WEBVTT

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Now let’s us all sing the international.

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This is the original French
of a famous socialist song,

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famous revolutionary song.
The words were written

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and made in 1871.

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Paris commune had fallen. A man, I
think, he was in his 40s at the time

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had been elected Mayor of one of the districts
of Paris but now he was fleeing for his life.

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He was in hiding. Eugène Pottier,

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I think that’s how he pronounced his
name, in that very month of May 1871,

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he writes six long versus and, of course, calling
on all the hardworking people of the entire world

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to overthrow their masters. And he was
quite confident that they would soon.

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[music]

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Few years later,

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the book happens into the hands of
a younger man, Pierre De Geyter.

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He led a course in his factory.

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And, I’m told, in a basement apartment
on his pump organ, he made up a melody.

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This young musician had a hit song,

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at least in certain circles.

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It spread throughout France,
it spread throughout Europe.

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He translated it in dozens of languages,
maybe hundreds of all languages.

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It was sung all around the world, still is,
by socialists, communists, anarchists,

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all sorts of people singing this song.

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The international, well, it
was tremendously exciting

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and, you know, have the clenched fist.

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We’d have these huge parades every May Day, but at
every meeting you’d open and close it with that.

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It was sung at meetings, at
demonstrations, at rallies,

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and on May Day, for example, when the people
would march. And the May Day demonstrations

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had to convince me, early on as a child, that they
would soon be socialism in the United States.

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The first May Day
demonstration I ever went to

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had about 10,000 people marching into the
Union Square. The second demonstration

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I went to had 20,000 people
marching into the Union Square.

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The third had 40,000 people marching into the
Union Square. I therefore became convinced

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as I sat down with a pencil and paper
than in a period of about 15 years

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the whole population of the United States
would be marching with the very same song

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singing the international.

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[music]

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In 1912, it was sung in
many different languages

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simultaneously by the strikers
in Lawrence, Massachusetts.

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The famous strike led by the war building. Big
Bill Haywood came up there to speak to them.

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Nobody thought they would stick together. They had
Irish, and German, and Italian, and Polish and all.

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And they all sang in their
own language this song.

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It became the official anthem
of the Soviet Union in 1917.

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Of course, I know this
song from my childhood.

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It was the most popular from all
songs (inaudible) in Russia.

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We played, of course, in the
revolution in our yard.

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And it was a big deal for us,

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because our fathers and mothers

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sang this song.

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And for us, it was a big
deal to repeat this song,

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more and more.

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[music]

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The first time I met the
international was as a young boy,

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13 years old, in Tel Aviv.

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I recall (inaudible) where
thousands and thousands of

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members of our movement (inaudible) marched
throughout the city with red flags

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and banners singing songs of work and labor

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and members of our kibbutz fought the… the
exploiters and participated in strikes

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and there were occasions
to sing the international

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and hopefully to build a homeland

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and a country where the workers
would be the people who would share

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the wealth of the country.
So the international

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spoke to me as a Jew, as a Jewish person.

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I woke up into this world and I knew the words of
this song. It was sang to me actually like a lullaby.

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And, you know, I was a baby, I didn’t know
the difference between Brahms’ lullaby

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and internationale. And
somehow I loved the…

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the internationale better
than Brahms’ lullaby.

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My father name is Van Feleo.

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And he was a titser(ph) and he
used to speak to the landlord

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in behalf of the farmers. And eventually,

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he had about 60,000 farmers, who
would come and listen to him

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and bring their grievances.
But he was all by himself.

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And then he heard internationale.
And then he decided

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that he would translate it into Pilipino
so that everybody would understand

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that there is hope, that there is a way

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out of this bondage,

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that there is a way for the
farmers to organize and be heard.

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And I could not understand

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why my father was arrested
and eventually killed

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for this song?

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But this song is a song

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that can be heard in rice fields. Young
boys riding atop their carabaos,

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going down the river,
women washing clothes,

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famers doing harvest,
this song will be sung.

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I dropped out of high
school in my senior year

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to go work in a cannery in San Jose to
help organize a union, which we did.

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And a strike was called, which was totally

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destroyed as a result of
extraordinary police terror,

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every meeting was broken up, every outdoor
demonstration was attacked and broken up.

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And then I went to the
Imperial Valley in 1934

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to help organize the migratory
lettuce pickers at that point.

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I was arrested and spent 180 days
in the Imperial Valley jail.

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And one of the ways in which I passed the
time was teaching my fellow prisoners

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how to sing radical songs.

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The strikers were prouder that the
generation of Mexicans who had grown up

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with the Mexican revolution so that both
the strikers and then the women prisoners

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also knew the international in Spanish.
It was just kind of a…

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an immediate means of communication, of
identification across language barriers,

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across country barriers, this song that…
that bridged all the countries of the world.

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[music]

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People everywhere were suffering from the depression.
There was real starvation everywhere in the world.

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In some countries like in
Germany fascism began.

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It was ruled by brute military force.
And based on this demagoguery,

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it was possible to achieve not
only power within Germany

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but strength within fascist elements all over
the world. In Spain, they tried the same thing.

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The military called for the overthrow

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of the Republican government
of Spain and staged a coup.

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[music]

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And from over 40 countries
volunteers began to arrive in Spain.

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Men and women could come and pick
up arms and fight the fascists.

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The first time that happened
in the history of fascism.

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And in the United States,

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the cry went up, “What about us?
Why can’t we go to Spain?”

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There was no way I was going to
stay out of this conflict in Spain.

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I saw action as an infantry man and
was wounded in the cause of it.

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And as a result of being wounded wound up in
a hospital at (inaudible). In the hospital,

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what we did for entertainment, of
course, was have entertainers come out

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and sing and a couple will do flamencos and things
like that. One day when they ran out of entertainers,

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and we had a fall back on our own resources.
The chief of entertainment called on us all

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to come up on the stage one at a time and
sing the international in whatever language

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was our own language. And
well over 40 languages

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were represented on the stage. Each one would
sing a few words in their own language

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and then go on to the next one or we
would have been there whole night.

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And then finally everybody sang the
song together in their own languages.

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So that we heard it sung in… in Javanese,
and we heard it sung in Tamil,

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and we heard it sung in Hindi and English and
French and German and Russian and Spanish,

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in every which language you could think of in more
and many, many more. It was sung in Yiddish as well.

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(inaudible), “Arise you…

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those of you who are slaves.”

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At least through the ‘20s, anarchists,
socialists, and communists,

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and perhaps other trade unionists
simply sang the international.

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But at some point, motion picture newsreels

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and then ultimately television began to
show Red Army parades in… in Moscow.

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Somehow in my mind

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the international lost
its early association

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of a general radical song and somehow
became a Soviet song. And for people

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who rebelled in the tanks in Red Square
and the Mausoleum and Lenin’s Tomb

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and the scowling Stalin, you
know, the great father,

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I’m sure that the international was
very stirring. But for non-communist,

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the international began to
pick up pejorative overtone.

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One trouble making something official,
I think, is worse than banning it,

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it tends to cramp its style.
It was sung briskly first.

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Then they slowed it down to make
it ponderous. Phom… phaphom…

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Phom… phaphom… Phom…

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becomes very much an
establishment kind of a song.

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Well, I remember once I was at a (inaudible)
committee meeting of the Communist Party.

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And someone brought in a Jamaican reggae

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version of the (inaudible)international with all the beats, with
a little Bob Marley, with a little Jim and Cliff and so forth.

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[music]

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And I quite frankly duck it.

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But I can remember some of the
comrades, some of the older comrades

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and just could not understand how
this song could be best at us.

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There is considerable tension

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within the international

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based on a portion of the text. You know,
when Pottier wrote the international,

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he used the lines at least in
French roughly translated,

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”No more traditions change shall bind us.”

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The notion was that working people in
breaking with capitalism or imperialism

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would wipe the tablets clean. That is what,

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”wipe away the superstitions of the
past, the religions of the past,”

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and as free men and women, “in what
hale are you dawn, a red dawn.”

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But interestingly, you
cannot get your act together

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function with any passion if you
don’t believe in certain traditions.

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[sil.]

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I have an ambivalent feeling

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about the words of the song. On one hand,

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I… I still remain as moved as I was
when I was a youngster emotionally

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by hearing a stirring called a fight, a
struggle to challenge. On the other hand,

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uh… there is a sentence in that
song, “no more traditions change

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shall bind us,” that I had a
kind of ironic double-take on,

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because I felt one of the problems with the movement
was that precisely traditions change (inaudible),

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and that all too often

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uh, concepts were accepted, went unchallenged
simply because it has always been accepted.

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[sil.]

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Arise the prisoners of starvation.

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You have been naught, you shall be all.

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‘Tis the final conflict.

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Shall be the human race! Bhum… phum…

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That’s my jazz to it.

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The words that this would be the last battle, the
last war, something so many people have wished,

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does not come to like it.

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Many times when I sang this song,
I really hoped, I really believed

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that there would be a time
that there would no wars.

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That’s something maybe

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when we were young we could
sing without thinking twice.

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You know this song remind
me of my childhood

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when we believed in the
words of international.

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And you can understand me

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when we remind of our childhood,

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it’s very important for our heart.

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[music]

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That is why when I hear now, international,

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[music]

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I feel the beautiful
melody again and again,

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but I feel the tragedy too. It’s a tragedy

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of my father.

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He was communist.

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And when he was very young,
he believed in this.

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But he understood

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that all this story, this is a false story.

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And he told me about it.

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That is why when I hear now,
international, the international,

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my feelings is very complicated.

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I feel in this my childhood,

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but I feel in it the
tragedy of all our life.

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[music]

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The tragedy is that people
sang the international

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went 1936 for Spain and many
have given their lives.

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[music]

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A tragedy is that

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the people who were in power
in Russia, in Soviet Union

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were not worthy of the cause
that people gave their lives to.

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[music]

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I know that

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it’s almost mission impossible

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to try to

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teach younger people all over the world

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something about a time

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that workers all over the world really believed
that they could stretch out their hands

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for one another and work
together for a better world.

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[music]

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Arise, you prisoners of starvation!

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Arise, you wretched of the earth!

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For justice thunders condemnation.

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The first time I heard it, I was thinking to myself, this is kind of corny. We have a… a group
song, you know, that’s… that’s the first thing that went to my mind. Second time I heard it,

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I… I heard the words and understood what
was going on and what the thoughts were.

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And now when I hear it, I have 50 different
images that runs through my mind.

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I may be thinking about the Abraham Lincoln
brigades fighting fascists in Spain.

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I may be thinking about the people in Chiapas.
I may be thinking about people in Virginia

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or elsewhere that are fighting for justice.
That song, you know, gave them strength.

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It gave them a feeling of being connected with generations before
them and with their brothers and sisters in… in other countries.

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I don’t think any students who sang
internationale on Tiananmen Square

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were thinking about communism or socialism.

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I think we’re singing internationale
to reassure ourselves

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to feel that we are a part of a greater,

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larger, propitious human
movement to us for friendship.

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I never paid much attention to
the word of internationale,

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but the melody of the song always
caused me into a very special mood.

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And for a long time, I was thinking
what it is, and I think I…

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I sort of know it now. I think it captures

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the essence of the traditional Chinese
thought, which was Confucianism

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and their convictions of fighting
for what you believed in,

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and if necessary they also
need to sacrifice themselves

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and their sacrifice will
be rewarded in history.

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“Let no one build walls to divide us,

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Walls of hatred nor walls of stone.

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Come greet the dawn and stand
beside us, We’ll live together

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or we’ll die alone. In our world…” I came to
write a new version of the internationale

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after being encouraged by Pete Seeger
at the Vancouver Folk Festival.

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This was in 1989, just after
the Tiananmen Square episode.

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And we were all aware that the Chinese students
had sang the internationale in Tiananmen Square

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and that’s why we wanted to sing it at the… the folk festival.
So I said, well, I’d love to come and sing with you people.

00:24:10.000 --> 00:24:14.999
I know the British lyrics which are different.
And also so they’re very archive to sing.

00:24:15.000 --> 00:24:19.999
So comrades, come rally, And
the last fight let us face,

00:24:20.000 --> 00:24:24.999
The Internationale

00:24:25.000 --> 00:24:29.999
unites the human race. I mean, it’s
an out song, it’s a very out song.

00:24:30.000 --> 00:24:34.999
It has picked up a lot of baggage in the way. You know the
baggage of state communism. But I’ve… I have argued with people

00:24:35.000 --> 00:24:39.999
that it’s the baggage that we need to get rid of
and not the actual spirit of the song itself.

00:24:40.000 --> 00:24:44.999
So with this idea, I… I
wrote a few more versus.

00:24:45.000 --> 00:24:49.999
”Stand up, all victims of oppression,

00:24:50.000 --> 00:24:54.999
For the tyrants fear your might!
Don’t cling

00:24:55.000 --> 00:24:59.999
so hard to your possessions, For you
have nothing if you have no rights!

00:25:00.000 --> 00:25:04.999
Let racist ignorance be ended…”

00:25:05.000 --> 00:25:09.999
I think we’re at a time in now in our politics where we in a…
in an interesting position where it stands to this generation

00:25:10.000 --> 00:25:14.999
to redefine what socialism and what
communism means in a post-Marxist sense.

00:25:15.000 --> 00:25:19.999
And I think reevaluating the old
culture is important. And when we find

00:25:20.000 --> 00:25:24.999
something that still has meaning as a…
almost as an icon, the internationale,

00:25:25.000 --> 00:25:29.999
I think it’s a good time to… to perhaps
take it away from being an icon and…

00:25:30.000 --> 00:25:34.999
and put some new lyrics on it and see… see if it… if
it can translate into the… into the 21st century.

00:25:35.000 --> 00:25:39.999
”So comrades, come rally,

00:25:40.000 --> 00:25:44.999
For this is the time and place!

00:25:45.000 --> 00:25:49.999
The international ideal

00:25:50.000 --> 00:25:54.999
Unites the human race.”

00:25:55.000 --> 00:25:59.999
[music]

00:26:00.000 --> 00:26:04.999
All one has to do

00:26:05.000 --> 00:26:09.999
is look around the world today, not
only economy that is in crisis

00:26:10.000 --> 00:26:14.999
everywhere in the world. To know that
those struggles haven’t stopped,

00:26:15.000 --> 00:26:19.999
that the shape of those
struggles continues as a…

00:26:20.000 --> 00:26:24.999
as a fierce struggle for justice. And
as long as that struggle is there,

00:26:25.000 --> 00:26:29.999
and it will be there,
the… the dream of a world

00:26:30.000 --> 00:26:34.999
in which man’s exploitation
of man will end,

00:26:35.000 --> 00:26:39.999
when the inhumanity of humans to humans will…
will cease, when oppression will disappear,

00:26:40.000 --> 00:26:44.999
is the strongest dream.
And unless one dreams

00:26:45.000 --> 00:26:49.999
beautiful dreams, one
lives a very dismal life.

00:26:50.000 --> 00:26:54.999
But that there will someday be again
a movement throughout the world

00:26:55.000 --> 00:26:59.999
that stands up and says, we are for a world
in which the exploitation of human beings

00:27:00.000 --> 00:27:04.999
can no longer take place, that dream I
am sure will be revived and relived.

00:27:05.000 --> 00:27:09.999
And if there is a world here,

00:27:10.000 --> 00:27:14.999
a hundred years from now,
I’m not sure there will be.

00:27:15.000 --> 00:27:19.999
If there is a world here, this
song will be part of that world.

00:27:20.000 --> 00:27:24.999
And the socialist dreams
of making one world

00:27:25.000 --> 00:27:29.999
out of many peoples,

00:27:30.000 --> 00:27:34.999
in some way will have to come to pass. When
we fight, provoked by their aggression,

00:27:35.000 --> 00:27:39.999
Let us be inspired by life and love.

00:27:40.000 --> 00:27:44.999
For though they offer us concessions,

00:27:45.000 --> 00:27:49.999
Change will not come from above!

00:27:50.000 --> 00:27:54.999
So come brothers and sisters,

00:27:55.000 --> 00:27:59.999
For the struggle carries on.

00:28:00.000 --> 00:28:04.999
The Internationale

00:28:05.000 --> 00:28:09.999
Unites the world in song.

00:28:10.000 --> 00:28:14.999
So comrades, come rally,
For this is the time

00:28:15.000 --> 00:28:19.999
and place!

00:28:20.000 --> 00:28:24.999
The international ideal

00:28:25.000 --> 00:28:29.999
Unites the human race.

00:28:30.000 --> 00:28:38.000
[sil.]