Finally rejoined the No Kings rallies after eight weekends in a Renaissance faire, two in witch-trial re-enactments, and one to celebrate my grandson’s 11th birthday.

Put another way, after two months in 1510, two weeks in 1692, and two days recalling 2014, I’m back in 1968 trying to prevent Project 2025 from destroying any more than it already has.

If that’s not enough, I always spend the first weekend after New Year’s taking a turn in the Midnight Watch of a marathon reading of Moby-Dick, which puts me in 1851.

Some people are all over the map, but I’m all over the millennium, and my estimates are admittedly liberal. I’m a throwback to the Pied Piper of Hamelin (1284), but most of the tunes I play at the renfaire, Celtic and Baroque, were first heard in the early 1700s. As if to balance that, all my banter about Chaucer (1343-1400) and Gutenberg (1393?-1468) make the renfaire’s 1510 a reasonable compromise. The same music pre-dates Salem’s trials, but it was still played, and I found it easy to add colonial hits such as “Gathering Peascods” and “Virgin Pullets” to my rotation. As long as I refrain from playing “Ob-La-Di, Ob-La-Da” and the theme from The Godfather, the artistic director is pleased.

Yesterday, I went armed with a small, high-pitched pipe hoping for a drum-circle in Newburyport. Instead, an amplifier or two belted out classic rock. Given the low temps and the vigorous wind-chill, I was quite content to keep my hands in my pockets though I quietly wished I had trekked to Ipswich where my chances would have been better.

Just before the much larger, nationally held, and heavily attended No Kings rally on Oct. 18, a woman in Newburyport sent me an email saying I had been spotted playing with a drum circle this past summer. She wanted me to know that Newburyport would have one at No Kings, and would I join them?

Wrote back to thank her, but also to say I’d be at Renaissance festival that day, literally playing for a king.

Had that in mind when I turned north instead of south on US 1A after leaving Plum Island. These weekly rallies may not receive much media attention, but the No Kings rallies on Oct. 18 were all over the news with estimates of over seven million protesters nation wide–over 2,000 in a city as small as Newburyport, and approaching 300 in the small town of Ipswich. Each week? I’d say Ipswich drew between 100 and 150 in the dozen weeks I attended, and I’m told that Newburyport averages 200.

Windchill kept this weekend’s numbers down. At least 50 of the 75 or so protesters in Newburyport this weekend could have been with me in DC in 1968, more likely for Mayday in 1971. Same was true of all the “stand-outs” I attended before Labor Day, including one in Peterborough, N.H. In Ipswich, not only have I joined Salem State classmates, but also one of our profs who greeted us by yelling, “I can’t believe we’re doing this same shit!”

No classmates or profs this weekend, but one fellow who knew I was looking for a drum circle greeted me by asking: “Are you going to play?”

Though touched by his mere interest, I called as much attention to the windchill as to the lack of drums to decline. Apparently one of the organizers, he offered me a bullhorn. I laughed, “That’s just for voice-“

“Do you sing?”

That deserved a laugh, but it conjured up a memory: “About 20 years ago, I learned three songs just for the sake of a break from piping. Tried them first in Salem so I wouldn’t embarrass myself here on the home court. It did not go well. So, no, I do not sing.”

“What were the songs?”

“Two by Stan Rogers.” He nodded, which I took to mean he recognized the late-Canadian folk-singer’s name. I launched into ‘White Collar Holler’:

And it’s ho, boys, can you code it, program it right
Nothing ever happens in the life of mine
I’m calling up the data on the Xerox line“

He smiled as if to say not bad, but I told him I couldn’t sustain more than a verse. I then named the other two: “Roger’s ‘The Idiot’ and Stephen Foster’s ‘Hard Times’:

His reaction took me by surprise: “Weren’t Stephen Foster’s songs racist?”

Maybe renfaire and witch-trial credentials make it easy for me to place myself in the shoes of 1854 when, as I answered: “Foster was staying in Cincinnati, in lodgings overlooking the Ohio River where he could see the random small craft of the Underground Railroad unload people escaping the South. That’s why he wrote this song. I guess I recall Uncle Tom stereotypes and words like ‘darkie’ in other songs, including ‘Old Kentucky Home,’ but for me, ‘Hard Times’ eclipses all of that. And anyway, I’m not going to pass that kind of judgment on an artist from a time so far removed from me–in a Zeitgeist I myself never had to endure.”

My new friend appeared satisfied, so I offered an upbeat sequel:

“About 20 years ago I visited a friend in Louisville who took me to Bardstown where the ‘Old Kentucky Home’ is now a tourist attraction. As soon as I saw the loudspeakers on poles around the parking lot, I quipped before we got out of the car, ‘You can bet they won’t be playing ‘Hard Times’. As soon as we stepped out, we heard:

Let us pause in life’s pleasures and count its many tears
While we all sup sorrow with the poor
There’s a song that will linger forever in our ears
Oh hard times come again no more”

We soon turned our attention to the rally at hand, perhaps to prevent me from torturing anyone’s sense of hearing any more than I already had. Driving home, I realized that I had made the same assumption of the Foster museum that my friend had made of Foster.

Might seem like a cute little story except for its parallel that has been a ubiquitous landmine in the American culture war that has raged for time out of mind. Many now appalled by the banning of books treating racial, gender, and environmental issues today are the same folks who called for the banishment of Huckleberry Finn at least once a decade before this decade of our malcontent.

As with Foster, objections all aim at Mark Twain’s use of words, mostly in dialogue, common to the 19th Century and stereotypes held today only by the willfully ignorant and hopelessly shut-in. No matter that the whole point of the book is delivered when young Huck is tormented by his “Christian” belief that he must turn Jim in. No matter that a 14-year-old white boy tells us he’d rather “go to hell” than surrender Jim back into enslavement–that he chose the freedom of a Black Man over the grace of a White God.

Heavy stuff for 1884. And heavy stuff now, which may be the real reason it’s condemned by both left and right.

And maybe why I keep looking for answers in the past.

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https://genius.com/Stan-rogers-white-collar-holler-lyrics

https://genius.com/Stan-rogers-the-idiot-lyrics

https://genius.com/Stephen-foster-hard-times-lyrics