20th Century Archives - Page 2 of 15

A Longhorn’s Life of Service: Tom Ward

On March 23, 1961, recently-inaugurated President John F. Kennedy held a press conference at the State Department on Laos, a country little-known to most Americans at the time. Using a series of oversized maps, Kennedy detailed the advance of Communist Laotian and North Vietnamese forces in the country’s northeastern provinces. Rejecting an American military solution to the situation, Kennedy argued for a negotiated peace and a neutral Laos in hopes of containing the advance of communism in Southeast Asia. Before the Bay of Pigs disaster, before the Cuban missile crisis, and before serious escalation of American involvement in Vietnam, Laos presented the young president with his first major foreign policy dilemma. Kennedy’s wish for a peaceful, neutral Laos would be nominally achieved the following year, after months of negotiations. In accordance with the peace settlement, the United States withdrew its military advisors. The North Vietnamese did not.

In Austin, Texas, a University of Texas graduate and staff member, Tom Ward, was one of the few Americans paying keen attention to the situation in Southeast Asia in the early 1960s. Born in 1931, Ward grew up in Austin, in the 1930s and 1940s a sleepy college and government town hardly recognizable as the rapidly developing, cosmopolitan capital that Texans are familiar with today. In a recent interview, Ward recalled his upbringing in the Old Enfield neighborhood, when the street’s paving ended at the Missouri-Pacific Railroad tracks, now Mo-Pac. At that time the University of Texas loomed even larger than it does today. As a boy, Ward attended a nursery school run by the university’s Department of Home Economics. He later attended many UT football games, paying a quarter to sit with his friends in a children’s section in the north endzone dubbed “the Knothole Gang.” In the pre-air-conditioned summers, Ward played in Pease Park and swam at Deep Eddy and Barton Springs. “I had a very pleasant experience growing up in Austin,” he remembers.

After graduating from Austin High School in 1949, Ward entered the University of Texas. He initially majored in business administration and pre-law, but finally decided to pursue his real interests: government and history. After graduating in 1954 with a degree in government and substantial coursework in history, Ward volunteered for the military. Having grown up during the Second World War, Ward said, “I felt that there was definitely an obligation to be in the service.” In 1955, Ward was sent to Fort Ord, California, for basic and advanced infantry training. He was initially designated to be sent as a replacement to Korea, but when it was discovered that he had a college degree he was reassigned to an anti-aircraft guided missile battalion at Fort Bliss, Texas. After serving out his time in the El Paso area, Ward returned to Austin, where in 1957 he began graduate work. He accepted an offer to work in the university admissions office the following year. It was at about this time that American involvement in Southeast Asia began to make headlines.

Black and white photograph of a twin-engine airplane dropping supplies via parachute during flight — Air drop of supplies

Ward had long held interests in government, history, and international relations, especially regarding Southeast Asia. He recalls with fondness that these interests were nurtured during his years at UT through courses in history, jurisprudence, and international relations with professors like William Livingston, James Roach, and Malcolm MacDonald in government; R. John Rath, Walter Prescott Webb, Otis Singletary, and Oliver Radkey in history; and George Hoffman in geography. In 1961, Ward had even taken a leave of absence from his position at UT to travel in Asia with a fraternity brother, a six-month trip that took them from Japan through East and Southeast Asia, India, the Middle East, and Europe, contracting hepatitis A along the way after drinking rice wine with a group of locals in Burma (now Myanmar). His adventures in 1961 were a harbinger of things to come. Ultimately, Tom Ward was destined for a life of service and overseas adventure far from the small, slow-paced Texas city where he had grown up.

In 1962, after the short-lived farce of Laotian neutrality, President Kennedy responded to the continued Communist insurgency in the country by increasing America’s aid to the Royal Lao government through the Central Intelligence Agency and the United States Agency for International Development (USAID) channels. Kennedy hoped that a combination of assistance to ethnic minorities and economic aid to the country in general could stem the advance of the Communist Pathet Lao and their North Vietnamese allies without drawing US conventional military forces into the conflict. Given his experience and interests, it is little wonder that a professor at UT subsequently recommended Tom Ward to one of the State Department recruiters that fanned out over the country in search of potential aid workers for the American effort in Southeast Asia. With USAID in its infancy, Ward was interviewed by an official from the Bureau of Indian Affairs, the closest thing the US government had at the time to a source of expertise in working with indigenous populations. Despite his awareness of the ongoing conflict in the country, Ward recalled, “I volunteered for Laos. … And the reason I wanted to go to Laos, [was] because of my experience at the university and I knew about Laos.” Before his new adventure commenced, however, one last memorable occasion on the Forty Acres came on March 9, 1962, when Ward was one of 1,200 students who packed into the Texas Union to hear an address on civil rights by Dr. Martin Luther King Jr.

Ward became one of six recruits selected to serve in Laos, with another twelve destined for Vietnam. Several months were spent at the University of California at Berkeley for training in local languages, Southeast Asian studies, and community development. Although they were civilian aid workers, Ward recalls, “community development training could also be considered counterinsurgency.” By April 1963, Tom Ward had become a foreign service officer and arrived in Laos, joining what became known as America’s “Secret War” in the small country.

Upon arrival in Laos, Ward found himself living with the Hmong ethnic minority group in a village called Sam Thong, working to coordinate the delivery of food, medical care, basic education, and other forms of humanitarian relief. Ward’s partner was the irascible Edgar “Pop” Buell, a former Indiana farmer and widower who had come to Laos in 1960 to work for International Voluntary Services, a private forerunner to the Peace Corps. It was in the mountainous northeastern provinces that the Pathet Lao guerillas were most active, and the indigenous Hmong formed the backbone of the CIA’s clandestine anti-Communist fighting force. In other words, Ward was now in a war zone.

Black and white photograph of Tom Ward with Hmong children in Sam Thong, Laos in 1965 — Tom with Hmong children in Sam Thong, Laos, 1965

Ward and Buell’s humanitarian work was necessitated by the Communist forces’ disruption of the traditional cycles of Hmong agriculture. By providing the Hmong with aid and basic services, the US and Laotian governments hoped to maintain a counterinsurgency in the country and to strengthen the legitimacy of the Royal Lao government. “I lived in a grass hut with bamboo walls, a grass roof, dirt floor, no electricity, no plumbing, [and] a [55]-gallon drum out back for water. That’s where you bathed, and you lived like the local people did and ate their food,” recalls Ward. In addition to Ward and Buell, a CIA intelligence officer and a paramilitary officer were stationed nearby to coordinate training and military support for the Hmong.

Black and white photograph of Americans distributing relief supplies to Hmong villagers — Distribution of relief supplies

Although Ward’s work in Laos was focused on humanitarian relief, the dangers of operating in a war zone were a fact of daily life. The only two roads leading into northern Laos were both blocked, so Ward and other American personnel were forced to move around the countryside on small short takeoff and landing (STOL) aircraft operated by Air America, a CIA-owned dummy corporation that played a vital role in the agency’s paramilitary efforts. Although “these were the best pilots in the world,” Ward says, travel in the war-torn country was filled with danger. Ward recounts many landings on airstrips that were shorter than 250 feet in length, or in some cases simply clearings on the side of a mountain. The planes negotiated low visibility and rugged terrain without instruments and avoided enemy anti-aircraft fire by flying as high as 10,000 feet, despite a lack of onboard oxygen. Once, Ward was supposed to go back to the capital city of Vientiane for a break, but a fellow aid worker had a date planned with a local woman and wanted Ward’s seat on the next plane. Ward gave up his spot on the flight. He learned later that the plane had crashed in the forest and had not been located for three days. Incredibly, the aid worker with whom he had swapped flights was still alive, albeit with severe burns that forced his evacuation from the country. On another occasion, mortar rounds began to land on a nearby position. With helicopter transportation seemingly unavailable at the time, Ward and his fellow workers prepared to walk out of the danger zone to safety. Finally, helicopters came and they were evacuated. Another memorable incident was the recovery of a US pilot who had been shot down and rescued by the Hmong.

Tom Ward served in Laos until January 1968, just before the Tet Offensive in neighboring Vietnam, at which time he was reassigned to the US mission in Thailand. As US military involvement in Vietnam escalated, both aerial bombardment and ground fighting spilled over into Laos and Cambodia. Ultimately, all three countries would fall to Communist forces in 1975. Reflecting on the trajectory of events in Southeast Asia, Ward believes that the joint effort between the CIA and USAID was a successful counterinsurgency campaign that was derailed by US military escalation in the region. “I think we… were there for the right reason and we did a good job,” says Ward, “and that forces beyond us took over and that’s why it ended up like it did.” Ward continues, “overemphasis on the military was counterproductive as far as I’m concerned.” Rather than a conventional military victory achieved through massive air power and ground combat, Ward believes that a counterinsurgency campaign could have achieved much different results in Southeast Asia.

Black and white photograph of eight armed Hmong fighters — Hmong fighters

In contrast to Laos, for a variety of reasons anti-Communist efforts in Thailand were ultimately successful. Like other Southeast Asian countries at the time, in the 1960s the Thai government sought American help to counteract a rural Communist insurgency. Ward worked for USAID in the Accelerated Rural Development program (ARD) between 1968 and 1975. This joint Thai-US program sought to improve the local economies of the country’s troubled rural areas, thereby relieving their grievances and instilling confidence in the central government. Ward says the program was “like in the New Deal.” “I was in Chiang Rai for two years,” he continues, “and [I] worked with these programs in education, in health, and providing … improved rice seed to farmers, building roads so they could get their crops to market and this sort of thing.” Although the Communist insurgency continued in Thailand until 1989, Ward believes that “the standards of living were definitely raised in those areas. And if you go look at them today, it’s unbelievable the difference. You know, you have universities in a lot of these different places, a lot of these provinces where there was little economic development.”

After twelve years in Laos and Thailand, Ward returned to Washington, D.C., to work for the USAID Office of International Training. For the next five years, his career took him on short-term assignments to Nigeria, Tanzania, Egypt, Burma, Nepal, and Pakistan, helping to select candidates identified by their governments for graduate degrees and specialized technical training in the United States. From its founding to the time that he departed the program, Ward recalls, “we’d trained over 10,000 people” in fields such as agriculture, public health, finance, education, and a variety of governmental functions.

Ward was then assigned to Indonesia as a Development Training Officer working with the Indonesian government to select candidates for graduate training in American universities and short-term technical training with various US government agencies. USAID’s training programs had a long-term impact on participating countries: at one point, six members of Indonesia’s governing cabinet had been trained in the United States. The goal, Ward says, was “to work yourself out of a job” as participating countries built indigenous governance capacity and technical expertise. Although the work was generally not as dangerous as his experiences in previous assignments, Ward still found himself in proximity to momentous events around the world. He was in Nigeria during a “transition from one dictator to another,” and he visited Kabul in 1978, on the eve of the Soviet-Afghan War (1979–1989).

In 1985, Tom Ward was called back to Washington, D.C., where he became a career counselor for foreign service officers. In 1991, after thirty years in service – twenty of them spent overseas – Ward retired from the State Department. Ward continued to work for a time as a government consultant in Kazakhstan, Uzbekistan, Turkmenistan, and Pakistan. Today he splits time between Washington, D.C., and Austin, punctuated with continued trips overseas.

Black and white image of "Pop" Buell with three Hmong fighters — “Pop” Buell with Hmong fighters

Reflecting on his decades of experience as a foreign service officer, Ward was often astonished at the ignorance and apathy toward international events that he would encounter on visits home. While stationed in Laos, he says, “I’d come home on leave and they’d say, ‘Well, where [have] you been?’ ‘Well, I’ve been in Asia.’ ‘Oh, that’s interesting, tell me about it.’” Ward laughs. “And I’d get maybe two or three sentences, and then they’d change the subject: ‘Oh by the way, did you see ‘I Love Lucy’ last night?’” Ignorance of foreign cultures could also be a problem in government agencies and the military. Although he believes that in Southeast Asia, “a lot of these people were very dedicated officers and men… they were not taught to learn about the culture, speak the language, learn how the people felt about things, and how to work with them from their point of view, if at all possible.” This lack of understanding failed both the United States and the people of Laos and Vietnam. Ward believes that the situation has improved over time, but familiarity with foreign cultures and political systems remains a key variable in the success or failure of US efforts overseas.

After a career spent in public service, Ward has not been content to simply focus on personal pursuits in retirement. Over time he has become increasingly active in supporting the institution that molded his interests and opened the door to his career: The University of Texas at Austin. Ward has found ways to volunteer his time and leadership over the years, joining the College of Liberal Arts Advisory Council shortly after his retirement and the Department of History Visiting Committee a few years later. He is currently in the process of establishing a chair in international relations in the College of Liberal Arts.

Ward’s career has informed his involvement with UT. In his experience, the best way to improve lives is “through education, in this country or overseas.” He continues, “What we were doing overseas [was] giving them development opportunities they didn’t have.” As a foreign service officer Tom Ward worked to improve the economies and governments of other countries. Now he sees similar opportunities closer to home, through UT’s ability to increase American understanding of the international context and in the university’s potential to aid underserved and non-traditional student populations.

Dr. Nicholas Roland is a historian at the Naval History and Heritage Command, Washington, D.C. He earned his PhD from The University of Texas at Austin in 2017. A revised version of his dissertation, Violence in the Hill Country: The Texas Frontier in the Civil War Era, is forthcoming from UT Press.

Sources:

Tom Ward oral history, April 19, 2018

//www.jfklibrary.org/Asset-Viewer/Archives/JFKWHA-020.aspx

//history.state.gov/milestones/1961-1968/laos-crisis

It’s in Their Blood

By Ted Banks

(This article is reposted from Fourth Part of the World.)

The Progressive-Era white press and their audience had a fascination with Indians judging from the amount of ink that was devoted to musings on their place and progress in society. One component of that fascination, indeed one that was the basis for much speculation on how successfully or not Indians were integrating into white America, was how much “Indianness” could be attributed to Indian blood.

Many observers have noted that notions of blood and “mixing” among whites varied depending on whose blood was being considered. While the “one-drop” rule dictated that a single drop of black blood could overwhelm generations of otherwise Anglo (or Indian) infusion, Indian blood offered no such absolute outcome. At times commenters noted the tenacity of Indian blood, as demonstrated by its ability to preserve Indian physical characteristics across generations. Other times, white observers painted Indian blood as conversely unstable, susceptible to dilution through intermarriage, and seemingly at times, social contact or cultural proximity.

In a 1907 article penned by Frederic J. Haskins titled “Indians Increasing in America,” the author cites several examples of the persistence of “Indian” traits, which he ties to a rough accounting of blood quantum. He notes that the “strength of Indian racial traits is shown by the fact that the 700 persons now in Virginia who can prove their descent from Pocahontas and her English husband, John Rolfe, still have the Indian hair and high cheek bones.” Commenting on a handful of Indian politicians, Haskins introduces “Adam Monroe Byrd, a Representative from Mississippi, [who] is also of Indian blood.” Haskins reports that Byrd “traces his ancestry through a long line of distinguished Cherokee chieftains,” and that “He has the high cheek bones, copper skin and straight hair which indicate the blood of the original American.” Haskins’s article reveals the casual ambivalence with which settlers framed the racial makeup of Indians, and their desire to monitor the relative progress of Indians in America accordingly.

Four years before Haskins’s piece, an article on the upcoming Indian exhibition at the St. Louis World’s Fair played the other side of the ambivalence spectrum while employing much the same rhetoric regarding Indian racial traits. Titled “Pageant of a Dying Race,” the feature dramatically promised the “last live chapter of the red man in American history is to be read by millions of pale faces at the Universal Exposition.” Like Haskins, the author of “Pageant of a Dying Race,” T. R. MacMechen, describes the persistence of Indian racial traits, observing that “(the) blood of Pontiac, of Black Hawk, of Tecumseh and his wily brother, The Prophet, flows in the veins of the descendants who will be at the exposition,” and that “(no) student of American history will view the five physical types of the Ogalalla Sioux without memories of Red Cloud, nor regard the (word unclear) without recalling the crafty face of that Richelieu of Medicine Men, Sitting Bull.” However, MacMechen argues that despite the seeming durability of Indian traits, “the savage is being fast fused by marriage and custom into a dominant race, so that this meeting of warriors becomes the greatest and probably the last opportunity for the world to behold the primitive Indian.” In MacMechen’s account, marriage and custom function as ways to counterbalance, or perhaps mask, the otherwise durable Indian blood.

Festival Hall at World Fair (via Wikipedia)

White supremacy dictated the ways in which whites interacted with racial “others,” but not in such a way that all of these interactions were uniform across groups. That is to say that while intermarriage between blacks and whites was prohibited throughout much of the country on either a de facto or de jure basis, intermarriage between settlers and Indians was, at least at times, encouraged. A 1906 Dallas Morning News piece reported that “Quanah Parker is advocating the intermarriage of whites with the Indians for a better citizenship among the Indians.” The piece noted that “Quanah’s mother was a white woman and several of his daughters have married into white families.” The item quoted Parker as saying “Mix the blood, put white man’s blood in Indians, then in a few years you will have a better class of Indians,” and noted that “(Parker) hopes to live to see the time that his tribe will be on the level with those of pure anglo-saxon blood.” Another DMN article from two years later seems to reveal a gendered wrinkle to such unions, reporting that “(with) the coming of Yuletide Chief Quanah Parker of the Comanche Indians realized one of the greatest ambitions of his life when his young son, Quanah Jr., a Carlisle graduate, was married to Miss Laura Clark, a graduate of the Lawton High School last year,” and that “(this) is the first time in the history of Indians of this section where an Indian has been married to a girl of white blood.”

If persistent racial traits were attributed to Indian blood, but Indians were being “fast fused by marriage and custom” into white society, the result might be some Indians in unexpected places, or at least circumstances. Haskins, in his piece, noted that at the 1904 St. Louis Exposition, “. . . the strong voice at the entrance of the Indian Building calling through a megaphone, . . . (the) barker who thus hailed the passing throng in the merry, jocular fashion of the professional showman was a full-blooded Indian boy, a product of the new dispensation of things, just as Geronimo was of the old.” Of Charles Curtis, a US Senator from Kansas, Haskins observed that “(he) is not of pure Indian heritage, but his mother belonged to the Kaw tribe. . . . He has the hair and color of an Indian, but in politics does not play an Indian game.” A Dallas Morning News correspondent reported in 1906 that Quanah Parker had been elected a delegate to the Republican convention, but that he had declined, stating that he had no interest in politics. The anonymous scribe went on to comment that

Quanah is a half-breed, his mother having been Cynthiana (sic) Parker. Having
white blood in his veins, his conduct is absolutely incomprehensible. For who
ever heard before of a white man, or any kind of a man with white blood in his
veins, who did not want the honors or the salary of office? Still we must remember
that Quanah is King of the Comanches, and that is a pretty good position itself.

The writer’s tone indicates he was speaking somewhat in jest, but the gist of his comment was that Quanah, although possessing “half” white blood by his estimation, was “playing the Indian game” by staying out of politics, and, in doing so, positioned himself a world away from “any kind” of white man.

(via Wikimedia)

This is all to say that if one wanted to track the uses of “blood” in white America’s Progressive-Era discourse on Indians, the results would be—excuse the pun—mixed, to say the least. Like their feelings on Indians in general, the habitual deployment of blood as an explanatory concept nonetheless exhibited a remarkable ambivalence; white Americans seemed to think both that “Indian blood” definitely was of immense importance and that it could mean about anything they needed it to. This ambivalence stands out even more starkly when compared to the aforementioned belief in the complete impenetrability of African blood of the same period. A cynical reading might well deduce that white Americans said anything and everything about blood that would help to fortify white supremacy. A devil’s advocate counterpoint might argue that the rise of the eugenics movement indicated that white Americans of the time indeed believed in at least some of what they said. And still another would remind us that both of those could be, and probably were, the case.

Episode 118: The Caribbean Roots of Biodiversity

Host: Christopher Rose, Department of History
Guest: Megan Raby, Department of History

Biodiversity has been a key concept in international conservation since the 1980s, yet historians have paid little attention to its origins. Uncovering its roots in tropical fieldwork and the southward expansion of U.S. empire at the turn of the twentieth century, ecologists took advantage of growing U.S. landholdings in the circum-Caribbean by establishing permanent field stations for long-term, basic tropical research.

Megan Raby describes how, from these outposts of U.S. science, a growing community of American “tropical biologists” developed both the key scientific concepts and the values embedded in the modern discourse of biodiversity.

“London is Drowning and I, I Live by the River”: The Clash’s London Calling at 40

By Edward Watson

On February 7, Seattle’s non-profit broadcaster KEXP headed to London for their seventh annual International Clash Day. In celebration of The Clash’s London Calling turning 40 in December 2019, KEXP organized a 4-day live broadcast in Seattle and London, featuring performances from contemporary bands and covers of The Clash’s songs. Their intention was to highlight the “enduring influence” of The Clash’s music as well as their “human rights message.” Released in the UK in December 1979 and in the US in January 1980, London Calling is widely recognized as one of the most influential albums of the twentieth century. Rolling Stone listed it as the eighth best album of all time, Q Magazine listed it at number 20, and the NME placed it at number 39.

The Clash are tied to punk’s emergence in 1976. After the band made its live debut supporting the Sex Pistols in Sheffield in 1976, The Clash became one of the key players in London’s punk scene. By January the following year, The Clash had signed with CBS Records for £100,000 and in April they released their self-titled debut album. The record deal was considered an astronomical fee by the music press and fans alike. Mark Perry, founder of influential punk fanzine Sniffin’ Glue, claimed, “punk died the day The Clash signed to CBS.” Nonetheless, The Clash’s debut record was still recognizably a punk record. London Calling, however, reflected the band’s exploration into styles of music that transcended their punk origins, such as rock and roll, reggae, and ska. In spite of their substantial record deal, The Clash struggled financially. By 1979, The Clash was largely in debt and they were at war with their record company. They needed a commercial success and fast. London Calling delivered, selling around two million copies upon its release. In the UK, it was certified gold in December 1979 and in the US it peaked at number 27 on the Billboard Pop Albums chart.

Cover of the first edition of Sniffin’ Glue (via Wikipedia)

In addition to its diverse range of musical influences, London Calling’s success derived from its sociopolitical content. In the album’s title track, Joe Strummer declared, “we ain’t got no swing, ‘cept for the ring of that truncheon thing.” Strummer was referring to the collapse of what Time had labeled “Swinging” London in the 1960s, evoking police truncheons and riots in the city to elucidate a growing sense of turmoil in the 1970s. After the optimism of the 1960s, London seemed culturally and politically stagnant. But these changes were not just limited to the city of London. London Calling was released at a critical moment in Britain’s post-war history: unemployment was on the rise; there were frequent trade union strikes in 1973 and 1974; the British government sought a loan from the IMF in 1976; and ongoing disputes between James Callaghan’s Labour government and trade unions during the coldest winter for 16 years was dubbed the “Winter of Discontent” in 1978 and early 1979. Britain, once a manufacturing and imperial powerhouse on the global stage, was perceived to be in sociopolitical disarray. The overarching sense of doom and disorder was a large factor in Thatcher’s election in May 1979. Not only this, but the punk movement seemed to have lost its early momentum as an articulation of political and cultural discontent. “Phony Beatlemania” Strummer dubbed it, had “bitten the dust.”

Even though historians such as Jim Tomlinson and Andy Beckett have argued that the doom and gloom of the 1970s tends to be exaggerated, The Clash spoke to genuine political discontent and a seemingly desolate socioeconomic climate. Their earliest songs were particularly scathing about the state of the world. “White Riot” expressed exasperation at the lack of white working-class struggle, claiming “all the power’s in the hands, of people rich enough to buy it, while we walk the street, too chicken to even try it.” “London’s Burning” reflected on cultural stagnation and crippling boredom and “I’m so Bored with the U.S.A.” critiqued American imperialism: “Yankee dollar talk, to the dictators of the world, in fact it’s giving orders, and they can’t afford to miss a word.” The Clash was one of the more overtly political punk bands, using punk’s fast-paced, urgent, and aggressive style to critique 1970s society from the left.

London Calling continued in this vein, with most of its songs predictably centered on London. “Jimmy Jazz” and “Guns of Brixton” tell the stories of fictional characters in the city’s criminal underbelly. “Rudie Can’t Fail,” a heavily ska-influenced song, documents how young first-generation immigrant men, known as “rude boys,” were often subject to scorn from the British white middle class. The Clash also described how young people often neglect their idealism and political views once they get older and more comfortable in “Clampdown.” In “Spanish Bombs” the band drew comparisons between the Spanish Civil War in the 1930s and the rhetoric of Basque nationalists of the late 1970s. “Lost in the Supermarket,” offers a critique of consumerism as a key reason for political apathy and “Lovers Rock” endorses safe sex and family planning. Finally, the title track and album opener depicts a scene of rising unemployment, racial tensions, and drug use. London Calling is a scathing sociocultural commentary of the 1970s. This was reflected on International Clash Day when KEXP spotlighted various social justice organizations “because The Clash was anti-racist, anti-fear, pro-solidarity, pro-unity, pro-inclusion.”

But questions about whether The Clash had sold out never went away. To some, these doubts undermined the legacy of London Calling with regard to its political message. Others see a more complex history. American artist and activist, Mark Vallen, argued in 2002 that even though The Clash had sold out by allowing Jaguar to use “London Calling” to advertise cars, its original composition had been in keeping with the punk ethos. “When The Clash released London Calling,” he claimed, “the song was one of the band’s most chilling works. Ominous and dark, it foretold of the Western world collapsing in a spasm of war and out of control technologies, it addressed our fears of government repression.” Although some people in the punk movement believed The Clash had already sold out by this point, the initial excitement that London Calling generated was contingent on the authenticity of its political message.

London Calling’s continued popularity is largely down to a careful balancing act. The album could be called the greatest punk rock record of the era or it could be said that it is not a punk rock record at all. From a musical perspective, it is an amalgamation of various styles. Particularly, it pays homage to rock and roll. The album cover captures bassist Paul Simonon smashing his bass guitar on stage. This rock cliché is anchored by a logotype referencing Elvis Presley’s 1956 debut album. Musically, it was a nod to the past while incorporating an eclectic blend of contemporary styles. The three cover songs on the album emphasize this: “Wrong ‘em Boyo” and “Revolution Rock” were first recorded by reggae artists and the other was “Brand New Cadillac,” originally a rock and roll song from 1959. All three sound at home on the album next to the Clash’s original compositions.

London Calling undeniably helped bridge the divide between punk as music and punk as a historical moment. It normalized punk as a credible genre of music while articulating the sociopolitical grievances that British punks were reacting to: high unemployment, racial politics, and the sense that society around them was falling apart. The album has the feeling of a party during the apocalypse. From a historical perspective, even though The Clash had signed to a record label – a cardinal sin for a 70s punk rock band – their wide-ranging sociopolitical commentary encapsulated the cynical mood of the late 1970s. At the end of the title track there is a message in Morse code, created using Mick Jones’ guitar pickups, that spells out S-O-S. Amidst political crises in Westminster, London Calling’s apocalyptic tone is as relevant to Britain in 2019 as it was in the winter of 1979.

Khrushchev’s Cold War: The Inside Story of an American Adversary, by Aleksandr Fursenko and Timothy Naftali

By Marcus Golding

Nikita Khrushchev is one of the most important men of the last century. Moreover, he was the main protagonist of Soviet foreign policy during the most perilous period of the Cold War which climaxed with the Cuban Missile Crisis of 1962. How dangerous was the Soviet Union to the West during Khrushchev’s term? Which factors contributed to sow distrust between the United States and the Soviet Union, and to what extent the Soviet menace was more bluff than real capabilities? Fursenko and Naftali answer these questions successfully by presenting an extensive and well-researched study that uncovers Soviet foreign policy during the Khrushchev’s Era.

In Khrushchev’s Cold War: The Inside Story of an American Adversary, the authors explore the complicated balance between cooperation with the West and competition for Third World support that undergirded the Soviet diplomatic strategy from 1955 to 1963.To understand these diplomatic maneuvers, Fursenko and Naftali focus on Khrushchev’s complex policies of building détente with his penchant for risky brinkmanship and coercive diplomacy which, he hoped, would yield substantive geopolitical gains. From the two Germanys question to the Cuban Missile Crisis, the final outcome of this dual diplomatic approach proved contradictory. The competition for Third World allies diverted scarce economic resources from domestic problems, and exacerbated tensions between the superpowers effectively undermining any sustainable opportunity for détente.

Fursenko and Naftali underline two elements that contributed to heightened tensions during the Cold War. The first one, perception in international politics, led to the frequent misreading of the adversary’s intentions, fostering a strong and lingering feeling of mistrust and deception. This atmosphere of misunderstanding transformed the years between 1958 and 1962 into the most dangerous period of the Cold War concluding with the perilous Cuban Crisis that brought the world to the brink of nuclear war.

1960s poster with Fidel Castro and Nikita Khrushchev: “Long live the eternal, indestructible friendship and cooperation between the Soviet and Cuban peoples” (via Wikipedia)

The second element draws on the first, and involves the crucial role played by Third World leaders in aggravating the perceived threat that each superpower felt from the other. The authors do an excellent job in dispelling one of the greatest myths of the Cold War, the erroneous impression that the United States and the Soviet Union orchestrated and fully controlled events in Africa, Asia and Latin America. To the contrary, leaders like Fidel Castro and Gamal Nasser skillfully courted and played off the superpowers for their own gains. This perspective restores a great deal of agency to social and political actors that in other Cold War narratives have been relegated to the roles of mere pawns.

The authors conclude that Khrushchev’s foreign policy did much to preserve the boundaries of the Soviet empire but less in extracting considerable geopolitical concessions from the West. The inherent military weaknesses of the Soviet Union, coupled with limited economic resources, led Khrushchev to rely more on the appearance rather than the reality of Soviet power. However, his brinkmanship at least succeeded in deterring the United States from invading Cuba and in securing recognition for East Germany in the long run.

The book’s writing style is fluid with a clear prose, making it accessible to any audience. This is quite an achievement in a co-authored work. Fursenko and Naftali also succeed in providing an informative and compelling account of Soviet foreign policy under Khrushchev by relying mostly on declassified material from the Soviet Presidium. It is certainly a pertinent starting point for anyone interested in the intricacies of world affairs and foreign relations from the Soviet perspective.

From There to Here: Matthew Butler

Map of West Germany (in blue), where Dr. Butler was born (via Wikipedia)

I can’t claim to have a particularly fascinating or intrepid migrant story, just a slightly convoluted one: I came to the US from the UK in 2008, though I had not lived in “my” part of the UK, England, for five years before that because when I moved here, it was from Belfast in Northern Ireland. Even the “my” feels a bit elective, since I wasn’t born in England but in West Germany as the child of a British services family, and have spent a lot of time living in and studying Mexico. All of this is to say that people can have multiple and cumulative senses of belonging and that borders are often arbitrary things––just as that archaic-sounding phrase, “West Germany,” tells us. I came to Austin to work, then, pure and simple, but expecting that home would soon be where the heart is. Sometimes, actually, I think Texas claimed me long ago because I have always been fascinated by vaquero-culture; I still like the fact that a bus ride to UT down I-35 rolls along the Chisolm Trail. Really I came to Austin because UT has a brilliant Latin American History program with an incredible library and archive, the Benson Collection, largely focused on Mexico. And sunshine, which hasn’t been invented in England yet. I’ve stayed in Texas because I like it (mostly), because my son was born here, and because my students are always teaching me new things. Mexico is also our neighbor: for me it’s a privilege to work in a University that has such historic and actual ties with the country I study, and so many Mexican and latino students.

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From There to Here: Jorge Cañizares-Esguerra

Map of Ecuador (via Wikimedia)

I arrived in the Unites States 30 years ago, penniless but wide-eyed. I did not come to be a graduate student. I came as a migrant, fleeing war. I was fortunate. I met my first wife in Ecuador and she was a US citizen, I therefore did not come undocumented. Since I had only a smattering of English and everything in this country was wholly unknown to me, it took me months to find a job as a dishwasher. It was not easy: I had been trained as a medical doctor. I originally applied to a degree in Neurophysiology but Tufts turned me down. Then, one day, I serendipitously found in Madison courses on Kepler, Galileo and Copernicus. I immediately applied to the History of Science and got in without funding. I waited a year to establish residency. In the meantime, I learned to speak and write in English. I kept on working as a minimum wage, fast-food cook for five years while taking seminars and doing research. Graduate school was a mixture of homesickness, material hardship, and intellectual feasting. I loved every minute.

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From There to Here: Indrani Chatterjee

Map of India (via State Department)

By Indrani Chatterjee

In 1947, when British India was carved into two states of India and Pakistan, many Hindu families relocated from eastern Pakistan (which became Bangladesh in 1971) to Indian Bengal. My parents came from two such families. My father was deeply curious about the world, and bought various Readers Digest and National Geographic publications on a meager rupee-based salary, earned as a doctor in the postcolonial Indian army. My youth was shaped by his predicament, balancing between his own ‘outsider’ status in the complex social-political world of postcolonial India, and the straining to flee these complexities for a world conjured up by books, theater, film.

In the 1980s, when I wanted to pursue research in history, funds were scarce. I worked as an adjunct at various women’s colleges for some years, learning to teach neo-literate young girls about distant places and long-ago events in Hindi when necessary. I met my partner, another historian, at a teacher’s strike for better wages during one such stint. Five years later, a scholarship to pursue research in School of Oriental and African Studies (SOAS), University of London, finally gave me the chance to belong to the land of books my parents had taught me to love.

The wealth of records in the SOAS Library, British Library and the British Museum convinced me to remain in the field of teaching and research, and to make these gains available to others in the country of my origin. But the country of my birth-origin had moved on by the late 1990s. Though I resigned my tenured job of teaching in a college of Delhi University, and moved to a full-time research position in my mother’s beloved city, Calcutta, the ethnic-linguistic and religious sectarianisms of the closing years of the millennium also narrowed research agendas. The Indian elections of 1998 were decisive in that regard. My life in research, as distinct from my partner’s, was over if we did not relocate. By 2000, we had both begun another version of ‘outsider’ lives, this time in the North American academe, he as a chair-holding professor, and me as a spouse on a visa that disallowed paid employment! Then began the struggle to secure work-authorization and the green card (resident status), learning the rituals of professional belonging – the job-search, from letter-writing to securing letter-writers for one’s own research, the social codes undergirding the profession. Mercifully, there were the Journal of Higher Education, various web-sites for applicants, and more than a little help from my friends. With all these tools, a brave Black feminist Chair heading a search at Rutgers University, New Brunswick, NJ and an inheritance of survivorship, I entered the academic workforce in 2001. And here I am, a citizen, learning my way through the delightful open stacks of the Perry Castañeda Library, willing to do whatever it takes to preserve this new country of mine for the perpetually curious.

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Photography, Film Criticism, and Left Politics

By Jessica Werneke

Each year, a group of artists, art historians, and visual theorists meet at a conference to discuss the intersections of the visual, art, aesthetics, activism, and politics. Among many other important contributions, the conference is designed to involve individuals from a variety of institutions and backgrounds to unite scholars whose critical approach to photography, cinema and film is from “the Left.” As a historian of photography, I attended this conference for the first time this year. While there were many valuable and insightful presentations, several stood out not only for their original contributions, but also for the contemporary relevance of their ongoing artistic and research projects.

Dr. Nela Milic’s (University of the Arts, London) Materialising Site, was a description of her ongoing research cum artistic project visualizing the political awakening of Serbia in 1996 through visualizations of Belgrade. Melic’s personal experience of the uprisings against Milosevic, with nearly 200,000 protesters on a daily basis, was the initial impetus for her project. Yet, in her early research she found that Western European discourses not only misrepresent the scale of events of 1996, but have a tendency to outright ignore historical events. Similarly, those who participated in the uprising expressed a sense of shame that their efforts were unsuccessful, and no individual had ever attempted to archive the many visual and artistic materials associated with the protests. Her response is an innovative endeavor that seeks to activate Belgrade’s memory through participatory mapping of the city – conducting interviews, collecting images, posters, coupons, and photographs that function as public art artifacts in a collaboration between artist(s) and citizens. This project has existed in several forms and iterations before Milic decided on its current format.

In her presentation, Brigitte Thorsen Vislev (PhD-fellow affiliated with SMK, the National Gallery of Denmark, the Danish Film Institute and the University of Copenhagen) explored ABCinema, a socialist amateur film collective founded in Denmark in 1968. The group wanted to construct an alternative to the established film industry and desired to create a new alphabet, language and vocabulary for art film. They worked primarily with handheld Super 8 cameras, and their philosophy of film did not require theatricality or even a script, and incorporated long takes (essentially until the film reel ran out), real time situations, and editing “in the camera”; that is editing while shooting rather than afterwards. The collective included about 30 artists, experimental filmmakers, and intellectuals, including Per Kirkeby, Bjørn Nørgaard, and Ole John, whose philosophy and style later influenced the more renowned Danish Dogma Movement of the 1990s. According to Vislev, “The Danish film movement of the 1960s was ideologically founded on left-wing, Danish social-democratic Marxist ideas, and that cameras were pens and weapons used to revolutionize social hierarchies and to question who had the rights and access to the means of production.” Though the group dissolved in 1971, ABCinema was instrumental in changing legislation on film financing. New state funds were set aside for art film, which allowed individuals to apply for funding based on their ideas, rather than a completed script. In 1972, a new law was ratified which set aside funding to exclusively support experimental films. See this link for an example of ABCinema’s work.

In “Picturing the Predator: Subverting the Military Sublime,” Paul Lowe (Photographer and Reader in Documentary Photography at University of the Arts, London) explained how modern warfare, particularly the use of drones for surveillance and targeting “enemies of the state,” poses a challenge of representation for photographers. The sanitized and depersonalized nature of drone warfare has led photographers to find alternative means of expressing and depicting the consequences of invisible weapons systems. Contrary to the depictions of drones on government military websites and corporate purveyors of military technology that sanitize this technology (despite civilian casualties and the significant loss of life), photographers like James Bridle have tried to reclaim some measure of depicting the realities of war. In his works Drone Shadows and “Dronestagram,” Bridle attempts to render the invisibility of drone warfare visible. Importantly, Lowe, who built his career on photographing conflict, demonstrates the difficulty and complexities of how to represent the contemporary military state and modern warfare.

James Bridle, Drone Shadow 004, Washington D.C., 2013 (via Dezeen)

Dr. Sigrid Lien’s (University of Bergen, Norway) presentation “The Politics of Silence in Marja Helander’s Photography – and Video Production” investigates Marja Helander’s body of work and its connection to her Sámi heritage. The Sámi are an indigenous people inhabiting Sápmi, which includes parts of Norway, Sweden, Finland and the Murmansk region of the Russian Federation, whose language, culture and land have been, and in some ways, continue to be, threatened by adverse government policies in Scandinavia and Russia. As Lein demonstrates, Silence – Jaskes eatnamat, as well as Helander’s previous photographic series such as Modern Nomad and Darkness, need to be understood in terms of the Sámi people’s relationship to their ancestry, the present, and their spiritual connection to the Sápmi landscape. Silence depicts industrial landscapes and wastelands devoid of humans, but obviously bear traces of human activity, in order explore the aftermath of colonization in Sápmi. Lein also attempted to explain how various aspects of Helander’s work pay homage to Andrei Tarkovsky’s 1979 film Stalker, though I was not wholly convinced by this argument. In a way, Silence falls into the category of “aftermath” photography, recording the trace of an event or series of events. As a whole, however, Helander’s body of work expresses the artist’s and the Sámi people’s conflicted sense of belonging.

Marja Helander, from the Series Silence – Jaskes eatnamat, 2016 (via Sami Center for Contemporary Art)

Marja Helander, from the Series Darkness, 2010 (via Marja Helander)

Jessie Bond (Freelance writer, editor, and research student at University of the Arts London) explored Susan Meiselas’ 1981 photobook Nicaragua, which was intended to create a “multi-layered and multi-voiced narrative” about the Nicaraguan Revolution and the overthrow of the Somoza dictatorship in 1978-1979. As one of the only American documentary photographers present during the initial Sandinista uprising, her photographs were published frequently in the press and the photobook Nicaragua was Meisela’s attempt at creating a more comprehensive narrative of the revolution. At the time of its publication Nicaragua was criticized for a variety of reasons, ranging from Meiselas’ lack of subjectivity to the separation of text and images in the book itself. Crucially, however, this separation of text and image allows the reader or viewer some fluidity in interpreting Meiselas’ narrative, but the order of the images themselves provides a sort of contextual chronology from unrest and protests to open insurrection. Similarly, Bond showed that Nicaragua was not Meiselas’ first project that avoided overarching strict or set narratives. Meiselas herself recognized her work was subjective and, according to Bond, the fluid narrative and structure of the book perhaps provides a closer visual representation of the experience of revolution than other, similar publications. Isabel Stein’s (The Federal University of Rio de Janeiro, Brazil) presentation “Molotov-Click: The Domestication of Weapons” also discussed Susan Meiselas’ work in Nicaragua, primarily her iconic image “Molotov Man.”

Susan Meiselas, Molotov Man, 1979 (via Wikipedia)

These presentations provide us with a variety of new ways to think about and study the history of photography. The range of topics and the interdisciplinarity of their approaches to visual culture also offer us tools for thinking about the photographs that we see every day and the roles they play in society and our everyday lives.

Each year, this conference is hosted by the Faculty of Beles Artes of the University of Lisbon. (this year 9-10 November,). I would like to thank Alise Tifentale (PhD Candidate in Art History at the Graduate Center, City University of New York), for suggesting I attend.

Jessica Werneke (UT History PhD, 2015) is a Newton International Fellow of the British Academy and Lecturer in History at Loughborough University (UK) and former Postdoctoral Researcher at the Higher School of Economics in Moscow. Her research explores the aftermath of Stalinist cultural policies in photography and visual culture, and the impact of the unique political and cultural context of the “Thaw” on photojournalism and amateur photography. You can read more of her essays on photography on her blog, Sovetskoe Foto Blog.

From There to Here: Lina de Castillo

By Lina de Castillo

Map of Columbia (via Wikipedia)

In September of 1980, my mother took a calculated risk. As a talented singer with perfect pitch frustrated by a broken marriage and limiting law career, my mom left Bogotá, Colombia to pursue her dream of opera singing. My father, already starting his second family, agreed that my brother and I needed to go with her. My maternal grandparents followed us to the United States soon thereafter. While my mother worked hard to win first prize at international lyric-opera competitions with the help of a renowned voice coach, my brother and I worked hard to learn English and excel in school with the help of caring teachers, our grandparents, and kind friends. We both were inspired by our mother’s tremendous efforts and her willingness to take risks. Although my daily life during the school year took place in Westchester County, New York, an important part of my childhood also took place in Bogotá, where I spent many summers and occasional winter breaks with my Colombian family. I yearned to learn more about the place of my birth. I also missed my family terribly when I wasn’t with them. At the same time, I appreciated the security, opportunities, and friendships I found in the United States.

Curiously, although Latin America was often included in the content of our social studies textbooks, we rarely got the chance to actually study the region. As an undergraduate student at Cornell University, I finally found courses that began to teach me about Latin America, including a course on US-Latino literature (the gendered sensitivity evoked by “Latinx” had yet to be imagined). For the spring semester of my junior year, I decided to ‘study abroad’ at home in Colombia. Doing so proved to be one of the most eye-opening and academically satisfying experiences of my life up to that point. The international relations seminar I took with Juan Gabriel Tokatlian at la Universidad de los Andes helped me see more clearly the problems that come with treating a public health crisis (drug addiction) through militarization and strategies of war. At the Javeriana University, I signed up for a graduate-level seminar on the Annales school, a style of historiography developed by French historians in the 20th century that stresses long-term social history. A fellow student openly revealed his Marxist leanings and offered memorable critiques of our readings. These conversations for the first time allowed me to realize that there could be different schools of thought when it came time to develop historical analyses. Upon graduation, I decided to return to Colombia, where I taught a version of the US-Latino literature course at the university level, but only until my supervisor required that I teach the 19th-Century Colombian History survey. These experiences, together with the friendships I made with colleagues at la Javeriana and los Andes made one thing clear: if I wanted to be serious about teaching and researching at the university level, I needed to pursue graduate study in the United States. At the end of the day, the only career track that would allow me to bi-locate between my two beloved homes, the United States and Colombia, was the historical profession.

Also in this series:

Tatjana Lichtenstein
Julie Hardwick
Toyin Falola
Yoac Di-Capua
Susan Deans-Smith

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