Celebrating Darce Cassidy

Notes for my contribution to memorial meeting on May 14, following Darce’s death on 2019-04-29

I’m not a historian and cannot do justice to the story of Darce Cassidy.

But I do know that he played a critically important part as a leader of the sixties rebellion in Australia and it would be well worthwhile for some historian to write up that story.

Most people who knew either Darce Cassidy or Jon Cassidy would know him as a progressive and radical who worked in the mainstream as an ABC journalist, staff organizer and manager and who was able to get on with all kinds of people helping others to organize themselves in a progressive direction that caused problems for the powers that be. He would be known by many for his contributions to Community and Multicultural radio and opposition to internet censorship and surveillance as director of the Electronic Frontiers Foundation. He did all of that and more, and it was central to his life.

But I knew him as a revolutionary as well as a friend, and specifically as a revolutionary communist leader, and I know that was also central to his life and should not be forgotten so I will focus on that. That description may come as a surprise to many who got to know him after the sixties wave had subsided when there was no radical left to help organize and lead. He was able to adapt because he always followed the “mass line” of taking progressive political ideas from the masses, concentrating and developing them and taking them back to the masses.

In the late 1960s Darce played a significant leadership role in the largest and best known radical student and youth organizations in Australia – the Maoist led Monash University Labour Club and Worker Student Alliance. Like other open supporters of the Vietnamese armed struggle against US occupation and advocates of militant protest tactics in Australia he was regularly slandered. Bob Santamaria’s far right wing Newsweekly had a major campaign to oust him from his “subversive” influence at the ABC, claiming that he was a terrorist. More common were the slanders from the “Communist” CPA, the “Labor” ALP “left” and some Trotskyists who portrayed revolutionary rebels like Darce as sectarians.

In response to Santamaria’s campaign, the ABC duly obtained a report on comrade Cassidy from ASIO. This confirmed that actually he was a revolutionary, not a terrorist, and that his employment in charge of book reviews for the ABC was not a matter of immediate concern to ASIO in the current situation and while he was not in charge of news or current affairs. But Darce was no sectarian either and helped ABC news and current affairs staff to rebel in ways that right-wingers are still upset about.

For anyone interested in sources to find out more about Darce’s revolutionary activities, in preparing notes I was helped by two references easily found online by a google search for “Monash Labor Club”. They are listed at the end.

ASIO’s records have been released and would provide a lot more detail.

Darce was not a theoretician, nor a public spokesperson for revolutionary politics. But he was a leader, with a major role in strategy, tactics and organization. His revolutionary work as a journalist and organiser was central to the radicalization of the youth and student movement in the sixties because he taught others how to do radical journalism, how to get organised and how to maneuver against our enemies without getting isolated. He was particularly good at teaching people how to think before writing, so as to produce short punchy items with real impact, through careful attention to catchy headlines and humorous slogans that adapted tactics to strategy.

Darce arrived in Melbourne and enrolled at Monash University shortly before things got moving in 1967. He immediately helped launch our regular news sheet called “Print”. Unlike most of the sixties activists in Australia he had several years experience of radical politics at Sydney University before the movement took off and had edited a weekly newsheet there called “Wednesday Commentary”. He advocated a neutral name to focus attention on the content not proclamation. But he originally proposed the name “Gladys” as he thought “Gladys says” would catch on. Fortunately we were able to persuade him that “I saw it in Print” would also work.

The sixties Vietnam movement in the US grew more directly out of the civil rights movement than in Australia (especially with black conscripts as the most important force). But a lot of the sixties Australian indigenous rights movement was also inspired by the US example. An obvious direct import was the rural NSW Freedom Ride that Darce helped organize in March 1965 following on from solidarity protests in support of the fights against racism in the U.S. and South Africa. The Vietnam movement also had a natural continuity from solidarity with US as well as South African struggles. (My own earliest political activity was as secretary of “Youth Against Apartheid” around the same time.)

It is ironic that we were presented as “anti-American”. As with the Freedom ride, even more so for Vietnam, a lot of the inspiration for the sixties movement came from following the examples set by radical Americans.

We did not have the internet back in the sixties. But we did have typewriters, wax stencils and duplicating machines called “Gestetners”. One of Darce’s slogans was “All power grows out of the barrel of a Gestetner”. Darce was more than anyone responsible for launching an irreverant and uncensorable underground journalism tradition of “the sixties” that Australian university and later high school authorities could not cope with.

Another of Darce’s slogans was “If there is to be a revolution there must be a revolutionary party – Friday night at Jasmine Street”.

Jasmine street was the home of several Monash Labor Club activists including Darce from the summer break1966-7.

The revolutionary parties at Jasmine Street every Friday were pretty wild, some would say they were drunken orgies. But the revolutionary music organized by Darce was not just background noise. Radical songs are always a necessary part of any radical culture and tradition. Jasmine Street was also the off campus HQ where people developed their ideas on HOW to rebel in continuous political discussion. Later a similar role was played by “Shirley Grove” and then “The Bakery” which became the headquarters of a non-student organization, the “Revolutionary Socialists”. Darce was central to organizing all three HQs, fostering an atmosphere in which ideas could develop. Later he proposed disbanding the Rev Socs to form a more explicitly Maoist led youth organization, WSA, the “Worker Student Alliance”, in January 1970.

These irreverant takeoffs from Mao’s slogans “All power grows out of the barrel of a gun” and “If there is to be a revolution, there must be a revolutionary party” were typical of the thoroughly irrevererant and politically incorrect sixties rebellion that Darce helped organize.

As Darce confirmed in an interview half a century later:

“By late 1966 early 1967 I grew to see ALP politics as futile and the Maoist stance offered a clear anti-Parliamentary line. Other than this fact it was the sheer rebelliousness of the Maoist ideas like ‘It is right to rebel’ that became attractive
to a lot us around that time.” (2005-09-03)

Soon after Darce’s arrival we had a major breakthrough in 1967. After some initial toughening up in response to attempts to censor “Print” from the University administration we were able to withstand a real “baptism by fire”. This came when we organized collections of aid for solidarity with the “National Liberation Front” who were fighting and defeating U.S. and Australian invaders in south Vietnam. The concentrated attacks from press, TV, government and University authorities as well as the peace movement “establishment” were a major turning point, not just for the student movement but for the wider anti-war movement. As intended the whole climate shifted left. The “moderates” were now able to distance themselves from us while also moving towards a position that the war could only be ended by defeat of the U.S. rather than by respectably influencing its government to be less aggressive. The left became a major force in the organized anti-war movement with Darce often representing us at private meetings where he helped out maneuver the old guard “peace movement” without them ever quite understanding how they got done over.

Darce’s detailed organizational proposal for moving from a weekly “Print” to a daily were written under the name Len Esdaile in the third issue of the internal bulletin of the Young Communist League, Sunday February 15 1969. Eventually the Monash radical student movement had many weeklies, including those from groups in most Faculties such as “Spanner and Sickle” in Engineering, as well as the daily “Print”. Many high schools also had their own regular newsheets based on the same rebellious and offensive “underground” style. These had to be distributed anonymously as the editors would be expelled from school. Being cheeky, rebellious and highly offensive to all right thinking people was easy. Learning to do it skillfully required lessons from a professional revolutionary journalist – Darce Cassidy, also known as “Tony Brooks”.

Darce’s commitment, like that of other sixties radicals, was not virtue signalling and hence was of interest to ASIO without them pretending that he was a eiither a terrorist or about to launch an armed struggle. Like the rest of us he was totally in favour of offending people to make them think (while rejecting the “being offended” that helps people avoid thinking). He was of course hostile to the censorious “political correctness” that now dominates the pseudo-left that imploded into the vacuum left by the subsiding radical wave half a century ago. It was the radical left, not the right that invented that term “politically incorrect”, and its Australian equivalent “ideologically unsound” to mock the pretensions of the pseudoleft.

Darce was a thorougly mainstream and thoroughly political incorrect revolutionary. That style of politics was fun. Darce will be remembered for it.

REFERENCES

1. Robins, Daniel (2005) Melbourne’s Maoists : the rise of the Monash University Labor Club, 1965-1967. Honours thesis, Victoria University.

http://vuir.vu.edu.au/30211/

2. From http://www.reasoninrevolt.net.au/biogs/E000612b.htm links from page on “Monash Labor Club”

BLUES MUSIC AND DEFIANCE

… there have been some notable exceptions to the dominant ‘worried life’ theme of the blues. There have also been courageous bluesmen and women who used the blues defiantly in bold resistance to authority.

* * * *

See update (TomG on Paul Robeson, 29 December) below (scroll down).
 

“The blues … the ball ‘n’ chain around every English musician’s neck… in fact, every musician’s neck”.

So sang Eric Burdon in a blues song called “As the years go passing by”.

But does the blues music genre have to be a ball-and-chain? Sure, since the early twentieth century, blues singers have mostly expressed lament, regret and grief: discontent and despair rather than defiance and rebellion. Karl Marx’s assessment of religion as “the sigh of the oppressed creature, the heart of a heartless world, and the soul of soulless conditions” can also apply to blues music.

Yet there have been some notable exceptions to the dominant ‘worried life’ theme of the blues. There have also been courageous bluesmen and women who used the blues defiantly in bold resistance to authority.

I became hooked on blues music in my teens. My first album purchase was called ‘Soul Supply’, a compilation offering a feast of styles and artists: Ike and Tina Turner, Bobby Bland, Jimmy Witherspoon, Lowell Fulsom, Vernon Garrett, King Solomon, Little Richard and Mary Love. I wanted more from that day on.

I also loved the blues-based rock music emerging in the 1960s, mostly by white performers with powerful vocal delivery such as Eric Burdon and Chris Farlowe. They did a lot to popularize the blues and to promote black American performers to British audiences and, indeed, among northern audiences in the USA itself.

When the lyrics of blues and rock music connected overtly to the rebellious left-wing political movement to which I belonged, it was more than a bonus – it was inspirational.

Music can – and does – inspire. Do you have any to add to my list? If so, send them to me with your commentary and I’ll add them to this post.


The following are my five favourites in the black American blues genre:

1. The Bourgeois Blues – Huddy Leadbetter (1888-1949) aka ‘Leadbelly’ (1938)

This is one of the early blues songs of defiance. Sure, there is also complaint in its theme but Leadbelly identifies the class nature of racial oppression and is defiant in his desire to “spread the news all around”. “The home of the Brave / The land of the Free / I don’t wanna be mistreated by no bourgeoisie”.

The song was written in response to Leadbelly’s visit to Washington to record songs for the Library of Congress. The celebrated ethnomusicologist and field collector, Alan Lomax, had arranged the visit and with their respective wives took Leadbelly out to dinner after the sessions. Various restaurants denied them entry because the party was a mix-race one, which infuriated Lomax and Leadbelly.

In the version below, Leadbelly sings the song and relates the circumstances that led to him writing it.

Lord, in a bourgeois town
It’s a bourgeois town
I got the bourgeois blues
Gonna spread the news all around

Home of the brave, land of the free
I don’t wanna be mistreated by no bourgeoisie
Lord, in a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around

Well, me and my wife we were standing upstairs
We heard the white man say “I don’t want no niggers up there”
Lord, in a bourgeois town
Uhm, bourgeois town
I got the bourgeois blues
Gonna spread the news all around

Well, them white folks in Washington they know how
To call a colored man a nigger just to see him bow
Lord, it’s a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around

I tell all the colored folks to listen to me
Don’t try to find you no home in Washington, DC
`Cause it’s a bourgeois town
Uhm, the bourgeois town
I got the bourgeois blues
Gonna spread the news all around

Leadebelly also did a protest song about the case of the Scottsboro Boys, in which the Communist Party of the USA played an important role on the side of the nine black teenagers wrongly accused of rape.

2. Mannish Boy – Muddy Waters (1913-1983) (1955)

Like Huddy Leadbetter, Muddy Waters was the real deal and had known first-hand the extremes of racial and class oppression. In the hands of various white rockers who later covered the song, it became a statement of masculine sexual prowess but in 1955, when Muddy recorded it, it had a much deeper meaning as a declaration of manhood. In the deep South of Muddy Waters’ upbringing, black adult men were regularly called ‘boy’ in the racist culture. Muddy’s song asserts “I’m a man” and he even spells it out to prove the point: “Mmm-Aaa- child – Nnn – I’m a MAN!” Radical and inspirational stuff!

Ooooooh, yeah, ooh, yeah

Everythin’, everythin’, everythin’s gonna be alright this mornin’
Ooh yeah, whoaw
Now when I was a young boy, at the age of five
My mother said I was, gonna be the greatest man alive
But now I’m a man, way past 21
Want you to believe me baby,
I had lot’s of fun
I’m a man
I spell mmm, aaa child, nnn
That represents man
No B, O child, Y
That mean mannish boy
I’m a man
I’m a full grown man
I’m a man
I’m a natural born lovers man
I’m a man
I’m a rollin’ stone
I’m a man
I’m a hoochie coochie man

Sittin’ on the outside, just me and my mate
You know I’m made to move you honey,
Come up two hours late
Wasn’t that a man
I spell mmm, aaa child, nnn
That represents man
No B, O child, Y
That mean mannish boy
I’m a man
I’m a full grown man
Man
I’m a natural born lovers man
Man
I’m a rollin’ stone
Man-child
I’m a hoochie coochie man

The line I shoot will never miss
When I make love to a woman,
She can’t resist
I think I go down,
To old Kansas Stew
I’m gonna bring back my second cousin,
That little Johnny Cocheroo
All you little girls,
Sittin’out at that line
I can make love to you woman,
In five minutes time
Ain’t that a man
I spell mmm, aaa child, nnn
That represents man
No B, O child, Y
That mean mannish boy
Man
I’m a full grown man
Man
I’m a natural born lovers man
Man
I’m a rollin’ stone
I’m a man-child
I’m a hoochie coochie man
Well, well, well, well
Hurry, hurry, hurry, hurry
Don’t hurt me, don’t hurt me child
Don’t hurt me, don’t hurt, don’t hurt me child
Well, well, well, well

3. Mississippi Goddam – Nina Simone (1993-2003) (1963)

Nina Simone was never one to hide her politics and was an activist as well as a brilliant pianist and singer. She took part in major struggles such as the march from Selma to Montgomery (Alabama’s capital) in 1965. At the conclusion of the march, she performed her song, “Mississippi Goddam” to a crowd of 40,000 civil rights activists. She had written the song in 1963 in response to the murder in Mississippi of activist Medgar Evers, and the bombing in Alabama of the 16th Street Baptist Church which killed four black girls.

I love the call-and-response – “Do it slow!” or “Go slow!” – which accentuates the reality that the movement had reached a new level of urgency and struggle in which gradualism had passed.

The song was banned from airplay in some southern states, supposedly because of the use of “goddam”.

Alabama’s gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi Goddam

Alabama’s gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi Goddam

Can’t you see it
Can’t you feel it
It’s all in the air
I can’t stand the pressure much longer
Somebody say a prayer

Alabama’s gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi Goddam

This is a show tune
But the show hasn’t been written for it, yet

Hound dogs on my trail
School children sitting in jail
Black cat cross my path
I think every day’s gonna be my last

Lord have mercy on this land of mine
We all gonna get it in due time
I don’t belong here
I don’t belong there
I’ve even stopped believing in prayer

Don’t tell me
I tell you
Me and my people just about due
I’ve been there so I know
They keep on saying “Go slow!”

But that’s just the trouble
“do it slow”
Washing the windows
“do it slow”
Picking the cotton
“do it slow”
You’re just plain rotten
“do it slow”
You’re too damn lazy
“do it slow”
The thinking’s crazy
“do it slow”
Where am I going
What am I doing
I don’t know
I don’t know

Just try to do your very best
Stand up be counted with all the rest
For everybody knows about Mississippi Goddam

I made you thought I was kiddin’

Picket lines
School boy cots
They try to say it’s a communist plot
All I want is equality
for my sister my brother my people and me

Yes you lied to me all these years
You told me to wash and clean my ears
And talk real fine just like a lady
And you’d stop calling me Sister Sadie

Oh but this whole country is full of lies
You’re all gonna die and die like flies
I don’t trust you any more
You keep on saying “Go slow!”
“Go slow!”

But that’s just the trouble
“do it slow”
Desegregation
“do it slow”
Mass participation
“do it slow”
Reunification
“do it slow”
Do things gradually
“do it slow”
But bring more tragedy
“do it slow”
Why don’t you see it
Why don’t you feel it
I don’t know
I don’t know

You don’t have to live next to me
Just give me my equality
Everybody knows about Mississippi
Everybody knows about Alabama
Everybody knows about Mississippi Goddam

4. A change is gonna come – Sam Cooke (1931-1964) (1964)

Okay, blues aficionados may argue that Sam Cooke‘s song is more rhythm-and-blues than blues but, as Chuck Berry once said, “It’s all meat on the same bone”. And, like Nina Simone’s “Mississippi Goddam”, “A change is gonna come” became an anthem of the civil rights movement. It is notable for its optimism, at a time when police and troopers in the southern states in particular were using brutal force and mass arrests to deter the movement and its leaders.

I was born by the river in a little tent
Oh, and just like the river I’ve been running ever since

It’s been a long, a long time coming
But I know a change gon’ come, oh yes it will

It’s been too hard living, but I’m afraid to die
Cause I don’t know what’s up there beyond the sky

It’s been a long, a long time coming
But I know a change gon’ come, oh yes it will

I go to the movie and I go down town
Somebody keep telling me don’t hang around

Its been a long, a long time coming
But I know a change gon’ come, oh yes it will

Then I go to my brother
And I say, “Brother, help me please.”
But he winds up knockin’ me
Back down on my knees

There been times when I thought I couldn’t last for long
But now I think I’m able to carry on

It’s been a long, a long time coming
But I know a change gon’ come, oh yes it will

5. Vietnam Blues – J B Lenoir (1929-1967) (1966)

JB Lenoir, like Nina Simone, was a prolific musician who openly supported the civil rights struggle. And like Nina Simone, he took a stand against US involvement in the war in Vietnam early on. His song, “Vietnam Blues”, may have influenced John Lee Hooker’s “I don’t wanna go to Vietnam” recorded three years later. Both make a point about the US making war in Vietnam when its own people, especially black Americans, were in fairly dire straits.

Two of Lenoir’s albums “Alabama Blues” and “Down in Mississippi” mostly consist of political songs, including “Eisenhower Blues” which the record company made him change and reissued as “Tax Payer Blues”.

The songs above arose from actual life experience and struggle and inspired commitment to progress. Are there more recent examples that readers know of?

The following is from TomG (thanks Tom)

Old Man River (Show Boat) is no Blues song and Paul Robeson no Blues singer, but if you’re after a rebel song then the changes Robeson made to Hammerstein’s original lyrics fits the bill.
The lyrics are reproduced here twice, the first being Hammerstein’s, the second Robeson’s. The changes he made are transformative.

Dere’s an ol’ man called de Mississippi;
Dat’s de ol’ man dat I’d like to be!
What does he care if de world’s got troubles?
What does he care if de land ain’t free?
Ol’ Man River,
Dat Ol’ Man River
He mus’ know sumpin’ But don’t say nuthin’,
He jes’ keeps rollin’,
He keeps on rollin’ along.
He don’t plant taters,
He don’t plant cotton,
An’ dem dat plants ’em
Is soon forgotten,
But Ol’ Man River,
He jes’ keeps rollin’ along
You an’ me, we sweat an’ strain,
Body all achin’ an’ racked wid pain –
Tote dat barge!
Lif’ dat bale!
Git a little drunk,
An’ you land in jail…
Ah gits weary
An’ sick of tryin’;
Ah’m tired of livin’
An skeered of dyin’,
But Ol’ Man River,
He jes’ keeps rollin’ along

Revised lyrics:

There’s an ol’ man called de Mississippi;
That’s the ol’ man I don’t like to be!
What does he care if the world’s got troubles?
What does he care if the land ain’t free..
Ol’ Man River,
That Ol’ Man River
He mus’ know sumpin’ But don’t say nuthin’,
He jes’ keeps rollin’,
He keeps on rollin’ along.
He don’t plant taters,
He don’t plant cotton,
An’ dem dat plants ’em
Is soon forgotten,
But Ol’ Man River,
He jes’ keeps rollin’ along
You an’ me, we sweat an’ strain,
Body all achin’ an’ racked wid pain –
Tote that barge and
Lift that bale,
You show a little grit and
You lands in jail…
But I keeps laffin’ instead of cyrin’
I must keep fightin’;
Until I’m dyin’
And Ol’ Man River,
He just keeps rollin’ along

* * * *

Some sites and blogs of relevance include:

50 greatest protest songs

Blues music history timeline

Great Migrations and Blues

20 greatest blues albums

Brief history of the blues

50 greatest blues songs

The art of the blues

History of the blues

Weary blues go forth

Old weird America

Blues Music Society (Melbourne)

Windy City Blues Society