Jeffrey Lewis - The Complete History of Punk Rock

While we're on the subject of lineage, here's Jeffrey Lewis's musical history of the early development of punk out of New York City's folk/poetry scene of the 1950s and '60s. This really doesn't need an introduction.

If you enjoyed this, be sure to check out Lewis's homepage and his original music and comic books.

McAlpine's Fusiliers

Across the pond to Ireland. The Ronnie Drew Group (later the Dubliners) perform Dominic Behan's "McAlpine's Fusiliers." You can see the fire in Drew's eyes as he sings about the hardships faced by Irish laborers in England. I think it's worth noting that this was in 1963, right before the Beatles took America by storm performing "I Want to Hold Your Hand" on the Ed Sullivan Show. Though rock 'n' roll is an obvious direct ancestor of punk rock, it's easy here to see the vital role folk music traditions played in that and a number of other significant lineages. More on this later. In the meantime, enjoy:


Oh, and for the hell of it, here are the lyrics to "McAlpine's Fusiliers" and "I Want to Hold Your Hand:"

McAlpine's Fusiliers

As down the glen came McAlpine's men with their shovels slung behind them
It was in the pub they drank the sub and up in the spike you'll find them
They sweated blood and they washed down mud with pints and quarts of beer
And now we're on the road again with McAlpine's Fusiliers

I stripped to the skin with Darky Flynn way down upon the Isle of Grain
With Horseface Toole I knew the rule, no money if you stop for rain
When McAlpine's god was a well filled hod with your shoulders cut to bits and seared
And woe to he who looks for tea with McAlpine's Fusiliers

I remember the day that the Bear O'Shea fell into a concrete stairs
What the Horseface said, when he saw him dead, well it wasn't what the rich call prayers
I'm a navvy short was the one retort that reached unto my ears
When the going is rough, well you must be tough with McAlpine's Fusiliers

I've worked till the sweat near had me bet with Russian, Czech and Pole
On shuddering jams up in the hydro dams or underneath the Thames in a hole
I grafted hard and I've got me cards and many a gangers fist across me ears
If you pride your life, don't join, by Christ, with McAlpine's Fusiliers

I Want To Hold Your Hand

Oh yeah, I'll tell you something,
I think you'll understand.
When I'll say that something
I want to hold your hand,
I want to hold your hand,
I want to hold your hand.

Oh please, say to me
You'll let me be your man
And please, say to me
You'll let me hold your hand.
Now let me hold your hand,
I want to hold your hand.

And when I touch you I feel happy inside.
It's such a feeling that my love
I can't hide, I can't hide, I can't hide.

Yeah, you've got that something,
I think you'll understand.
When I'll say that something
I want to hold your hand,
I want to hold your hand,
I want to hold your hand.

And when I touch you I feel happy inside.
It's such a feeling that my love
I can't hide, I can't hide, I can't hide.

Yeh, you've got that something,
I think you'll understand.
When I'll feel that something
I want to hold your hand,
I want to hold your hand,
I want to hold your hand.

The Promised Land

The following is a transcription of a letter from Lee Hendrix, a private in the 1st North Carolina Sharpshooters during the Civil War. Poetry of a different sort.

Source: Virginia Tech, Universities Libraries, Special Collections

Hicks' Farewell

Nothing like some stirring, 185-year-old music to bridge the gap.

"Hicks' Farewell," performed by Tim Eriksen.

Arms and the Boy

I can't pinpoint the moment in my childhood when I first became obsessed with the Civil War. I do know that I was in middle school when I fervently began reading every Civil War book I could get my hands on. It was around this point that I first turned a page to find a photograph of a teenage Confederate soldier lying dead in the trenches. The caption indicated he was fourteen years old and had been killed by bayonet during the Union assault on Fort Mahone, part of the defenses of Petersburg, Virginia. Something changed. I don't know what happened; maybe this marked the first moment that the Civil War became real for me. Not really became, it was more like a flicker, a glimpse.

I've been struggling to understand my fixation with this image ever since. Fixation is the wrong word. Inability to escape? "Haunted" sounds cliched, but I can't think of a better word. The indescribable, familiar strangeness I've encountered studying history ironically drove me away from history as a discipline and into poetry. Fourteen years after I first encountered the dead Rebel, his likeness became the driving force behind my first book, Jerusalem Plank Road. By that time I had learned that the photographer, Thomas Roche, likely had no knowledge of the boy's age and conceivably even invented his cause of death. The only thing we can know with any amount of certainty is that this anonymous young man died early in his life, a week before Lee's surrender at Appomattox. He lost his youth and his future for a cause that was already lost. Then a photographer came along and immortalized his corpse. We choose what to take from this. A reminder of war's horror? A memorial to an act of bravery?

This was nothing new.


Consider Joseph Bara, the fourteen-year-old French soldier killed by Breton royalists in 1793. Robespierre, architect of the Terror, declared him a martyr to the Republic. His story grew into legend, his death the subject of various works of art, including a painting by Jacques-Louis David. Today, who can tell who Joseph Bara really was, what he thought, said, did? Or the pain and fear he may have felt in his last moments. Or how his mother and father took the news, or whether his comrades were haunted by what they saw and the memory of the friend they lost. Joseph Bara ceased to exist as a person. Yet he lives now in art. Is that even life? I understand why some people hate artists. It infuriates me that Roche lied to add a little more "color" to his photograph. It seems tragically ironic that the image of Joseph Bara's death was used as propaganda to inspire more to kill and to die. Yet wouldn't it be equally egregious if his death served as nothing but a warning that war is horrible? I grappled with this as the young Confederate came to "life" in some of the characters in my work. I didn't want him to be a symbol or a warning or a juxtaposition. I wanted him to be a boy. But the idealization of boyhood in art also troubled me. Boys aren't angels and they should never represent innocence alone. They are walking, running, dancing, killing, living paradoxes. Which makes their deaths all the more difficult to bear. Wilfred Owen was undoubtedly moved by the beauty of the boys he saw dying around him. I believe it made his compassion (and his outrage) all the more powerful.

Sometimes I think I just wanted the Rebel boy to breathe. I've considered writing him without the war. Like Bara without his uniform. Or his death, for that matter.


Mort de Bara by Jacques-Louis David


Pro Patria by Emile Edmond Peynot

Santa Claus on the Western Front

Photo source: Wooway1

Miners

MINERS
by WILFRED OWEN

There was a whispering in my hearth,
A sigh of the coal,
Grown wistful of a former earth
It might recall.

I listened for a tale of leaves
And smothered ferns,
Frond-forests, and the low sly lives
Before the fauns.

My fire might show steam-phantoms simmer
From Time's old cauldron,
Before the birds made nests in summer,
Or men had children.

But the coals were murmuring of their mine,
And moans down there
Of boys that slept wry sleep, and men
Writhing for air.

And I saw white bones in the cinder-shard,
Bones without number.
Many the muscled bodies charred,
And few remember.

I thought of all that worked dark pits
Of war, and died
Digging the rock where Death reputes
Peace lies indeed.

Comforted years will sit soft-chaired,
In rooms of amber;
The years will stretch their hands, well-cheered
By our life's ember;

The centuries will burn rich loads
With which we groaned,
Whose warmth shall lull their dreaming lids,
While songs are crooned;
But they will not dream of us poor lads,
Left in the ground.


Photograph by Lewis Hine


Photograph by Ben Shahn