Thank you, Steve Earle! “Mississippi: It’s time”

Steve Earle & the Dukes, in collaboration with the Southern Poverty Law Center, have written & released a beautiful and moving song telling Mississippi “It’s Time.” Beyond writing a great tune, Earle has also done something he’d probably be too humble to admit. Through a work of art, he has contributed to moral leadership. He has creatively called Mississippi officials to change a policy. He leans heavily and justifiably on a number of Southern and Mississippi values. He’s right. Mr. Earle & the Dukes, thank you.

Photo of the splash screen for Steve Earle & the Dukes' music video for "Mississippi, It's Time."

I’m working on a book called A Culture of Justice. It’s about the cultural conditions necessary for justice. It’s also about the cultural forces that can lead to oppression and its maintenance or to justice and its preservation. When journalists started reporting to the world with photos of the injustices in the American South, southerners were shamed. The rest of the world was also appalled and demanded change and the observance of the law.

The Mississippi state flag. When it comes to Mississippi, some folks are right when they say that just changing a flag alone won’t change much. However, the things that need to change are impeded by attitudes and moral injuries that prevent progress. I wrote elsewhere about “What a Flag Has to Do with Justice.” In short, it can do harm, even if indirectly or in a roundabout way, in its contribution to the maintenance of an unjust culture.

The wonderful thing about culture and its artifacts, however, is that they also include solutions. Earle’s song is a great example of a way to show pride in one’s family and home, while recognizing the mistakes from society’s past. The song is complex. It weaves in norms and sounds that many Mississippians love, even if they were painful in their own ways too. To understand Earle, you have to recognize that he’s trying to reach people in Mississippi and wants reasonably to be proud of what we should be and not of what he shouldn’t be.

I find the video moving and brilliant. I hope you’ll share it widely and tell our public officials: “it’s time.”

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Goodbye, Pete Seeger!

In a time when pop stars are most known for their silly haircuts, salacious outfits and fleeting half-lives, it is almost impossible to comprehend Pete Seeger, the legendary folk icon who died yesterday at age 94.  Seeger was a giant of a human being, a man who insisted upon living humbly but with conviction and courage. 

His commitment to the public good was aching to behold.  When Congress asked him to name names in the 1950s, he refused and was blacklisted.  Undeterred, he toured colleges and coffee houses around the country to make a living.  When his beleaguered former singing partners the Weavers endorsed Lucky Strike cigarettes, presumably to pick up a few bucks, he refused.  When he returned to network television in the late 1960s to sing on the “Smothers’ Brothers” variety show, he choose to sing a provocative song, “The Big Muddy,” lambasting the Vietnam War and LBJ – hardly the kind of song to revive his career.

And yet, Seeger was no dour nay-sayer or small-minded zealot.  He was joyful, generous and optimistic.  He lived his confidence in the power of song to bring people together, beyond politics.  Through his person and the songs he wrote, Seeger’s music came to define the American experience during the civil rights era, the Vietnam War, the environmental movement, and beyond.  It’s hard to imagine the past fifty years without If  I Had a Hammer; Where Have All the Flowers Gone?; Turn, Turn, Turn; The Lion Sleeps Tonight; We Shall Overcome; and many other Seeger songs. 

His determination to nurture wholesome action in the face of abusive power was also a wonder.  From fighting fascism and the Klan to empowering ordinary people to become active citizens, Seeger did not let up.  One of his great inspirations was the Hudson River Clearwater Sloop, which exposed thousands of people to the joys of that river – and the pollution that was endangering it.  He showed up at protests and strikes and at community centers and schools.  How many performers and activists keep at it for more than 70 years without stopping?

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