- Nada do que é humano me é estranho (Terêncio) - «Ralações» mais ou menos ordenadas e agrupadas das matérias publicadas nas minhas outras oito chagas ou blogs. Dá trabalho, não são como imaginei, mas como trabalhar dá saúde, imaginem como eu estaria sem este e outros trabalhos em que me meto ou me metem. Múmia vegetante, mas viva. E Viva a Vida, com Alegria, Amor e Fantasia. Ah! ... e não esquecer alguns trocos para os gastos! (Victor Nogueira)
- Aprender, Aprender Sempre ! (Lenine) .....
- Olá, Diga Bom Dia com Alegria, Boa Tarde, sem Alarde, Boa Noite, sem Açoite ! E Viva a Vida, com Alegria e Fantasia (Victor Nogueira) .....
- Nada do que é humano me é estranho (Terêncio)
. No que respeita aos homens, nem o riso, nem as lágrimas, nem a indignação, mas apenas o entendimento (Espinosa) --------
The Spanish Civil War was an extremely complex conflict that ravaged the country from 1936 to 1939. The war started when the Spanish Army staged a military coup to overthrow the Second Spanish Republic. The attempt would prove successful, with the eventual installation of a dictatorship led by General Francisco Franco in 1939. Before his victory, Franco’s forces met the resistance of republicans, socialists, communists and anarchists in a bitter battle for Spain.
Among the many aspects of the war that continue to exert a particular fascination today is the wealth of astonishing propaganda posters produced by the various factions involved in the fighting. There was a high rate of illiteracy in the country, particularly among women, peasants and the working classes, so poster designers employed rousing imagery and succinct slogans to deliver their message.
Espana [c. 1936]
Image: ALBA
This poster aims to symbolise the strength and dominance of the Spanish state, embodied by the noble, towering lion. The message insists that citizens join the country’s unified protection. Ominously, the lion holds a ‘fasces’, a bundle of rods tied around an axe, the ancient Roman symbol of authority and strength through unity. In the 20th Century, Italian and Spanish fascists adopted the symbol to represent their ideology.
Juventudes Socialistas Unificadas [c. 1936]
Image: Wikimedia
This poster employs a soviet-style aesthetic to attract Spaniards to the communist cause. Juventudes Socialistas Unificadas (JSU), Unified Socialist Youth, was formed in 1936 through the union of the Socialist Party and Communist Party youth groups. After the military collapse of the Republican Government, JSU’s leader, Santiago Carrillo, fled the country and spent 38 years in exile, mainly in France and the USSR.
Workers! [c. 1936]
Image: ALBA
The Confederación Nacional del Trabajo (CNT), The National Confederation of Labour, is a confederation of anarcho-syndicalists, still operating today. The Federación Anarquista Ibérica (FAI), Iberian Anarchist Federation, is an organization of anarchist militants active within the CNT. These anarchists were at the forefront of the battle against Franco’s forces during the Spanish Civil War, and produced a huge number of posters rallying the public to their movement. This poster urges ‘Workers! Joining the Iron Column strengthens the revolution.’ The Iron Column was a battalion of anarchists.
Ferroviara [1936]
Image: Wikimedia
This poster, also endorsed by CNT and The International Workers Association (AIT), promotes worker-run railways and shows a speeding train crushing the fascist forces.
Estoeselfascismo [c. 1936]
Image: Wikimedia
This anti-fascist poster depicts the ghostly image of a masked soldier wreathed in the vapours of a gas attack, hinting at the perils of chemical weapons.
La Revolucion y la Guerra son Inseparables [1936]
Image: Wikimedia
This poster states the opinion that revolution and war are inseparable, with the chimney and cannon reflecting industry and struggle. The design bares the stamp of both CNT and FIJL, Federación Ibérica de Juventudes Libertarias, The Iberian Federation of Anarchist Youth, an organization created in 1932 in Madrid. Towards the end of the war Stalin issued the order from Russia that the Spanish anarchists should be liquidated. The communists accordingly murdered many members of FIJL.
No Pasaran! [Date unknown]
Image: ALBA
‘¡No pasarán!’ – ‘They shall not pass!’ Men and women fight and fall on the front line against the fascists.
Republican leader Dolores Ibárruri Gómez used the slogan in a speech during the Siege of Madrid in 1936. When Franco’s forces conquered the city his reply was ‘Hemos pasado’ – ‘We have passed.’
Aplastar Al Fascismo! [1936]
Image: Wikimedia
This poster from 1936 declares the objective of smashing fascism. The Spanish Civil War saw the development of new tank warfare tactics and air bombing campaigns, strategies that would be put to widespread and deadly use in the Second World War.
La Garra del Invasor Italiano Pretende Esclavaizarnos [Date unknown]
Wikimedia
A key aspect of the Spanish Civil War was the international dimension, with Fascist Italy and Nazi Germany supporting Franco’s army, while the Soviet Union, Mexico and the International Brigades backed the Republicans. This poster warns that the claws of Italian invaders intend to enslave Spain. At the time Italy was ruled by Mussolini, one of the founders of European fascism.
The Internationals – United with the Spaniards [1937]
Image: Orwell.ru
This poster shows soldiers bearing the flag and three-pointed star of the International Brigades. Notable volunteers included the photographer Robert Capa and writers Ernest Hemingway, George Orwell and Laurie Lee.
Sindicato Unico Ramo Transporte [Date unknown]
Image: Wikimedia
This poster depicts worker-run public transport. The trains, metro, buses and taxis are stylishly decorated in black and red, the traditional colours of the anarcho-syndicalists.
Sindicato Unico de la Industria Fabril. Textil. Vestir y Anexos de Barcelona [c. 1936]
Image: Wikimedia
This poster comes from the mattress makers of Barcelona, and demonstrates how all aspects of industry were deemed essential in the battle against fascism.
Campesino: Este es tu puesto [c. 1936]
Image: Wikimedia
‘Peasant: This is your place’ declares this poster, reminding rural workers of their importance in feeding the revolution.
Libertat! [c. 1936]
Image: Wikimedia
‘Freedom!’ cries this poster, with the muscular worker waving a sickle in front of the black and red of the FAI flag.
iGuidado al Hablar! [c. 1936]
Image: Wikimedia
‘The beast prowls: Careful while talking!’ warns this poster. Similar posters were to be made in Britain during World War Two with messages such as ‘Careless talk cost lives’. The designer of this poster clearly saw monarchism as the enemy, with the ‘beast’ sporting a dainty crown.
Buenaventura Durruti [c. 1936]
Image: Wikimedia
This poster portrays Buenaventura Durruti Dumange (1896 – 1936) who played a central role in Spanish anarchism before and during the civil war, helping to co-ordinate armed resistance against Franco’s forces and leading the Durruti Column. He died during the Battle of Madrid in 1936. The anarchists claimed an enemy sniper shot Durruti, while others report that he was the victim of a ‘friendly fire’ incident, killed when his comrade’s gun was accidentally discharged.
Francisco Ascaso [c. 1936]
Image: Wikimedia
The central character celebrated in this poster is Francisco Ascaso (1901 – 1936), a Spanish anarcho-syndicalist who took part in violent insurrectionist activities during the 1920s and 30s, both within Spain and internationally. He was killed during the civil war, on the first day of fighting in Barcelona.
It’s Cold on the Front [Date unknown]
Image: Wikimedia
‘It’s cold on the front’ states this poster, and asks Spaniards to ‘remember those who defend your freedom.’
Homage to the International Brigades [Date unknown]
Image: Orwell.ru
Homage to the International Brigades, military units composed of volunteers who travelled to Spain to join the Republican army. Anarchists, communists and socialists from around the world, mainly Europe, fought alongside Spaniards in the struggle against fascism.
Catalans! [1938]
Image: Wikimedia
The 11th of September is National Day of Catalonia, marking the 1714 Siege of Barcelona. This poster from 1938 urges Catalans to continue to fight for their freedom, with the female figure in the centre embodying the concept of liberty.
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In 1939 Franco’s Nationalist forces emerged victorious and the Spanish Civil War came to an end. The creative elements that had produced many of the most memorable propaganda posters were brutally repressed, but the experiences of the war, and the powerful imagery that remained, would continue to have a profound effect throughout history
Este blog destina-se aos meus amigos e conhecidos assim como aos visitantes que nele queiram colaborar..... «Olá, Diga Bom Dia com Alegria, Boa Tarde, sem Alarde, Boa Noite, sem Açoite ! E Viva a Vida, com Alegria e Fantasia» (Victor Nogueira) ..... «Nada do que é humano me é estranho» (Terêncio)....«Aprender, Aprender Sempre !» (Lenine)
Aprender, aprender sempre - Lenine (Vladimir Ilitch Ulianov) ---- Olá ! Diga Bom Dia com Alegria, Boa Tarde sem alarde, Boa Noite, sem açoite. E Viva a Vida, com Alegria e Fantasia ! (Victor Nogueira) - Nada do que é humano me é estranho (Terêncio)
Typical cover of sheet music, with songs depicting the individuals of the era, such as John Hunt Morgan
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During the American Civil War, music played a prominent role on both sides of the conflict: Union and Confederate. On the American Civil War battlefield, different instruments including bugles, drums, and fifes were played to issue marching orders or sometimes simply to boost the morale of one's fellow soldiers. Singing was also employed as a recreational activity, but as a release from the inevitable tensions that come with fighting in a war, particularly a war in which the issue of freedom of a race is to be decided In camp, music was a diversion away from the bloodshed, helping the soldiers deal with homesickness and boredom. Soldiers of both sides often engaged in recreation with musical instruments, and when the opposing armies were near each other, sometimes the bands from both sides of the conflict played against each other on the night before a battle.
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Each side had its particular favorite tunes, while some music was enjoyed by Northerners and Southerners alike, as exemplified by United States PresidentAbraham Lincoln's love of Dixie, the unofficial anthem of the Confederacy. To this day, many of the songs are sung when a patriotic piece is required. The war's music also inspired music artists such as Lynyrd Skynyrd and Elvis Presley.
In May 1861 the United States War Department officially approved that every regiment of infantry and artillery could have a brass band with 24 members, while a cavalry regiment could have one of sixteen members. The Confederate army would also have brass bands. This was followed by a Union army regulation of July 1861 requiring every infantry, artillery, or cavalry company to have two musicians and for there to be a twenty-four man band for every regiment.[1] The July 1861 requirement was ignored as the war dragged on, as riflemen were more needed than musicians. In July 1862 the brass bands of the Union were disassembled by the adjutant general, although the soldiers that comprised them were sometimes reenlisted and assigned to musician roles. A survey in October 1861 found that 75% of Union regiments had a band.[2] By December 1861 the Union army had 28,000 musicians in 618 bands; a ratio of one soldier out of 41 who served the army was a musician, and the Confederate army was believed to have a similar ratio.[3]
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Musicians were often given special privileges. Union general Phillip Sheridan gave his cavalry bands the best horses and special uniforms, believing "Music has done its share, and more than its share, in winning this war".[4]
Bugle typical of that played during the war.
Musicians on the battlefield were drummers and buglers, with an occasional fifer. Buglers had to learn forty-nine separate calls just for infantry, with more needed for cavalry. These ranged from battle commands to calls for meal time.[5] Some of these required musicians were drummer boys not even in their teens, which allowed an adult man to instead be a foot soldier. The most notable of these underaged musicians was John Clem, also known as "Johnny Shiloh". Union drummers wore white straps to support their drums. The drum and band majors wore baldrics to indicate their status; after the war, this style would be emulated in civilian bands. Drummers would march to the right of a marching column. Similar to buglers, drummers had to learn 39 different beats: fourteen for general use, and 24 for marching cadence. However, buglers were given greater importance than drummers.[6]
On the battlefield
Band of the 26th North Carolina Regiment, C.S.A.
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Whole songs were sometimes played during battles. The survivors of the disastrous Pickett's Charge returned under the tune Nearer My God to Thee.[7] At the Battle of Five Forks, Union musicians under orders from Sheridan played Nelly Bly while being shot at on the front lines.[8]Samuel P. Heintzelman, the commander of the III Corps, saw many of his musicians standing at the back lines at the Battle of Williamsburg, and ordered them to play anything.[9] Their music rallied the Union forces, forcing the Confederate to withdraw. It was said that music was the equivalent of "a thousand men" on one's side. Robert E. Lee himself said, "I don't think we could have an army without music."[10]
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Often, musicians were ordered to leave the battlefront and assist the surgeons. One notable time was the 20th Maine's musicians at Little Round Top. As the rest of the regiment were driving back wave after wave of Confederates, the musicians of the regiment were not just performing amputations, but doing it in a very quick manner.[11][12]
In camp
Locations of the different sides the night of the band duel before the Battle of Stones River.
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Many soldiers brought musical instruments from home to pass the time at camp. Banjos, fiddles, and guitars were particularly popular. Aside from drums, the instruments Confederates played were either acquired before the war, or imported, due to the lack of brass and the industry to make such instruments.[13][14]
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Musical duels between the two sides were common, as they heard each other as the music traveled across the countryside. The night before the Battle of Stones River, bands from both sides dueled with separate songs, until both sides started playing Home! Sweet Home!, at which time soldiers on both sides started singing together as one.[15] A similar situation occurred in Fredericksburg, Virginia in the winter of 1862–3. On a cold afternoon a Union band started playing Northern patriotic tunes; a Southern band responded by playing Southern patriotic tunes. This back and forth continued into the night, until at the end both sides played Home! Sweet Home! simultaneously, to the cheers of both sides' forces.[16] In a third instance, in the spring of 1863, the opposing armies were on the opposite sides of the Rappahannock River in Virginia, when the different sides played their patriotic tunes, and at taps one side played Home! Sweet Home!, and the other joined in, creating "cheers" from both sides that echoed throughout the hilly countryside.[17]
The first song written for the war, The First Gun is Fired, was first published and distributed three days after the Battle of Fort Sumter. George F. Root, who wrote it, is said to have produced the most songs of anyone about the war, over thirty in total.[20] Lincoln once wrote a letter to Root, saying, "You have done more than a hundred generals and a thousand orators".[21]
In the Confederate States of America, God Save the South was the official national anthem. However, Dixie was the most popular.[23] United States President Abraham Lincoln said he loved Dixie and wanted to hear it played, saying "as we had captured the rebel army, we had also captured the rebel tune".[24] At an April 9th, 1865 rally, the band director was surprised when Lincoln requested that the band play Dixie. Lincoln said, "That tune is now Federal property...good to show the rebels that, with us in power, they will be free to hear it again".[25] The other prominent tune was The Bonnie Blue Flag, and like Dixie was written in 1861, unlike Union popular tunes which were written throughout the war.[26]
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The United States did not have a national anthem at this time (Star Spangled Banner would not be recognized as such until the twentieth century). Union soldiers frequently sang the Battle Cry of Freedom, and the Battle Hymn of the Republic was considered the north's most popular song.[27]
Different versions
Although certain songs were identified with one particular side of the war, sometimes the other would adapt the song for their use. A Southern revision of the Star Spangled Banner was used, entitled "The Southern Cross". In an example of the different lyrics, where the Banner had "O say does that Star Spangled Banner yet wave", the Cross had "'Tis the Cross of the South, which shall ever remain".[28] Another Confederate version of the Star Spangled Banner, called The Flag of Secession, replaced the same verse with "and the flag of secession in triumph doth wave".[29] Even a song from the American Revolutionary War was adapted, as the tune Yankee Doodle was changed to "Dixie Doodle", and started with "Dixie whipped old Yankee Doodle early in the morning".[30] The Union's Battle Cry of Freedom was also altered, with the original lines of "The Union forever! Hurrah, boys, hurrah! Down with the traitor, up with the star" being changed to "Our Dixie forever! She's never at a loss! Down with the eagle and up with the cross!"[31]
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The Union also adapted Southern Songs. In a Union variation of Dixie, instead of the line "I wish I was in the land of cotton, old times there are not forgotten, Look away, look away, look away, Dixie Land", it was changed to "Away down South in the land of traitors, Rattlesnakes and alligators, Right away, come away, right away, come away".[32]
The music derived from this war was of greater quantity and variety than from any other war involving America.[33] Songs came from a variety of sources. Battle Hymn of the Republic borrowed its tune from a song sung at Methodist revivals. Dixie was a minstrel song that Daniel Emmett adapted from two Ohio black singers named Snowden.[34] American soldiers would continue to sing Battle Hymn of the Republic in the Spanish-American War, World War I, and World War II.[35]
A ballad from the war, Aura Lee, would become the basis of the song Love Me Tender by Elvis Presley. Presley also sang An American Trilogy, which was described as "smoothing" out All My Trials, the Battle Hymn of the Republic, and Dixie of its divisions, although Dixie still dominated the piece.[37]
Music in the Union Army
Music was a vital entity of the Union Armies. The procurement of musical instruments and music instructors for Army bands was one of the first acts of a White commanding officer of a Negro regiment. Colonel Robert Gould Shaw of the 54th regiment was given a special fund of $500 to purchase musical instruments, uniforms and the instructor. The passion and love of music was brought to the Army from the black soldiers who served. Harvard graduate and abolitionist, Colonel Thomas Higginson, wrote a book, Army Life in a Black Regiment, that contained information about the black soldiers’ influence on music in the army. One excerpt stated: “The everlasting “shout” is always within hearing, with its mixture of piety and polka, and its castanet-like clapping of the hands. Then there are quieter prayermeetings, with pious invocations and slow psalms, “deaconed out” from memory by the leader, two lines at a time, in a sort of wailing chant…” Higginson was amazed that the shout should take place, “not rarely and occasionally, but night after night.” Glee clubs were sometimes formed by black soldiers to give concerts for the community that were not only exceptional, but generated proceeds for the company fund.
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In the Union Army, and under informal circumstances, marching soldiers were occasionally permitted use a “route step.” Marching “route step” is to be allowed to converse or sing with fellow soldiers, not in a uniform step, simply maintaining a forward abreast and not slowing the march.
Music in the Confederate Army
Not much is recorded or known about Negro music in the Confederate Army. Slaves were sometimes used as fifers and drummers. Official records due suggest that some negros may have been given the rank of musician or bugler. Non regularly negro men were guaranteed some payment in an Act enabled by the Congress of the Confederate States of America.
| last = Southern | first = Eileen | authorlink = Eileen Southern | coauthors = | title = The Music of Black Americans | publisher = W.W. Nortan & Company, Inc | date = 1997 | location = New York, New York | pages = 206-212 | isbn = 0-393-97141-4
The music history of the United States during the Civil War was an important period in the development of American music. During the Civil War, when soldiers from across the country commingled, the multifarious strands of American music began to crossfertilize each other, a process that was aided by the burgeoning railroad industry and other technological developments that made travel and communication easier. Army units included individuals from across the country, and they rapidly traded tunes, instruments and techniques. The songs that arose from this fusion were "the first American folk music with discernible features that can be considered unique to America" [1]. The war was an impetus for the creation of many songs that became and remained wildly popular; the songs were aroused by "all the varied passions (that the Civil War inspired)" and "echoed and re-echoed" every aspect of the war. John Tasker Howard has claimed that the songs from this era "could be arranged in proper sequence to form an actual history of the conflicts; its events, its principal characters, and the ideals and principles of the opposing sides" [2].
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In addition to, and in conjunction with, popular songs with patriotic fervor, the Civil War era also produced a great body of brass band pieces, from both the North and the South [3], as well as other military musical traditions like the bugle call "Taps".
Abel, E. Lawrence (2000). Singing the New Nation: How Music Shaped the Confederacy, 1861 - 1865 (First Edition ed.). Mechanicsburg, Pennsylvania: Stackpole Books. ISBN0-8117-0228-6.
Clarke, Donald (1995). The Rise and Fall of Popular Music. St. Martin's Press. ISBN0-312-11573-3.
Ewen, David (1957). Panorama of American Popular Music. Prentice Hall.