John Lewis at Nashville sit-in, book cover of March: Book One, courtesy topshelfcomix.com
Editor’s Preface: John Robert Lewis (b. 1940) is the U.S. Representative for Georgia’s 5th congressional district, and the dean of the Georgia congressional delegation. His district also includes the northern three-quarters of Atlanta. His Wikipedia page is a reliable starting point for information about his nonviolent civil rights activities and his political career. JG
It has now been 50 years since “Bloody Sunday” in Selma, Alabama, when John Lewis and Hosea Williams led some 600 civil rights marchers across the Edmund Pettus Bridge on March 7, 1965. The demonstrators attempted to march peacefully from Selma to Montgomery in support of voting rights, but state and local police viciously attacked the nonviolent procession, brutally beating them with whips and clubs, firing tear gas and charging the defenseless marchers on horseback. Hundreds of people suffered bloody beatings and some were clubbed nearly to death.
by Jess Clarke
Homeless in America; image courtesy web.stanford.edu
Interviewer’s Preface: Street Spirit is one of the longest-lived publications on poverty, homelessness and human rights in the United States; it is sold by homeless vendors in Oakland and Berkeley, California, and tirelessly defends the human rights of homeless people. Terry Messman produced the first issue in March 1995, and has edited and designed every issue for nearly 22 years. Please see the note at the end for further biographical details about Messman, and interviewer Jess Clarke. JC
“What matters in the long run is staying true to the cause of justice. In the end,
that is the very meaning of our lives — whether we keep going, and keep working for peace and justice,
or give up in despair. It’s the question at the very heart of it all.” Terry Messman
Jess Clarke: As the founder of Street Spirit, you’ve seen some of the important political trends in homeless organizing and human rights advocacy in the Bay Area. Looking at the big picture, when and why did you first found Street Spirit?
Terry Messman: We put out the first issue in March of 1995, so we’ve been going steadily nearly 22 years. It’s one of the longest-lived media of any kind in the nation to document the history of poverty, homelessness, and the movements to overcome economic injustice.
Album cover art courtesy allmusic.com
“We’re still struggling as a species with how we can stop war. The families (of Vietnam veterans) were so grateful that anybody would acknowledge their sacrifice. And I don’t mean sacrifice in a clichéd way. The war had reached out and struck their family in a horrible, terrible way.” Country Joe McDonald
Street Spirit: You have been deeply involved in supporting military veterans, but there’s a saying that no good deed goes unpunished. Did Bill O’Reilly of Fox News actually compare you to Fidel Castro because you organized a Veteran’s Day event in 2005 that involved the Gold Star Families for Peace?
Country Joe McDonald: Yeah, he did that! He did say that! He said on his show that me doing a Veteran’s Day event in Berkeley was like having Fidel Castro in charge of it, after we got publicity because we wanted to have a Gold Star father speak in one of our Veteran’s Day events.
Woody Guthrie poster courtesy countryjoe.com
“I knew a lot of the people had to escape or they were killed by the junta in Chile. It was just tragic and terrible. I had grown up with a full knowledge of the viciousness of imperialism from my socialist parents. So I knew that, but I was still shocked.” Country Joe McDonald
Street Spirit: Robert W. Service called his poems about war “songs from the slaughter mill.” How did it happen that an acid-rock musician of the Vietnam era transformed poems written about World War I into a powerful musical statement in your album War War War?
Country Joe McDonald: When I got out of the Navy and was going to Los Angeles State College, I got a job working in East L.A. at a breaded fish factory. When I was coming home from work, I stopped at a used bookstore, and I saw a book called Rhymes of a Red Cross Man. I took it home and read the poems by Robert W. Service. His brother was killed in World War I and he himself was a Red Cross man during the war — a stretcher-bearer and ambulance driver. I knew about his frivolous, entertaining poems set in the Yukon, like “The Cremation of Sam McGee.” But I was really struck by his poems about war; they’re very different. I just thought they were great.
Spirit: Why were his poems so meaningful to you?
McDonald: They were poignant or humorous poems that were approaching war from different points of view. I just liked them and I thought they were really good. And I liked the little watercolor paintings that illustrated it. One particular poem, “The Ballad of Jean Desprez,” really affected me.
Cover of Country Joe’s album, designed by Jane Fonda, sold for benefit of Free The Army’s anti-war performance troupe; courtesy thestreetspirit.org
Country Joe McDonald has carried on the spirit of the 1960s by singing for peace and justice, speaking against war and environmental damage, and advocating fair treatment for military veterans and homeless people.
The summer of 1967 was a moment when a utopian vision of peace and love seemed to be just over the horizon — or even down the next aisle in a record store. On June 1, 1967, the Beatles released the album Sgt. Pepper’s Lonely Hearts Club Band, It seemed to herald a new day when love would overcome the injustices and cruelty of a world plagued by war, poverty and racial discrimination. “With our love, with our love, we could save the world — if they only knew,” George Harrison sang on “Within You Without You.”
Only two weeks later (June 16-18, 1967) the Monterey International Pop Festival brought together an extraordinary gathering of some of the most creative and innovative musical artists in the world, including Jimi Hendrix, the Who, Janis Joplin, Jefferson Airplane, Otis Redding, Booker T. & the MGs, Ravi Shankar, Canned Heat, the Electric Flag, the Mamas and the Papas, the Byrds, the Animals, and Country Joe and the Fish.
Taken together, those two momentous events — the Beatles’ imaginative and beautiful album, and the epochal gathering of legendary artists at Monterey — seemed to announce the dawning of a rebellious and visionary counterculture. The first rays of sunlight in the darkness of a world at war. It now may seem like a half-remembered fragment of a dream, but those days were filled with the hope that momentous social change might emerge suddenly from almost any protest, and breathtaking moments of beauty could be found in almost any music store or concert hall.
The second album Country Joe and the Fish album; Country Joe is seated front far right; courtesy thestreetspirit.org
“Women coming home from the Vietnam War never were the same after their wartime experiences. They were shoved into a horrific, unbelievable experience. That’s what I wrote about in the song: ‘A vision of the wounded screams inside her brain, and the girl next door will never be the same.’” Country Joe McDonald
Street Spirit: You first sang “I Feel Like I’m Fixin’ to Die Rag” on the streets of Berkeley during the Vietnam War in 1965. Fifty years later, you sang it at an anti-nuclear protest at Livermore Laboratory on the 70th anniversary of the atomic bombing of Hiroshima. Could you have imagined in 1965 that your song would still have so much meaning today?
Country Joe McDonald: Actually, I find the concept of 50 years incomprehensible. But it’s indisputable because I have children and some of those children have children and I know that the math is right. And I just finished an album and the title of it is 50 because it’s 50 years since the first album. It’s called Goodbye Blues. I didn’t die, so there you are. I’m still alive and I’m still doing something. Filling a need helps a lot, and it keeps me sane.
Country Joe McDonald sings “Fixin’ to Die Rag” for 300,000 people at Woodstock; photo by Jim Marshall, courtesy thestreetspirit.org
“It was magical. All at the same time, amazing stuff happened in Paris, London, and San Francisco — and BOOM! Everybody agreed on the same premise: peace and love. It was a moment of peace and love. It was a wonderful thing to happen. And I’m still a hippie: peace and love!” Country Joe McDonald
Street Spirit: During the Vietnam War, and while caring for the victims of PTSD and Agent Orange in the years after the war, Lynda Van Devanter and other Vietnam combat nurses helped many veterans to survive. Your song about Van Devanter says that the combat nurse is everybody’s savior but her own. Then it asks, “Who will save her now?”
Country Joe McDonald: Yes, who will save her now?
Country Joe McDonald sings anti-war songs; Livermore Lab, Hiroshima Day, August 6, 2015; courtesy thestreetspirit.org
Country Joe McDonald composed one of the most acclaimed peace anthems of the Vietnam era, “I Feel Like I’m Fixin’ to Die Rag,” a rebellious and uproarious blast against the war machine. The song’s anti-war message seems more timely than ever, with its savagely satirical attack on the arms merchants, the military and the White House. “Fixin’ to Die Rag” condemns the architects of war and the military-industrial complex in bitterly sarcastic terms.
Come on Wall Street, don’t move slow
Why man, this is war au-go-go!
There’s plenty good money to be made
By supplying the Army with the tools of its trade.
Recently, a major new book by Craig Werner and Doug Bradley, We Gotta Get Out of This Place: The Soundtrack of the Vietnam War, [Amherst: University of Massachusetts Press, 2015] ranked hundreds of Vietnam-era songs and listed “I Feel Like I’m Fixin’ to Die Rag” by Country Joe and the Fish as one of the two most important songs named by Vietnam veterans, right after “We Gotta Get Out of This Place” by the Animals. “The soldiers got it,” write co-authors Werner and Bradley about Country Joe’s song. Michael Rodriguez, an infantryman with the 2nd Battalion, 1st Marines, said: “Bitter, sarcastic, angry at a government some of us felt we didn’t understand — ‘Fixin’ to Die Rag’ became the battle standard for grunts in the bush.”
“The feminism that I believe in is a defense of all life. Not only women, not only the earth, but all together. It’s all reweaving the web.” Shelley Douglass
Jim and Shelley Douglass demonstrating for peace in Birmingham, Alabama.
Street Spirit: Concern for the rights of women, both in society and in the peace movement, was always a part of Ground Zero’s message to the larger movement. Can you describe how feminism and women’s issues became interwoven with Ground Zero’s peace work?
Shelley Douglass: Well, you have to remember that Ground Zero — and Pacific Life Community, which preceded it — were founded on the idea that nonviolence was a way of life. So it wasn’t just a political type of resistance campaign against Trident. It was an attempt, and is an attempt, to learn a new way of living where things like Trident are not necessary any more. In order to do that, you have to have justice, because the point of the weaponry is to defend things that are unjust or structures that are unjust. So equal rights for women was part of the basis of what we were doing.
Jim and Shelley Douglass with Seattle Archbishop Raymond Hunthausen, c. 1980; courtesy thestreetspirit.org
Street Spirit: I just read John McCoy’s new biography of Archbishop Raymond Hunthausen, A Still and Quiet Conscience [Maryknoll, New York: Orbis Books, 2015]. He is such an inspiring man, but it was shocking to learn about the horrible indignities he suffered for speaking out for peace. Could you describe your impressions of the archbishop when he came to peace demonstrations at Ground Zero?
Shelley Douglass: He’s the kind of person you would never think was an archbishop, you know. You would never think of him as an archbishop or anybody with any power. I mean he’s just this guy, not particularly well dressed. When we knew him, he just seemed like this old guy and he was bald and had kind of a kindly persona. He listened a lot, and didn’t do a lot of talking.
I think that the first time I met him I was in jail. We had gotten arrested for committing civil disobedience and Jim and one other person in our group were both doing a fast. I don’t remember why the archbishop came to visit us in jail, but people were concerned about Jim’s safety, basically. I don’t know who got him to come, but he came, and even though he didn’t look or act like an archbishop, because he was the archbishop, the jail gave him a special visit. And they put Jim in a wheelchair and wheeled him down, and there was the archbishop!
