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Om Länkar I Den Radikala Folksångens Kedja Och Återerövrandet Av En Woody Guthrie-Sång

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Om Länkar I Den Radikala Folksångens Kedja Och Återerövrandet Av En Woody Guthrie-Sång http://www.diva-portal.org This is the published version of a chapter published in Tidskrift för Classiska Studier. Citation for the original published chapter: Eriksson, M. (2011) Om länkar i den radikala folksångens kedja och återerövrandet av en Woody Guthrie-sång. In: Katarina Bernhardsson, Sara Kärrholm, Per Erik Ljung, Anders Mortensen och Niklas Schiöler (ed.), Tidskrift för Classiska Studier (pp. 25-30). Lund: Språk- och litteraturcentrum, Lunds Universitet N.B. When citing this work, cite the original published chapter. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-33315 nr 1 2011 LASSISLtidskriftidskASSISrift för KA C studier Om länkar i den radikala folksångens kedja och återerövrandet av en Woody Guthrie-sång Magnus Eriksson sången ”Christmas in Washington” på albumet El bart botemedel: radikalismen och den populistiska Corazon (Warner, 1997) tolkade den texanske count- tra di tionen i amerikansk politik. Därför apostroferar I ry rebellen Steve Earle sina känslor efter omvalet av Steve Earle sångaren Woody Guthrie som dog 1967 Bill Clinton. Det handlar alltså om julen 1996, och se dan han varit sängbunden i Huntingtons sjukdom i Bill Clinton skall några veckor senare installeras för sin fem ton år. Refrängen lyder: andra presidentperiod. Steve Earle ser uppgivet på: So come back Woody Guthrie It’s Christmas time in Washington Come back to us now Th e Democrats rehearsed Tear your eyes from paradise Gettin’ into gear for four more years And rise again somehow Th ings not gettin’ worse If you run into Jesus Th e Republicans drink whiskey neat Maybe he can help you out And thanked their lucky stars Come back Woody Guthrie to us now Th ey said, ’He cannot seek another term Th ey’ll be no more FDRs I verserna tolkar Steve Earle sin egen position. Han ville följa i Woody Guthries fotspår, men sålde sin själ Någon Franklin D. Roosevelt blev inte Clinton. De ”for wheels that roll”. Hjulen har dubbel meta fo risk föl jan de åren hade han fullt upp med Lewinsky-aff ä- betydelse, dels står de för det kommersiella musik- ren. Förhållandet med Monica Lewinsky och Clintons maskineriets välsmorda hjul och dels för turnébussens nyckfulla sanningsbegrepp hade dock inte bli vit var hjul; de ändlösa turnéerna hör till countrysångarens mans egendom vid tiden för ”Christmas in Washing- vardag. ton”. Men uppgivenheten fi nns där, liksom ett tänk- Steve Earles beskrivning av sin egen position får 25 dock en mer generell betydelse, som en metafor för Sången skrevs direkt in i ett sammanhang, men dess den politiska sångens marginalisering på den samtida känsloläge och politiska apostrof hade inte förlorat sin musik scenen, liksom politikens marginalisering i en tid ak tu alitet när Joan Baez spelade in den år 2003 (Dark då libertarianska och anti-statliga ideologier erövrade Chords on a Big Guitar, Koch). För den fortfarande problem formuleringsprivilegiet: mili tanta sångerskan hade syftningen snarast förstärkts under George W. Bushs andra presidentperiod, även Th e unions have been busted om hon av någon anledning tar bort attributet ”red” i Th eir proud red banners torn bil den av de fackliga fanorna. När hon framför sången på livealbumet Bowery Songs, inspelat 2004 (Koch, Då kommer även Woody Guthries sångar- och 2005/Proper, 2006), skapar hon ett bredare tilltal. aktivistkamrat från depressionen, Cisco Houston, in i ”Cisco” ersätts av ”most folks” och Emma Goldman av sången: Mahatma Gandhi. Men Steve Earle inte bara åkallade en tradition, But you and me and Cisco know han skrev också in sig själv i den. Han blev en samtida It’s going straight to hell länk i kedjan, för att anknyta till en sång av Pete Seeger, själv en av de viktigaste länkarna i den radikala Och apostrofen växer: sångarkedjan. So come back, Emma Goldman * Rise up, old Joe Hill Th e barricades are goin’ up Th ey cannot break our will Joe Hill manades dock fram ur skuggorna redan 1925 Come back to us, Malcolm X i Alfred Hayes dikt ”I Dreamed I Saw Joe Hill Last And Martin Luther King Night”, som Earl Robinson skrev musik till 1938. Den We’re marching into Selma blev ”Th e Ballad of Joe Hill”. Sången framfördes ofta As the bells of freedom ring av Paul Robeson och Pete Seeger, senare har även Joan Baez haft den på sin repertoar. Hayes text beskriver ett Här åkallar Steve Earle inte endast den förebildliga möte i drömmen. Joe Hill lovar att alltid vara med i sånga ren, utan även en sammanhängande amerikansk, kampen: radi kal tradition från sångaren och aktivisten Joe Hill, som avrättades i Utah 1915, via den syndikalistiska From San Diego up to Maine, organi sa tionen Industrial Workers of the World och den In every mine and mill ledande anarkistiska ideologen Emma Goldman, död Where working men defend their rights 1940, till de afrikansk-amerikanska ledarna Malcolm It’s there you’ll fi nd Joe Hill. X och Martin Luther King, som båda mördades på It’s there you’ll fi nd Joe Hill. 1960-talet. 26 Anslaget är ett annat i Phil Ochs sång ”Joe Hill” (Tape Ochs sång ”Joe Hill” för en amerikansk samling med from California, A&M Records, 1968). Phil Ochs, fackföreningssånger (Don’t Mourn – Organise, Smith- som begick självmord 1976, var den mest konsekvent sonian Folkways). radikala sångaren på 1960-talets amerikanska folkscen. Och, som för att åtminstone tillfälligtvis sluta cirkeln, I sången om Joe Hill tecknar han dock inte ett möte på Th e Internationale fi nnsnns enen ssångång kkalladallad ””II ddreamedreamed I med denne. Han skriver i stället Joe Hills biografi från saw Phil Ochs Last Night”. Bragg framför den a capella, ankomsten till New York till avrättningen i Salt Lake och melodin är förstås Earl Robinsons ”Th e Ballad of City, dömd för ett mord han med säkerhet inte hade Joe Hill”. Men Bragg lägger sig också nära Alfred Hayes begått. Joe Hill skrev bara ett fåtal egna melodier, däri- dikt. Flera verser följer förlagan ordagrant, sånär som på bland det heroiserande porträttet av Elizabeth Gur ley att namnet bytts ut. Raden ”Th e copper bosses framed Flynn i ”Th e Rebel Girl”, han använde i stället popu- you Joe” ekar i ”Th e music business killed you, Phil”. lära slagdängor och religiösa sånger. ”He wrote his Den tidigare citerade slutstrofen i Hayes dikt får också songs to the tunes of the day”, sjunger Phil Ochs. Den en genklang hos Billy Bragg: förs ta raden i hans egen sång om Joe Hill är i sin tur ett eko av en annan sång. Versen ”Joe Hill came over When the song of freedom rings out loud from Sweden’s shore” pekar ut sångens förlaga: ”Tom From valleys and from hills Joad got out of the old McAlester Pen” (förkortning för Where people stand up for their rights ”Penitentiary”). Phil Ochs is with us still I sången om Joe Hill använde Phil Ochs melodin Phil Ochs inspires us still till Woody Guthries sång ”Tom Joad”, en sång i två de lar där Guthrie återberättade John Steinbecks roman Th e Internationale återutgavsåterutgavs år 2006 (Cook) i en Vredens druvor för dem som, med GuthriesGuthries ord,ord, varkenvarken utvidgad version. Där återfi nns Braggs version av Phil hade råd att köpa boken eller att se fi lmen. Valet av melo- Ochs Joe Hill-hyllning, men också en sång kallad di speglar Phil Ochs strävan att bli en länk i kedjan, en ”Th ere Is Power in A Union”, framförd tillsammans kedja där även Steinbecks roman har en plats. med den irländska folkmusikgruppen Th e Pattersons. Det är samma titel som på en av Joe Hills mest kända kamp sånger, men i denna härva av Joe Hill-hyllningar * använ der Billy Bragg enbart en sångtitel. Han spelade in sången i fl era versioner på åttiotalet. Melodin har Den engelska rocksångaren Billy Bragg har också för änd rats i grunden, och Billy Bragg skrev en text an- markerat en sådan strävan. Han är rotad i en alternativ- passad till de samtida striderna på den brittiska arbets- våg, men har även arbetat med folkmusikaliska ut- marknaden. trycks medel. 1990 gav han ut sin tydligast politiska På den utvidgade versionen av Th e Internationale ski va, Th e Internationale (Utility(Utility Records)Records) som bland fi nns också sången ”Th is Land Is Your Land”. Hos Billy a nnat rymmer Braggs då nyskrivna engelska text Bragg lyder refrängen: till ”Internationalen”. Samma år sjöng han in Phil 27 Th is land is your land, this land is my land ”Th is Land Is Your Land” skulle få en status av nästan From the coast of Cornwall, to the Scottish samma slag som ”God Bless America”, att den skulle Highlands sjun gas av tårögda barnkörer vid den nordamerikanska From the sacred forests, to the holy islands unio nens 200-årsjubileum eller vid andra nationella Th is land was made for you and me manifestationer. Hur kunde det bli så? Texten är öppen för både När Woody Guthrie skrev sången 1940, handlade den konservativa och radikala tolkningar. Den beskriver en om USA. Hans refräng har också genljudit i de mest vandring genom landet: skilda sammanhang: Th e sun comes shining as I was strolling Th is land is your land, this land is my land Th e wheat fi elds waving and the dust clouds From California, to the New York Island rolling From the redwood forest, to the gulf stream waters Th e fog was lifting a voice come chanting Th is land was made for you and me Th is land was made for you and me Berättelsen om hur Woody Guthrie skrev sången Det här är en av de tre verser som vanligen sjungs till- har återgivits många gånger, bland annat av Lennart sammans med den emblematiska refrängen.
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