I'm astonished that none of these commentators (and apparently not even Joan Baez) has noted the twisted political implications of this song, particularly in the historical context when it was composed and sung. It is a nostalgic paean to "old Dixie," whose political and economic order was based on the enslavement and brutalization of millions of African Americans. It is not, as some might say, the celebration of a morally neutral "heritage." It is an elegy to the poor white advocates of the Confederacy sung at the height of the Civil Rights Movement.
Instead of testifying to the evil of enslavement and the evil that so many poor boys killed and died in its defense, this song pretends that what's sad is that the old South was forced to change.
What's most disgusting, though, is that this 1960s nostalgia for the old South (including the sudden insertion of the Confederate flag design into state flags all over the South) is obviously a thinly-veiled metaphor and populist emblem of poor whites' wish to preserve their superiority to black people at a time when black Americans were rightly demanding human equality for people of all colors and classes. Shame on them and on the composers and singers of this song.
I am so disappointed by the lack of critical discourse around this popular and seductively beautiful song.
Your comment is a little hysterical. And I’m not even sure who you are railing against. It appears you are having an argument against your own projections (“as some might say” . . . but nobody did say.).
Your comment is a little hysterical. And I’m not even sure who you are railing against. It appears you are having an argument against your own projections (“as some might say” . . . but nobody did say.).
Further, you seem to be upset that the writers, singers, and commentators are not spending their time “testifying.” You’re going to have a miserable life and go to an early grave if you keep working your panties into a bunch, being “astonished,” “disgusted,” and “disappointed” over “missing” internet comments.
Further, you seem to be upset that the writers, singers, and commentators are not spending their time “testifying.” You’re going to have a miserable life and go to an early grave if you keep working your panties into a bunch, being “astonished,” “disgusted,” and “disappointed” over “missing” internet comments.
You reveal your true mission when you cast your “shame” on the composers...
You reveal your true mission when you cast your “shame” on the composers and singers of this song, and presumably on those who like to listen to it, because of your perceptions. To that I say: piss off. Stop trying to tell other people what they should not write, what they should be saying instead, and what songs they should be listening to.. And to counter your judgmental attempt at shaming Robbie Robertson, Joan Baez, The Band, and others, I say “thank you” to all these artists for bringing us this beautiful song.
If you want to point out that you think this song is nostalgia for racism, fine. To me, in 2015, it is just Virgil Caine’s sad tale, set to beautiful music with clever and amazing imagery. I like it, and much to your dismay, I’m sure, I’ve listened to it many a time with nary a negative thought for anyone of any color, race, gender, or creed.
Finally, if you really took time to analyze the song, Virgil comes to the conclusion that "You can't raise a Caine back up when he's in defeat." I.e., the South (meaning the racist confederate South you are referring to) is never going to “rise again.” This is hardly an apologetic anthem; this is a realistic requiem.
@JamesMatory
Have a read around about the 'Lost Cause'.
The Wikipedia page is a good place to start.
I think you'll recognise that time brings useful context.
@JamesMatory
Have a read around about the 'Lost Cause'.
The Wikipedia page is a good place to start.
I think you'll recognise that time brings useful context.
@JamesMatory Spot on James.
I play this on guitar because it's a great work, but it is inconceivable that all the other comments are splitting hairs about what means what, rather than, here we have the most shameful part of world history being some lament and martyrdom to these "so called" poor white folks,who deserved to have their racist asses kicked.
Makes me want to vomit.
@JamesMatory Spot on James.
I play this on guitar because it's a great work, but it is inconceivable that all the other comments are splitting hairs about what means what, rather than, here we have the most shameful part of world history being some lament and martyrdom to these "so called" poor white folks,who deserved to have their racist asses kicked.
Makes me want to vomit.
I'm astonished that none of these commentators (and apparently not even Joan Baez) has noted the twisted political implications of this song, particularly in the historical context when it was composed and sung. It is a nostalgic paean to "old Dixie," whose political and economic order was based on the enslavement and brutalization of millions of African Americans. It is not, as some might say, the celebration of a morally neutral "heritage." It is an elegy to the poor white advocates of the Confederacy sung at the height of the Civil Rights Movement.
Instead of testifying to the evil of enslavement and the evil that so many poor boys killed and died in its defense, this song pretends that what's sad is that the old South was forced to change.
What's most disgusting, though, is that this 1960s nostalgia for the old South (including the sudden insertion of the Confederate flag design into state flags all over the South) is obviously a thinly-veiled metaphor and populist emblem of poor whites' wish to preserve their superiority to black people at a time when black Americans were rightly demanding human equality for people of all colors and classes. Shame on them and on the composers and singers of this song.
I am so disappointed by the lack of critical discourse around this popular and seductively beautiful song.
@JamesMatory
@JamesMatory
Your comment is a little hysterical. And I’m not even sure who you are railing against. It appears you are having an argument against your own projections (“as some might say” . . . but nobody did say.).
Your comment is a little hysterical. And I’m not even sure who you are railing against. It appears you are having an argument against your own projections (“as some might say” . . . but nobody did say.).
Further, you seem to be upset that the writers, singers, and commentators are not spending their time “testifying.” You’re going to have a miserable life and go to an early grave if you keep working your panties into a bunch, being “astonished,” “disgusted,” and “disappointed” over “missing” internet comments.
Further, you seem to be upset that the writers, singers, and commentators are not spending their time “testifying.” You’re going to have a miserable life and go to an early grave if you keep working your panties into a bunch, being “astonished,” “disgusted,” and “disappointed” over “missing” internet comments.
You reveal your true mission when you cast your “shame” on the composers...
You reveal your true mission when you cast your “shame” on the composers and singers of this song, and presumably on those who like to listen to it, because of your perceptions. To that I say: piss off. Stop trying to tell other people what they should not write, what they should be saying instead, and what songs they should be listening to.. And to counter your judgmental attempt at shaming Robbie Robertson, Joan Baez, The Band, and others, I say “thank you” to all these artists for bringing us this beautiful song.
If you want to point out that you think this song is nostalgia for racism, fine. To me, in 2015, it is just Virgil Caine’s sad tale, set to beautiful music with clever and amazing imagery. I like it, and much to your dismay, I’m sure, I’ve listened to it many a time with nary a negative thought for anyone of any color, race, gender, or creed.
Finally, if you really took time to analyze the song, Virgil comes to the conclusion that "You can't raise a Caine back up when he's in defeat." I.e., the South (meaning the racist confederate South you are referring to) is never going to “rise again.” This is hardly an apologetic anthem; this is a realistic requiem.
@JamesMatory Have a read around about the 'Lost Cause'. The Wikipedia page is a good place to start. I think you'll recognise that time brings useful context.
@JamesMatory Have a read around about the 'Lost Cause'. The Wikipedia page is a good place to start. I think you'll recognise that time brings useful context.
@JamesMatory Spot on James. I play this on guitar because it's a great work, but it is inconceivable that all the other comments are splitting hairs about what means what, rather than, here we have the most shameful part of world history being some lament and martyrdom to these "so called" poor white folks,who deserved to have their racist asses kicked. Makes me want to vomit.
@JamesMatory Spot on James. I play this on guitar because it's a great work, but it is inconceivable that all the other comments are splitting hairs about what means what, rather than, here we have the most shameful part of world history being some lament and martyrdom to these "so called" poor white folks,who deserved to have their racist asses kicked. Makes me want to vomit.