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Apocalypse, Utopia, Solidarity

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Apocalypse, Utopia, Solidarity Billy Bragg’s Revival of Aging Anthems: Radical Nostalgia or Activist Inspiration? 17 July 2007 A paper presented to the Working Class Studies Association conference, St. Paul, MN, Friday, 15 June 2007 David Walls, Ph.D. Professor Emeritus of Sociology Sonoma State University Rohnert Park, California Billy Bragg’s Revivial of Aging Anthems: Radical Nostalgia or Activist Inspiration? What makes a song an anthem of a social movement? Extending beyond the limited moment of topical or protest songs, anthems embody a movement’s often visionary, utopian or even apocalyptical values and goals by tapping deep cultural themes and metaphors, enduring over time and recalling participants to renew commitment and sacrifice. But even reasonably successful movements follow a course of emergence, ascendance and decline. Inevitably, over time, the master frame of a movement is superseded by new narratives. Anthems can be expected to rise and decline in potency along with their movements. When and how does time’s passing dampen the resonance of an anthem? Can an anthem be revised and revived? English punk rock singer Billy Bragg, in his 1990 album “The Internationale,” attempted to revive three venerable but fading movement anthems born in the context of the Nineteenth Century – “The Red Flag,” “The Internationale,” and “Blake’s Jerusalem.” “Jerusalem” has a specifically English context, but “The Red Flag” was once sung in the United States as well as Britain, and “The Internationale” was, of course, sung around the world. Although “The Red Flag” and “The Internationale” were creations of the late Nineteenth Century socialist movement, in the Twentieth Century they came to be identified with communism. Can these songs portraying class struggle and conflict survive the collapse of the Soviet Union and the multiple identities of the post-modern Twenty-First Century? The historic American labor anthem “Solidarity Forever” offers an interesting comparison to “The Red Flag” and “The Internationale.” Can these old songs regain vitality? Can aging anthems inspire new movements? What can we conclude seventeen years after Bragg’s album The Internationale? Each of these songs has a ritual aspect that was, and in some instances remains, important for its movement – being sung as a reaffirmation of tradition after meetings, conferences, conventions, and other significant events. Ron Eyerman and Andrew Jamison, in their book Music and Social Movements: Mobilizing Traditions in the Twentieth Century, define traditions as socially constructed processes connecting a “usable past” with the present.1 At its most effective, social movement music reflects a mobilization of tradition in support of the movement, often presenting a “message of hope and transcendence.”2 Whether anthems retain their power thus depends on whether the past reflected in the music is still usable in the present. “The Red Flag” Jim Connell, an Irish dock worker living in London, wrote “The Red Flag” in 1889. He had attended a meeting of the Social Democratic Federation, and was returning home on a train from Charing Cross station to New Cross Gate in South London when the lyrics came to him. He finished writing six verses and the chorus by the time he reached home.3 The song is most frequently sung to the tune of the German carol “O Tannenbaum,” but Connell intended “The Red Flag” be sung to a more obscure old Scots Jacobite tune, “The White Cockade.”4 “Tannenbaum” angered Connell both for its religious association, and because it served as the melody of the reactionary pro-Confederate song “Maryland, My Maryland.”5 Connell blamed Adolphe Smith Headingley for inducing people to sing “The Red Flag” to the tune of “Maryland.” Connell wrote, “Every time the song is sung to ‘Maryland’ the words are murdered. robbed of their proper emphasis and true value and meaning. Headingley might as well have set the song to ‘The Dead March in Saul.’”6 The “Maryland” or “Tannenbaum” version can sound a bit like a dirge, while “The White Cockade” version sounds more like a lively reel. Connell’s six verses as they first appeared in the paper Justice in December 1889 are as follows: The Red Flag The people's flag is deepest red; It shrouded oft our martyred dead, And ere their limbs grew stiff and cold Their heart’s blood dyed to ev’ry fold. Chorus: Then raise the scarlet standard high! Within its shade we'll live and die. Though cowards flinch and traitors sneer, We'll keep the Red Flag flying here. Look round, the Frenchman loves its blaze; The sturdy German chants its praise; In Moscow’s vaults its hymns are sung; Chicago swells the surging song. (Chorus) It waved above our infant might When all ahead seemed dark as night; It witnessed many a deed and vow-- We must not change its colour now. (Chorus) It well recalls the triumphs past; It gives the hope of peace at last. The banner bright, the symbol plain Of human right and human gain. (Chorus) It suits today the meek and base Whose minds are fixed on pelf and place To cringe beneath the rich man's frown And haul that sacred emblem down. (Chorus) With heads uncovered swear we all To bare it onward till we fall. Come dungeon dark, or gallows grim, This song shall be our parting hymn. (Chorus) “The Red Flag” was written before the labor and socialist movements had won much in the way of victories, which could account for its somewhat gloomy outlook. Connell cites the London Dock Strike of 1889 as the biggest victory of its kind to that date, but also notes the grim hanging of the Haymarket anarchists in Chicago in 1887.7 The greatest strength of the song is its spirit of proud defiance. Although the second, third, and fourth stanzas suggest some reasons for hope, the tone of the fifth and sixth stanzas returns to themes of pessimism, betrayal and martyrdom. The “meek and base” among the workers have “minds fixed on pelf and place;” they “cringe beneath the rich man’s frown” and would “haul that sacred emblem down.” The movement is surrounded, the chorus implies, by flinching cowards and sneering traitors. This is the song of a beleaguered remnant, not an ascendant vanguard. Nevertheless, or perhaps for that very reason, “The Red Flag” resonated with the early radical workers’ movement in the United States, and it appeared as the first song in the first edition of the “Little Red Songbook” of the Industrial Workers of the World in 1909. For reasons unknown, only five of the six stanzas were printed, omitting the fourth stanza that begins, “It well recalls the triumphs past.”8 The red flag served as the emblem of the British Labour Party from its organization in the first decade of the Twentieth Century until the party conference of 1986, when it was replaced by the red rose. “The Red Flag,” Labour’s official anthem from its founding, was first sung in the House of Commons on Aug. 1, 1945, when Parliament convened after Labour’s defeat of Winston Churchill’s Conservatives.9 It was sung again in Parliament in February 2006 to mark the centenary of the Labour Party’s founding.10 In 1999 Tony Blair and New Labour decided “The Red Flag” would no longer be considered the official anthem of the party, and would not be sung at the conclusion of the annual Labour Party Conferences.11 The most concerted effort to honor Jim Connell and revive singing of “The Red Flag” has been conducted by a group of Irish radicals, who have produced a web site and a CD, “The Songs of Irish Labour.”12 This group dedicated a monument to Connell in Crossakiel, County Meath, on 26 April 1998. One of the covers on the CD is sung by Des Geraghty, general president of the SIPTU (Services, Industrial, Professional and Technical Union) from 1999 to 2003 (imagine, if you can, his counterpart Andy Stern of SEIU). Billy Bragg’s sings his version to Connell’s preferred tune of “The White Cockade.” He drops the second stanza, beginning, “Look round, the Frenchman loves its blaze” (what does that line about “Moscow’s vaults” mean anyway?), but includes the fourth stanza that the IWW songbook had omitted, with its more contemporary-sounding lines about peace and human rights. Satirical versions along the lines of “The People’s Flag is Palest Pink” have been sung for many years by the Left wing of the Labour Party, the Liberal Democrats, and by others critical of the moderate drift of “New Labour.” One version goes as follows: The people’s flag is palest pink It’s not the colour you might think White collar workers stand and cheer The Labour government is here. We’ll change the country bit by bit So nobody will notice it. And just to show that we’re sincere We’ll sing The Red Flag once a year. The cloth cap and the woolen scarf Are images outdated. For we’re the party’s avant garde And we are educated. So raise the rolled umbrella high The college scarf, the old school tie. And just to show that we’re sincere, We’ll sing The Red Flag once a year.13 Joe Glazer, “labor’s troubadour” of the AFL-CIO, cites an even more cynical parody:14 The working class can kiss my ass I’ve got the foreman’s job at last. The system I’ll no more resist, I’m going to be a capitalist. Now you can raise the standard high, Beneath its shade to fight and die. But brother, please don’t count on me— I’ve up and joined the bourgeoisie.
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