Unethical Song of the Decade: Bruce Springsteen’s “Streets of Minneapolis”

Nah, I don’t want to post the song itself because it’s hacky crap and sloppy virtue signaling. I like Judy singing “Stormy Weather” better. That’s a classic.

The Boss seems might proud of himself for spitting out this junk in time to attract some hate-buying. “I wrote this song on Saturday, recorded it yesterday and released it to you today in response to the state terror being visited on the city of Minneapolis,” the well over-the-hill pop star said. State terror! Funny, none of the states that aren’t proto-Confederate nullification fans, which is what “sanctuary” states and cities have been allowed to get away with for far too long, have experienced any “terror.’

Through the winter’s ice and cold
Down Nicollet Avenue
A city aflame fought fire and ice
‘Neath an occupier’s boots
King Trump’s private army from the DHS
Guns belted to their coats
Came to Minneapolis to enforce the law
Or so their story goes

[Verse 2]
Against smoke and rubber bullets
In the dawn’s early light
Citizens stood for justice
Their voices ringin’ through the night
And there were bloody footprints
Where mercy should have stood
And two dead, left to die on snow-filled streets
Alex Pretti and Renee Good

[Chorus]
Oh, our Minneapolis, I hear your voice
Singing through the bloody mist
We’ll take our stand for this land
And the stranger in our midst
Here in our home, they killed and roamed
In the winter of ’26
We’ll remember the names of those who died
On the streets of Minneapolis

[Verse 3]
Trump’s federal thugs beat up on
His face and his chest
Then we heard the gunshots
And Alex Pretti lay in the snow dead
Their claim was self-defense, sir
Just don’t believe your eyes
It’s our blood and bones
And these whistles and phones
Against Miller and Noem’s dirty lies

[Chorus]
Oh, our Minneapolis, I hear your voice
Crying through the bloody mist
We’ll remember the names of those who died
On the streets of Minneapolis

[Harmonica Solo]

[Verse 4]
Now they say they’re here to uphold the law
But they trample on our rights
If your skin is black or brown, my friend
You can be questioned or deported on sight
In our chants of “ICE out now”
Our city’s heart and soul persists
Through broken glass and bloody tears
On the streets of Minneapolis

[Chorus]
Oh, our Minneapolis, I hear your voice
Singing through the bloody mist
Here in our home, they killed and roamed
In the winter of ’26
We’ll take our stand for this land
And the stranger in our midst
We’ll remember the names of those who died
On the streets of Minneapolis
We’ll remember the names of those who died
On the streets of Minneapolis

[Outro]
ICE out (ICE out)
ICE out (ICE out)
ICE out (ICE out)
ICE out (ICE out)
ICE out (ICE out)
ICE out

I don’t have the energy to bother deconstructing that doggerel. I do like the call for “mercy.” Sounds nice, yet completely meaningless in context. Mercy to illegals who are facing accountability? Mercy for the criminals who breached our borders? Mercy for militant protesters who are breaking the law and assaulting officers?

Maybe I should be merciful to poor Bruce. One of the most embarrassing things about folk singers was that their anthems were usually hysterical and revealed the singers as none-too-bright. Dylan stood out because he dealt in irony and self-reflection. But even Bob: “too many people have died”? Gee, that’s profound.

Comment Of The Day: “Racist Political Correctness, Casting Ethics, Double Standards, And The Rock”

Yes, this comment has little to do with ethics, but it’s so interesting as a supplement to the main post that it deserves greater circulation.

Here is Pennagain’s fascinating Comment of the Day on the weekend’s post, Racist Political Correctness, Casting Ethics, Double Standards, And The Rock:

I knew there were at least two versions of the song, “The Ballad of John Henry,” but I’ve so far found dozens more online, most of them having umpteen verses, and a work-song rhythm – the most basic of which my 7-year-old self stomped in that driving stop-rhythm around the classroom (chanting?), with that hammer-driving oomph! at the end of each line, to lyrics like “gonna die with the hammer in mah han’, Lord, Lord”.

For what it’s worth, a “real” John Henry is pretty well authenticated in at least one version of the story, ending fatally at the C&O’s Big Bend Tunnel in Talcott, West Virginia.

From KPBS’ “The African-American Railroad Experience”, built on Theodore Kornweibel’s photographic history: The entire southern railroad network built during the slavery era was built almost exclusively by slaves. Some of the railroads owned slaves, other hired or rented from slave owners [later from contracted freedmen or convict work-gangs]. And. . . women as well as men were actually involved in the hard, dangerous, brutal work. … several of the song versions finish with John Henry telling his wife to pick up the hammer and continue the job.

Negative evidence of Henry’s race would be that none of the many, many verses of the songs (recorded by 38 singers besides Ives) nor folk references – negro dialect aside (arguably stretched to “Suthun,”) – refer to that figure as being other than black. And as a black man, and a real, live “Everyman” working-man’s hero, he is proudly and fiercely claimed by South Carolina, Alabama, Virginia, Georgia, Kentucky . . . and Jamaica. Continue reading