The
socialist basis of the United States today has its origins in the 1920s
and 1930s, the rise of the Communist Party USA, and Roosevelt the
Second’s appropriation of the collectivist vote to hold power. For
those connecting the dots, the civil rights outbursts of the 1950s had
CPUSA underpinnings, and the 1960s saw an American cultural revolution
as a predictable result. Bernhard Thuersam
Communism as Real as Baseball:
“In
an attempt to reinforce ties between the country’s past and the CPUSA’s
socialist program for the future, the ideological roots of the
Communist party grew beyond Marx, Lenin and Stalin, who were placed on
an equal ideological standing with the founding fathers. The preamble
to the Party’s new constitution . . . stated that American Communists
carried “forward today the traditions of Jefferson, Paine, Jackson and
Lincoln, and of the Declaration of Independence.” The Declaration of
Independence became the Communist Manifesto of the eighteenth century . .
. and important Party functions were held to coincide with Washington’s
Birthday, a date the Party leadership insisted had to be “politically
utilized.”
The
claim of the continuity of the country’s revolutionary past and the
Communist program, culminated in [CPUSA Presidential candidate Earl]
Browder’s slogan, “Communism is the Americanism of the twentieth
century.”
A
changed political reality led to a new terminology: “anti-fascist,”
“progressive,” and “democracy” became the new catch-words replacing
“proletarian,” and “dictatorship of the proletariat.” The Daily Worker
opened its pages with a range of nonpolitical topics including reviews
of popular movies and a column on the problems of raising and
disciplining children. The paper’s sports writer, Lester Rodney,
successfully combined first class reporting with the denunciation of
racial discrimination in professional sports.
The
Young Communist League, not to be outdone, sponsored fashion shows
complete with models sporting the latest in “anti-fascist style” women’s
clothing, and promoted the boycott of Japanese silk in favor of
synthetic substitutes and cotton.
When
young Communists met in convention they no longer limited themselves to
speeches and passing resolutions. They now rocked Madison Square Garden
with jitterbugging and ever performed a musical revue, “Socialism in
Swing” . . . Communists also began promoting Big Band music, more
specifically black music such as swing, jazz, and even traditional
spirituals as embodiments of the county’s national character and popular
music.
Black
artists such as W.C. Handy, Fats Waller, Cab Calloway, Jimmy Lunceford,
Count Basie, and boogie-woogie pianist Albert Ammons and Meade Lewis,
played at Party-sponsored events.
In
commenting on the decision to introduce a sports page in the Daily
Worker as a regular feature in 1936, [it was commented that]: “When you
run the news of a strike alongside the news of a baseball game, you are
making American workers feel at home. It gives them the feeling that
Communism is nothing strange and foreign, but is as real as baseball . .
. let’s loosen up. Let’s begin to prove that we can be a human being
as well as a Communist. It isn’t a little sect of bookworms or
soapboxers.”
(The Communist Party of the United States, Fraser M. Ottanelli, Rutgers University Press, 1991, pp. 123-128)