This second Peace Songlist gathers works that confront conflict from every angle: the soldier who came home broken, the one who never returned, the civilian who watched leaders march men into disaster, and the artist who refused to accept official narratives. Folk, punk, metal, and country all meet here with one shared purpose — to expose the human cost of war and the stories that survive long after the battles end.
THE SONGS
Broken Heroes – Saxon
A heavy‑metal lament for soldiers abandoned after conflict. Saxon confront the hypocrisy of governments that celebrate heroism but neglect the wounded and traumatised. Raw, direct, and unmistakably anti‑war.
Waist Deep in the Big Muddy – Pete Seeger
A Vietnam‑era parable about blind leadership. Seeger warns how obedience to authority can lead men into disaster, and how those in charge often insist everything is fine until it’s too late. Waist Deep in the Big Muddy is a parable about blind, authoritarian leadership—a captain who ignores warnings and leads his men into danger—used by Pete Seeger as a metaphor for Lyndon Johnson’s escalation of the Vietnam War. It’s about how nations get dragged into disaster when “the big fool says to push on.”
I Was Only Nineteen – Redgum
A stark, plainspoken account of the Vietnam war from an Australian perspective. Trauma, memory, and the long shadow of conflict are laid out without sentimentality, making it one of the most authentic anti‑war songs ever recorded.
Where Have All the Flowers Gone – Pete Seeger
A circular folk lament tracing the cycle of youth, war, and death. Its structure reinforces the idea that humanity keeps repeating the same mistakes, generation after generation.
And the Band Played Waltzing Matilda – The Pogues version
Shane MacGowan’s cracked, weary vocal adds a bruised edge to Bogle’s story. The Pogues turn the song into a bitter folk‑punk elegy for the forgotten wounded.
The Fighting 36th – Ruefrex
A Northern Irish punk track exposing the senselessness of violence and the emotional destruction it leaves behind. Its portrayal of conflict as dehumanising and pointless places it firmly in the anti‑war tradition.
What Is Truth – Johnny Cash
Cash challenges political hypocrisy and asks why society ignores young people who question war. A sharp, articulate protest song from the Vietnam era that still resonates.
I Don’t Believe in If Anymore – Roger Whittaker
A reflective critique of the comforting hypotheticals people use to rewrite the past. Whittaker rejects the idea that conflict can be justified by imagining different outcomes, even referencing “the one they call the foe” to highlight how societies manufacture enemies. Not a traditional anti‑war song, but a thoughtful challenge to fatalism and the narratives that sustain conflict, making it a fitting philosophical addition to the peace list.
Writing and selections by Pat Harrington with contributions from the Counter Culture film discussion group.
A Complete Unknown is a compelling, layered biopic that delves into the early years of Bob Dylan’s rise in the folk music scene, capturing the raw essence of his artistic transformation. The film follows Dylan from his arrival in New York in the early 1960s, his immersion into the Greenwich Village folk scene, and his ascent as a cultural icon. It meticulously chronicles his relationships with key figures such as Joan Baez, Pete Seeger, Woody Guthrie, and Johnny Cash, while exploring his evolution from folk acoustic performer to the electric trailblazer who shattered conventions at the Newport Folk Festival. I like others appreciated the film’s focus on a formative chapter in Dylan’s life, rather than following the typical cradle-to-the-grave biopic format
Plot Summary
The film opens with Dylan (played with uncanny authenticity by Timothée Chalamet) stepping off a Greyhound bus into the cold, chaotic streets of New York. Drawn by the myth of Woody Guthrie, Dylan quickly becomes a fixture in folk clubs, soaking up influences and developing his distinct voice. His rapid ascent is marked by pivotal encounters: his artistic and romantic entanglement with Joan Baez, his deep admiration for Guthrie, and his friendships with legends like Pete Seeger and Johnny Cash.
The narrative builds towards the infamous 1965 Newport Folk Festival, where Dylan, armed with an electric guitar, defies purists and sparks outrage among the folk establishment. His performance was nothing short of seismic. Opening with an electrified, blistering rendition of Maggie’s Farm, followed by Like a Rolling Stone, Dylan’s transition into amplified rock shocked the audience. While some fans embraced the bold shift, others jeered and booed, feeling betrayed by his departure from traditional folk. Folk purists saw it as sacrilege, and critical reactions ranged from awe to anger. Pete Seeger himself was rumored to have been so upset that he wanted to cut the power, though accounts vary on whether this is legend or reality. Regardless, the performance was a watershed moment that redefined the boundaries of folk music and cemented Dylan’s reputation as an artist who refused to be confined by expectations.
This event also marked a turning point for Newport itself, accelerating its evolution from a folk purist haven into a more expansive musical showcase, embracing broader influences in the years that followed.
Acting and Performances
The cast is phenomenal, breathing life into their real-life counterparts. Timothée Chalamet embodies Dylan’s elusive charisma, delivering a performance that captures his enigmatic blend of arrogance, vulnerability, and genius. His ability to channel Dylan’s mannerisms and speech patterns makes for an uncannily convincing portrayal.
Joan Baez, played by Monica Barbaro is a standout. She conveys both the deep affection and lingering frustration that defined her relationship with Dylan. Baez herself has remarked that Dylan is “kind of an asshole,” and the film does not shy away from this aspect of his personality. Their tumultuous relationship is depicted with nuance, culminating in Baez’s heartbreak and her subsequent writing of Diamonds and Rust, a song laced with both admiration and regret. Baez sang of Dylan —“You, who are so good with words / And at keeping things vague” and that feels particularly poignant and true.
Pete Seeger, played by Edward Norton, and Woody Guthrie (portrayed by Scoot McNairy) serve as Dylan’s ideological compass, while Johnny Cash (played by Boyd Holbrook), his pen pal and confidant, provides warmth and camaraderie in a world where Dylan often seems isolated. The interactions between these titans of music are electric, giving the film its heartbeat.
Themes and Cultural Impact
The film does an excellent job of positioning Dylan not just as a musician but as a poet and cultural force. The central theme of artistic evolution is explored through Dylan’s constant pushing of boundaries, challenging the status quo, and redefining himself. His songs—woven throughout the film—underscore his genius as a lyricist.
The film also delves into themes of authenticity, rebellion, and the price of fame. Dylan’s journey is not just about his music but also about his struggle to stay true to himself amidst external pressures and expectations.
Historical Context
The 1960s was a tumultuous decade marked by significant cultural and political upheaval. The folk music revival, which sought to revive traditional American music, became intertwined with social and political movements, particularly the civil rights movement. Dylan’s involvement in these causes, including his performances at civil rights rallies and participation in the 1963 March on Washington, is highlighted in the film, reinforcing his status as more than just a musician.
Dylan’s evolution from folk purist to rock pioneer mirrored broader changes in the musical landscape of the 1960s. His controversial shift to electric music at the 1965 Newport Folk Festival symbolized the broader generational and cultural shifts taking place.
Final Thoughts
A Complete Unknown is a rich, evocative portrait of an artist who refused to be boxed in. It does justice to the complexity of Dylan’s character—his brilliance, his contradictions, and his relentless pursuit of something beyond labels. One character describes him as a contrarian and another as an “arsehole”. He certainly was portrayed as sometimes selfish to the point of cruelty. The film also serves as a love letter to the folk revival era, bringing to life not just Dylan, but Baez, Seeger, Guthrie, and Cash in all their glory. To give just one example, Joan Baez’s House of the Rising Sun – simply spellbinding.
I absolutely loved the music in this film which were weaved seamlessly into the narrative. Every song was a reminder of why Dylan remains one of the greatest songwriters of all time. The electrified Newport performance was a thrill to watch, and the tension it caused within the folk community only added to its historical weight. As the credits rolled, the audience stayed in their seats, completely absorbed in his words and melodies. It was a testament to the enduring power of his music.
Peter Groom is outstanding as Marlene Dietrich in this one (wo)man show. When Peter first appeared on the stage as Dietrich the audience applauded. The appearance, dress, make-up and figure were immediately convincing and captured Dietrich so well. Everyone sensed from the start that this was going to be good.
The material he has to work with is fascinating. It starts with her discovery and starring role in ‘The Blue Angel’ (1930) through roles in the US to the start of the conflict with Germany. It shows how Dietrich took the Allied side in the Second World War. She even held the rank of Captain and travelled to the front-line to entertain the troops and raise morale. Cue bawdy humour about being “long at the front” etc! A word of warning, if you sit at the front of the audience you might get roped in. It was a bit discomforting when I was included but also good fun.
Groom presents an image of Dietrich as a disciplined performer who worked hard to craft her presentation in whatever she did. The focus of the show are her songs and her relationship with Germany. This isn’t a show about her many love affairs (with both men and women). If it was an hour might not be enough!
Although a one (wo)man show there are voice only interruptions from a subtly threatening and yet entreating Goebbels and an insistent media interviewer. The dialogue hints at a hard side to Marlene, even a cruel one. It is not explored, perhaps because the focus is on the performer more than the woman.
Peter has a great voice and captures the spirit of Dietrich with a wry humour and passion. I must admit that whilst familiar with many of the songs I hadn’t realised that Dietrich had performed Pete Seegers “Where have all the flowers gone”. For me the delivery of that song on the futility of war was the most powerful in a show filled with emotionally charged songs.
Woody Guthrie, the legendary American folk singer, was one of the principal musical figures of the early to middle part of the last century. His folk songs caught the mood of his generation with his tales of the great depression, the Oklahoma dustbowls, the war on Hitler’s Germany and the plight of workers and the downtrodden sectors of American society. He went on to influence Bob Dylan, Pete Seeger Phil Ochs and Bruce Springstein. Billy Bragg has recorded a British version of This Land, his best known song.
Punctuated with rumbustious renditions of some of Guthrie’s best known songs, This Land journeys through the highs and lows of his life; from his early days in the dustbowls of Oklahoma to his hospital bed where, by the time he met the young Bob Dylan, he was laid up with the final stages of Huntingdon’s Chorea.
Based on Guthrie’s own memoirs, the story is told by seven different Woodies, each one representing a different phase of his life. This inspirational play demonstrates the man’s dedication in the face of personal tragedy and debilitating life-limiting illness. It’s a perfect play from a perfect cast.
This second Peace Songlist gathers works that confront conflict from every angle: the soldier who came home broken, the one who never returned, the civilian who watched leaders march men into disaster, and the artist who refused to accept official narratives. Folk, punk, metal, and country all meet here with one shared purpose — to expose the human cost of war and the stories that survive long after the battles end.
