Which requires engaging with them, of course -- not shunning them. But rather, recruiting them.

Friday, October 1, 2021

Wandering Minstrel Accosted by Bluegrass Purist at Kenilworth Park

Just by way of introduction, I'm a musician, among other things.  I was raised by musicians, and I've been playing things with strings on them for a very long time.  I even travel around the world and play music for a living.  I'm 54 years old, and I've been doing this for most of my adult life.  Intro done.

Recently I got a mandola.  For those who don't know, a mandola is just like a mandolin, but usually tuned a fifth lower in pitch.  

I was inspired to get a mandola because for a very long time I had been into improvising on my guitar, tuned in open tuning (DADGAD), with a capo on the seventh fret.  Capoed up there, and in that tuning, I love the tone, and how easy it is to play stuff involving high speed and big intervals, both of which can be harder without a capo, in first position.  A lot of the musical ideas I've been working with have kept me on the first four (lower-pitched) strings of the guitar.  It occurred to me one day that if I tuned a mandola to an open tuning like CGCF, it could be a lot like playing the first four strings of a guitar, capoed on the seventh fret.

So, I got a mandola, and my theory turned out to be correct.  I've been playing all kinds of stuff that sounds very medieval, because of the sound of the instrument, and the open tuning.  I could fit right in at a Renaissance Fair if I wore the right clothing, for sure.  (I know they didn't have steel-stringed instruments back then, but that's OK, it still works.)

For those of you out there who know what an acoustic guitar sounds like, but maybe not a mandola or a mandolin, there's one fact that's particularly relevant:  mandolins and mandolas, like banjos, are loud.  Even a steel-string guitar with lots of resonance isn't loud like a mandola is.  There's a reason mandolins feature so much as instruments for single-note soloing in the context of a bluegrass band -- you can easily be heard above a guitar on a mandolin when you play one clear note, even if the guitarist is really banging away.

When it occurred to me that my new musical obsession was exceedingly portable, I started following my small children around the neighborhood with a mandola.  They like to spend hours barreling around on the hills in the parks with bikes and scooters, and I really needed something to do other than listen to podcasts, anyway.  Playing the mandola instead of listening to podcasts has been amazing for my mental health, not to mention my proficiency at the mandola.

I've discovered that when you're playing a musical instrument in a public setting and you're not busking, most people assume you want space, and they give it to you.  Most people also enjoy the music, and they want to tell you about that, in a way that doesn't distract you too much from playing more music.  

I really don't always know how to respond when people say the music is so nice, as they so often do.  I want to tell them I'm just learning to play this instrument and I'm really not very good at it, but that seems like an arrogant thing to say, as I'm playing stuff that no beginning music student could be playing.  I'm often not sure if they're saying they like the sound of this unusual instrument -- most people have no idea what it is -- or if it's what I'm playing on it that they like.  I don't think they generally know, either.  But in any case, people tend to like it.

I have been gratified to learn that people like hearing music like this.  They may be fans of different kinds of music from whatever it is that I'm playing, be it classical, punk, hip-hop or whatever, but they can appreciate someone playing an instrument while walking down the sidewalk or hanging out in the park, just in principle.  The impact on children is obvious -- they tend to gather round me, gawk, listen, ask questions, make comments, and dance.  I find the mood in the playground is always uplifted by live background music, and the kids get along with each other better, particularly my own kids.

It's also gratifying because of the aforementioned volume issue.  Playing the mandola isn't like blasting canned music from a pickup truck or boom box or whatever, but by acoustic instrument standards it's loud, and can certainly be heard clearly at a hundred feet away, unlike with someone plucking on an acoustic guitar or ukelele, for example.  People in the vicinity -- albeit few in number when I'm in the middle of a grassy park in a residential neighborhood -- have little choice but to listen, so it's nice if they're not suffering through the experience.

There was something always lurking in the back of my mind, though, having spent many years immersed in the bluegrass scene and playing with bluegrass musicians (including as recently as recording my latest album last summer, which features a whole lot of bluegrass mandolin and banjo on it).  That is, that I was not playing the mandola properly, from a bluegrass orientation.

For those of you who aren't familiar, there are ways you play instruments if you're a bluegrass musician, and ways you don't.  Mandolins and mandolas (and mandocellos) are generally tuned like violins and violas (and cellos), in fifths.  

Aside from how an instrument is traditionally tuned, there is the way it is traditionally played.  In bluegrass, the banjo has a fifth string.  It also has a resonator, to make it extra loud.  But the more important thing is the fifth string, which is also a phenomenon shared in common with what is known as old-time music, the clawhammer style of banjo-playing, which also employs a five-string banjo as opposed to the four-string one more common in Irish folk music.

When bluegrass aficionados hear someone playing a five-string banjo in such a way that the player does not appear to be exhibiting any real understanding of what the fifth string is all about, and how it differs from the other four strings in terms of its basic musical purpose, we say they are playing the banjo "like a guitar."  This is an insult, basically.  Usually you wouldn't actually say it to someone, unless you're trying to be mean, or helpful, or both.

Likewise, with proper bluegrass mandolin playing, there is etiquette.  Nothing as obvious as a fifth string to contend with, but in bluegrass, the mandolin player tends to avoid open strings.  There are ways to finger chords that involve open strings, but there are always ways to finger them that avoid them, and this is the general preference the vast majority of the time.  When playing chords, the bluegrass mandolinist generally "chunks" on the two and four, while the bass player drives with the one and three, creating the basic bluegrass sound -- the bluegrass equivalent of drums and bass, in rock or reggae terms.  In order to get that concise, tight "chunk" sound, playing entirely closed chords is essential.  The open strings ring out way too much, and with bluegrass mandolin, string-muting is a constant thing that involves both hands, in order to get that clear, rhythmic sound that we think of when we think of bluegrass mandolin.

And when we bluegrass snobs see someone going around with a mandolin who is playing lots of open strings on it, as with people playing banjos who aren't doing anything special with the fifth string, we mutter under our breaths and we think, "that person doesn't know how to play the mandolin, that person is playing it like a guitar."

So, when I got this lovely mandola and set about to play music on it like I wanted to, in an open tuning, really playing it more like a four-string banjo, in the Irish sense, than like a mandolin in the bluegrass sense, I was always looking over my shoulder for the bluegrass purists who I might offend through my errant musical behavior.  I knew they'd be out there, and hoped I'd win them over, despite my musical rebelliousness, if they listened for a few seconds and gave me a chance.

However, this was not to be, at least not with the one guy who apparently lives right next to Kenilworth Park, who accosted me last night, as I was walking home with my little boy, passing his house.

A tall, thin man with orange hair and two small white dogs, he looked to be around forty years old.  He wasn't shouting, but he was livid, veins bulging, really scary levels of anger being displayed.  I worried about whether he was armed, and I worried about my young child, as I stood there taking in his rage.

"I live right here," he said, pointing to his house.  "You make me listen to that thing every day.  You should really go to Trade-Up Music and learn how to play that thing.  It's a mandolin." 

I didn't point out that it's actually a mandola.  Then, with much more emphasis, he continued.

"It's tuned G-D-A-E."

He spat out the proper pitch of each string like it was quoting a sacred religious verse, and I was a heretic.

"And those eight strings are four pairs, they're supposed to be the same pitch as each other."

This last bit was a particularly low blow, not even worthy of a bluegrass purist -- whatever else he might have to say about this situation, my instrument was at least in tune with itself, I have excellent pitch.  Regardless of which musical style I may be disrespecting, I'm doing it in tune.

"Are you serious?" 

This was all I could think of to say in response, as I backed away with my son and continued towards home.  He made it very clear he was indeed serious.  And I knew exactly what kind of serious he was, because he's just a really emotionally disturbed version of the bluegrass purist that most of us bluegrass aficionados have within us.

I'm actually afraid to bring my mandola back to Kenilworth Park, for fear of being shot by this guy, he's really obviously unhinged.  I wish he could just relax and enjoy some nice music instead, like most of his neighbors have been doing, but I guess not.  

Moral of the story, perhaps, is if you're going to play the mandolin (or the mandola) in Kenilworth Park, you better play proper bluegrass, or else.