IWW SONGS
Joe Hill edited and illustrated this 1912 Los Angeles edition of the Songbook. Proceeds went to the Mexican fellow workers active in the Baja Revolution.
The Songbookâs 28th edition (1945) featured IWW cartoonist William Henkelmanâs portrayal of the workers of the world marching under the red flag. The same cover also appeared on several subsequent editions, well into the 1970s.
1. THE RED FLAG
James Connell
The informal committee of Spokane workers who edited the first IWW songbook in 1909 chose their opening piece wisely. Shared by rebels across national, cultural, and occupational boundaries, âThe Red Flagâ had become a radical-movement favorite as the twentieth century dawned. Responding to its warm acceptance in Britain, James Connell (1852â1929) wrote a reflective article for the Call, an English Socialist Party weekly (May 6, 1920), dating his songâs genesis to 1889 (reprinted here, see p. 367; also summed up by Joyce Kornbluh (p 15).
Connellâs essay is exemplary in placing âThe Red Flagâ in a setting of events and ideas. He assumed that his readers possessed an intelligent grasp of history. This very assumption underscores the annotations in our Big Red Songbook. To help understand individual IWW lyrics our notes decode dated polemics and illuminate obscure language. Songs played a vital role in the unionâs unfolding, and offered a glimpse into the creative impulses of worker/artists.
Many of the Wobbly compositions which followed âThe Red Flagâ are no longer sung (some were silent at birth). Because this song is still alive, the matter of its tune remains relevant. Connell, an Irish native, intended âThe White Cockadeâsâ music (as sung in Ireland before 1870) to be used for his composition. Presumably, he referred to a traditional version of the Jacobite classic that had crossed over from Scotland. It invoked memories of Bonnie Prince Charlie, Robert Bums, and âMy Love Was Born in Aberdeen.â It distressed Connell when Adolphe Smith Headingley induced singers to use the tune âO Tannenbaumâ or âMaryland, My Marylandâ rather than that of âThe White Cockade.â
Connell objected to the changed melody in that it did not, indeed could not, fit his poemâs voice. Beyond this bedrock conviction that a tune had to suit a text, he disliked the melody of âMaryland, My Marylandâ because it derived from an old (German) religious carol, âO Tannenbaum,â memorializing a Christmas tree. Connell doubly objected to the âMaryland, My Marylandâsâ text as a patriotic anthem linked to our War of Secession. (James Ryder Randall wrote a poem to his native Maryland in 1861, articulating Confederate passions.)
I have not unearthed the circumstance for Headingleyâs tune switch, and appeal for readersâ help in this mystery. We look to his life story for clues to his interest in music: Adolphe Smith (1846â1925); born in Headingley, Yorkshire; devoted to radical causes. Smithâs Life in London (1877â78) is an important ethnography of workers in urban trades. Al though Connell and Smith both subscribed to socialism, their difference over a simple tune may have had a significance, now lost to us.
To my knowledge, no American ever performed âThe Red Flagâ as Connell meant it to be sung. Fortunately, Billy Bragg, in England, did record it with Connellâs tune (released on a 7 inch EP; reissued in Australia and America on CDs titled The International.) Subsequently, several musician/activists in Dublin, including Des Geraghty, recorded âThe White Cockadeâ version of âThe Red Flagâ in 1998 (released on Songs of Irish Labour, (a Bread & Roses CD). Such belated recognition in England and Ireland was long overdue. Previous to the Irish albumâs debut, labour partisans dedicated a monument to Jim Connell at Crossakiel, County Meath, near his birthplace Kislkyre.
American singers have yet to catch up to their overseas cousins in recognizing James Connellâs intentions. Despite his strictures, IWW members liked âThe Red Flag,â using its music for other numbers in their songbag. However, the issues raised by Connell continue to haunt Wobbly artists (as well as other labor singer/songwriters). We ask of all items in our anthology: does a new songâs lyrics fit its source tune; does an early songâs association taint a rebelâs cause?
The Peopleâs flag is deepest red.
It shrouded oft, our martyred dead;
And ere their limbs grew stiff and cold
Their life-blood dyed its every fold.
Chorus:
Then raise the scarlet standard high
Beneath its folds, weâll live and die.
Though cowards flinch and traitors sneer,
Weâll keep the red flag flying here.
Look âround! the Frenchman loves its blaze,
The sturdy German chants its praise;
In Moscowâs vaults, its hymns a...