As The 100th Anniversary Of The First Year Of World War I (Remember The War To End All Wars) Continues ... Some Remembrances-Musicians’ Corner

In say 1912, 1913, hell, even the beginning of 1914, the first few months anyway, before the war clouds got a full head of steam in the summer they all profusely professed their unmitigated horror at the thought of war, thought of the old way of doing business in the world. Yes the artists of every school the Cubist/Fauvists/Futurists/Constructivists, Surrealists or those who would come to speak for those movements (hell even the hide-bound Academy filled with its rules, or be damned, spoke the pious words of peace, brotherhood and the affinity of all humankind when there was sunny weather), those who saw the disjointedness of modern industrial society in its squalor, it creation of generations of short, nasty, brutish lives just like the philosophers predicted and put the pieces to paint, sculptors who put twisted pieces of metal juxtaposed to each other saw that building a mighty machine from which you had to run created many problems; writers of serious history books proving that, according to their Whiggish theory of progress,  humankind had moved beyond war as an instrument of policy and the diplomats and high and mighty would put the brakes on in time, not realizing that they were all squabbling cousins; writers of serious and not so serious novels drenched in platitudes and hidden gazebo love affairs put paid to that notion in their sweet nothing words that man and woman had too much to do, too much sex to harness to denigrate themselves by crying the warrior’s cry and by having half-virgin, neat trick, maidens strewing flowers on the bloodlust streets; musicians whose muse spoke of delicate tempos and sweet muted violin concertos, not the stress and strife of the tattoos of war marches with their tinny conceits; and poets, ah, those constricted poets who bleed the moon of its amber swearing, swearing on a stack of seven sealed bibles, that they would go to the hells before touching the hair of another man, putting another man to ground or laying their own heads down for some imperial mission.

They all professed loudly (and those few who did not profess, could not profess because they were happily getting their blood rising, kept their own consul until the summer), that come the war drums they would resist the siren call, would stick to their Whiggish, Futurist, Constructionist, Cubist worlds and blast the war-makers to hell in quotes, words, chords, clanged metal, and pretty pastels. They would stay the course. 

And then the war drums intensified, the people, their clients, patrons and buyers, cried out their lusts and they, they made of ordinary human clay as it turned out, poets, beautiful poets like Wilfred Owens who would sicken of war before he passed leaving a beautiful damnation on war, its psychoses, and broken bones and dreams, and the idiots who brought humankind to such a fate, like e. e. cummings who drove through sheer hell in those rickety ambulances floors sprayed with blood, man blood, angers, anguishes and more sets of broken bones, and broken dreams, like Rupert Brooke all manly and old school give and go, as they marched in formation leaving the ports and then mowed down like freshly mown grass in their thousands as the charge call came and they rested, a lot of them, in those freshly mown grasses, like Robert Graves all grave all sputtering in his words confused about what had happened, suppressing, always suppressing that instinct to cry out against the hatred night, like old school, old Thomas Hardy writing beautiful old English pastoral sentiments before the war and then full-blown into imperium’s service, no questions asked old England right or wrong, like old stuffed shirt himself T.S. Eliot speaking of hollow loves, hollow men, wastelands, and such in the high club rooms on the home front, and like old brother Yeats speaking of terrible beauties born in the colonies and maybe at the home front too as long as Eliot does not miss his high tea. Jesus what a blasted night that Great War time was.  

And as the war drums intensified, the people, their clients, patrons and buyers, cried out their lusts and they, they made of ordinary human clay as it turned out, artists, beautiful artists like Fernand Leger who could no longer push the envelope of representative art because it had been twisted by the rubble of war, by the crashing big guns, by the hubris of commanders and commanded and he turned to new form, tubes, cubes, prisms, anything but battered humankind in its every rusts and lusts, all bright and intersecting once he got the mustard gas out of his system, once he had done his patria duty, like speaking of mustard gas old worn out John Singer Sargent of the three name WASPs forgetting Boston Brahmin society ladies in decollage, forgetting ancient world religious murals hanging atop Boston museum and spewing trench warfare and the blind leading the blind out of no man’s land, out of the devil’s claws, like Umberto Boccioni, all swirls, curves, dashes, and dangling guns as the endless charges endlessly charge, like Gustav Klimt and his endlessly detailed gold dust opulent Asiatic dreams filled with lovely matrons and high symbolism and blessed Eve women to fill the night, Adam’s night after they fled the garden, like Joan Miro and his infernal boxes, circles, spats, eyes, dibs, dabs, vaginas, and blots forever suspended in deep space for a candid world to fret through, fret through a long career, and like poor maddened rising like a phoenix in the Spartacist uprising George Grosz puncturing the nasty bourgeoisie, the big bourgeoisie the ones with the real dough and their overfed dreams stuffed with sausage, and from the bloated military and their fat-assed generals stuff with howitzers and rocket shells, like Picasso, yeah, Picasso taking the shape out of recognized human existence and reconfiguring the forms, the mesh of form to fit the new hard order, like, Braque, if only because if you put the yolk on Picasso you have to tie him to the tether too.          

And do not forget when the war drums intensified, and the people, their clients, patrons and buyers, cried out their lusts and they, they, other creative souls made of ordinary human clay as it turned out sculptors, writers, serious and not, musicians went to the trenches to die deathless deaths in their thousands for, well, for humankind, of course, their always fate ….           

Memorial Day for Peace

Smedley D. Butler Brigade of Veterans for Peace invites all to join us in remembering. This Memorial day we will be recalling the 70th anniversary of V-E, and the 40th anniversary of the end of Vietnam. Poets and speakers will help us remember. 
We will also recall names of fallen, and ceremoniously drop carnations into the sea with a toll of the bell.
Monday, May 25, 1-4pm
Christopher Columbus Park
Atlantic Ave. & Richmond St, Aquarium T, Boston
Directions from the Aquarium T stop:
Follow the signs in the station for Waterfront and Aquarium.
As you exit the T station, turn right on Atlantic Ave. and turn right again after passing the Long Wharf Marriott. Enter Christopher Columbus Park. The event will be taking place along the harbor, look for the Veterans for Peace white flags.

Out Of The Hills And Hollows- With The Bluegrass Band The Lally Brothers In Mind  

 

 

 

 

From The Pen Of Frank Jackman 

 

You know sometimes what goes around comes around as the old-time expression had it. Take for example Sam Lowell’s youthful interest in folk music back in the early 1960s when it crashed out of exotic haunts like Harvard Square, Ann Arbor, Old Town Chi Town and North Beach/Berkeley out in Frisco and ran into a lot of kids, a lot of kids like Sam, who were looking for something different, something that they were not sure of but that smelled, tasted, felt, looked like difference from a kind of one-size-fits-all vanilla existence. Oh sure, every generation in their youth since the days when you could draw a distinction between youth and adulthood and have it count has tried to march to its own symbolic beat but this was different, this involved a big mix of things all jumbled together, political, social, economic, cultural, the whole bag of societal distinctions which would not be settled until the end of the decade, maybe the first part of the next. But what Sam was interested then down there in Carver about thirty miles south of Boston was the music, his interest in the other trends did not come until later, much later long after the whole thing had ebbed. 

The way Sam told it one night at his bi-weekly book club where the topic selected for that meeting had been the musical influences, if any, that defined one’s tastes and he had volunteered to speak since he had just read a book, The Mountain View, about the central place of mountain music, for lack of a better term, in the American songbook was that he had been looking for roots as a kid. Musical roots which were a very big concern for a part of his generation, a generation that was looking for roots, for rootedness not just in music but in literature, art, and even in the family tree. Their parents’ generation no matter how long it had been since the first family immigration wave was in the red scare Cold War post-World War II period very consciously ignoring every trace of roots in order to be fully vanilla Americanized. So his generation had to pick up the pieces not only of that very shaky family tree but everything else that had been downplayed during that period.

Since Sam had tired of the lazy hazy rock and roll that was being produced and which the local rock radio stations were force- feeding him and others like him looking to break out through their beloved transistor radios he started looking elsewhere on the tiny dial for something different. That transistor radio for those not in the know was “heaven sent” for a whole generation of kids in the 1950s who could care less, who hated the music that was being piped into the family living room big ass floor model radio which their parents grew up since it was small, portable and could be held to the ear and the world could go by without bothering you while you were in thrall to the music. That was the start. But like a lot of young people, as he would find out later when he would meet kindred in Harvard Square, the Village, Ann Arbor, Berkeley he had been looking for that something different at just that moment when something called folk music, roots music, actually was being played on select stations for short periods of time each week.

Sam’s lucky station had been a small station, an AM station, from Providence in Rhode Island which he would find out later had put the program on Monday nights from eight to eleven at the request of Brown and URI students who had picked up the folk music bug on trips to the Village (Monday a dead music night in advertising circles then, maybe now too, thus fine for talk shows, community service programs and odd-ball stuff like roots music.) That is where he first heard the likes of Bob Dylan, Joan Baez, Tom Paxton, Dave Von Ronk, a guy named Tom Rush from Harvard whom he would hear in person many times over the years, and another guy, Eric Von Schmidt whom he would meet later in one of the Harvard Square coffeehouses that were proliferating to feed the demand to hear folk music, well, cheaply alone or on a date (basically as he related to his listeners for a couple of bucks at most admission, the price of a cup of coffee to keep in front of you and thus your place, maybe a pastry if alone and just double that up for a date except share the pasty you had your date deal all set for the evening hearing performers perfecting their acts before hitting the A-list clubs).

He listened to it all, liked some of it, other stuff, the more protest stuff he could take or leave depending on the performer but what drew his attention, strangely then was when somebody on radio or on stage performed mountain music, you know, the music of the hills and hollows that came out of Appalachia mainly down among the dust and weeds. Things like Bury Me Under The Weeping Willow, Gold Watch and Chain, Fair and Tender Ladies, Pretty Saro, and lots of instrumentals by guys like Buell Kazee, Hobart Smith, The Charles River Boys, and some bluegrass bands as well that had now escaped his memory.

This is where it all got jumbled up for him Sam said since he was strictly a city boy, made private fun of the farm boys, the cranberry boggers, who then made up a significant part of his high school and had no interest in stuff like the Grand Ole Opry and that kind of thing, none. Still he always wondered about the source, about why he felt some kinship with the music of the Saturday night red barn, probably broken down, certainly in need of paint, and thus available for the dance complete with the full complement of guitars, fiddles, bass, mandolin and full complement of Jimmy Joe’s just made white lightening, playing plainsong for the folk down in the wind-swept hills and hollows.                                 

As Sam warmed up to his subject he told his audience two things that might help explain his interest when he started to delve into the reasons why fifty years later the sound of that finely-tuned fiddle still beckons him home. The first was that when he had begun his freshman year at Boston University he befriended a guy, Everett Lally, the first day of orientation since he seemed to be a little uncomfortable with what was going on. See Everett was from a small town outside of Wheeling, West Virginia and this Boston trip was only the second time, the first time being when he came up for an interview, he had been to a city larger than Wheeling. So they became friends, not close, not roommate type friends, but they had some shared classes and lived in the same dorm on Bay State Road.

One night they had been studying together for an Western History exam and Everett asked Sam whether he knew anything about bluegrass music, about mountain music (Sam’s term for it Everett was Bill Monroe-like committed to calling it bluegrass). Sam said sure, and ran off the litany of his experiences at Harvard Square, the Village, listening on the radio. Everett, still a little shy, asked if Sam had ever heard of the Lally Brothers and of course Sam said yes, that he had heard them on the radio playing the Orange Blossom Express, Rocky Mountain Shakedown as well as their classic instrumentation version of The Hills of Home.  Everett perked up and admitted that he was one of the Lally Brothers, the mandolin player. Sam was flabbergasted. After he got over his shock Everett told him that his brothers were coming up to play at the New England Bluegrass Festival to be held at Brandeis on the first weekend of October.

Everett invited Sam as his guest. He accepted and when the event occurred he was not disappointed as the Lally Brothers brought the house down. For the rest of that school year Sam and Everett on occasion hung out together in Harvard Square and other haunts where folk music was played since Everett was interested in hearing other kinds of songs in the genre. After freshman year Everett did not return to BU, said his brothers needed him on the road while people were paying to hear their stuff and that he could finish school later when things died down and they lost touch, but Sam always considered that experience especially having access to Everett’s huge mountain music record collection as the lynchpin to his interest.             

Of course once the word got out that Everett Lally was in a bluegrass group, played great mando, could so a fair fiddle and the guitar the Freshman girls at BU drew a bee-line for him, some of them anyway. BU, which later in the decade would be one of the hotbeds of the anti-war movement locally and nationally but then was home to all kinds of different trends just like at campuses around the country just then, was filled with girls (guys too but for my purposes her the girls are what counts) from New York City, from Manhattan, from Long Island who knew a few things about folk music from forays into the Village. Once they heard Everett was a “mountain man,” or had been at Brandeis and had seen him with his brothers, they were very interested in adding this exotic plant to their collections. Everett, who really was pretty shy although he was as interested in girls as the rest of the guys at school were, told Sam that he was uncomfortable around these New York women because they really did treat him like he was from another world, and he felt that he wasn’t. Felt he was just a guy. But for a while whenever they hung out together girls would be around. Needless to say as a friend of Everett’s when there were two interested girls Sam got the overflow. Not bad, not bad at all.        

 


But there is something deeper at play in the Sam mountain music story as he also told the gathering that night. It was in his genes, his DNA he said. This was something that he had only found out a few years before. On his father’s side, his grandfather, Homer, whom he had never met since after his wife, Sam’s grandmother, Sara died he had left his family, all grown in any case, without leaving a forwarding address, had actually been born and lived his childhood down in Prestonsburg, Kentucky, down near the fabled Hazard of song and labor legend before moving to the North after World War I. Here is the funny part though when his father and mother Laura were young after World War II and at wits end about where his grandfather might be they travelled down to Prestonsburg in search of him. While they stayed there for a few months looking Sam had been conceived although they left after getting no results on their search, money was getting low, and there were no father jobs around so he had been born in the South Shore Hospital in Massachusetts. So yes, that mountain music just did not happen one fine night but was etched in his body, the whirlwind sounds on Saturday night down amount the hills and hollows with that sad fiddle playing one last waltz to end the evening.                  

 

Important  Mumia Abu Jamal Update-Free Mumia

 

Click below to link to the Partisan Defense Committee Web site.

http://www.partisandefense.org/

Commentary

The legendary social commentator and stand up comic Lenny Bruce, no stranger to the American ‘justice’ system himself, once reportedly said that in the Halls of Justice the only justice is in the halls. The truth of that statement came home on Thursday March 27, 2008 as a panel of the federal Third Circuit Court of Appeals voted two to one to uphold Mumia’s conviction.

The only question left is that of resentencing- the death penalty or, perhaps worst, life in prison without parole. I have not yet read the decision but we are now a long way away from the possibility of a retrial-the narrow legal basis for even appealing in the legal system in the first place. Know this- in the end it will be in the streets and factories through the efforts of the international labor movement and other progressive forces that Mumia will be freed. That is the only way, have no illusions otherwise, whatever the next legal steps might be.

*****
Some facts about the case from the PDC (2006):

Mumia Is an Innocent Man Free Mumia Abu-Jamal! Abolish the Racist Death Penalty   Mumia Abu-Jamal has been on death row for nearly 24 years, falsely convicted of killing Philadelphia police officer Daniel Faulkner. Mumia Abu-Jamal is innocent and mountains of evidence show this, including the confession of another man, Arnold Beverly, to the murder. All the elements of the capitalist “justice” system colluded in framing up this former Black Panther and MOVE supporter because he is an eloquent and defiant spokesman for the oppressed. The fight to free Mumia has now reached a critical juncture. Last December, the federal appeals court put Mumia’s case on a “fast track” for decision, marking the last stages of the legal proceedings. Both Mumia and prosecutors are appealing decisions made in 2001 by U.S. District Court judge William Yohn, who overturned the death sentence but upheld every aspect of Mumia’s frame-up conviction. The state is as determined as ever to execute Mumia and has appealed. He has been barred by the courts from presenting evidence that he is innocent. But the district attorney filed legal papers in the federal appeals court in April, opening its case with a venomous, lying statement to portray Mumia as a cop-killer who must be executed. In a short time, even as soon as six months, the court could decide what is next for Mumia: death, life in prison or more legal proceedings. Mumia was locked up on death row in 1982 based on lying testimony extorted by the cops without a shred of physical evidence. The judge at his trial, Albert Sabo—known as the “King of Death Row”—was overheard by a court stenographer saying, “I’m going to help ’em fry the n----r.” Rigging the jury to exclude black people, the prosecution incited jurors with the grotesque lie that Mumia’s membership in the Panthers as a teenager proved he was committed to kill a cop “all the way back then.” The 1982 conviction was secured with arguments that the jury could disregard any doubts about Mumia’s guilt because he would have “appeal after appeal.” In nearly two decades of appeals, each and every court has rejected the reams of documented evidence of the blatant frame-up of Mumia. For over four years, Pennsylvania state as well as federal courts have refused to even consider the sworn confession of Arnold Beverly that he, not Mumia, shot and killed Faulkner. The execution of Stanley Tookie Williams by the state of California in December casts an ominous shadow. The legal lynching of Williams, which provoked an outcry nationally and internationally, signaled the determination of the U.S. capitalist rulers to fortify their machinery of death in the face of growing reticence in the population over how the death penalty is applied. Mumia Abu-Jamal, America’s foremost political prisoner, is the executioners’ number one target. California governor Arnold Schwarzenegger made this clear when, in denying clemency for Williams, he cited the fact that Williams’ 1998 book, Life in Prison, was dedicated to—among others—Mumia Abu-Jamal. Mumia’s case demonstrates what the racist death penalty is all about. It is the lynch rope made legal, the ultimate weapon in the government’s arsenal of repression aimed at the working class and oppressed. A legacy of chattel slavery, the death penalty is maintained in a society where the segregation of the majority of the black population is used as a wedge to divide the laboring masses and perpetuate the rapacious rule of capital. The murderous brutality of the racist capitalist system was displayed for all to see when thousands of people, overwhelmingly black and poor, were left to die in New Orleans after Hurricane Katrina. Mumia’s appeal takes place in the context of the government’s assertion of its “right” to disappear, torture or even assassinate its perceived opponents, and to wiretap and spy on anyone and everyone. In the name of the “war on terror,” rights won through tumultuous class and social battles are being put through the shredder by the Bush administration with the support of the Democratic Party. The purpose is to terrorize and silence any who would stand in the way of the capitalist rulers’ relentless drive for profits and their imperialist adventures, like the colonial occupation of Iraq. As Mumia’s case moves through the final stages of legal proceedings, the fight for his freedom is urgently posed. The Partisan Defense Committee—a class-struggle legal and social defense organization associated with the Spartacist League/U.S.—stands for pursuing every legal avenue in Mumia’s behalf while putting no faith in the “justice” of the capitalist courts. Through publicity and action, we have struggled to mobilize the broadest social forces, centered on the labor movement, to demand Mumia’s freedom and the abolition of the racist death penalty. As Mumia faced execution in August 1995, a mass outpouring of protest nationally and internationally—from civil liberties organizations and such heads of state as South Africa’s Nelson Mandela to trade unions representing millions of workers—succeeded in staying the executioner’s hand. Today we face greater odds. But if undertaken through a mobilization based on the social power of the working class, the fight for Mumia’s freedom would be a giant step forward in the defense of all of us against the increasingly depraved and vicious rulers of this country.   Anatomy of a Frame-Up In the eyes of the capitalist state, from the time Mumia was a 15-year-old spokesman for the Black Panther Party in Philadelphia in 1969, he was a dead man on leave. Then-FBI Director J. Edgar Hoover pronounced: “The Negro youth and moderate[s] must be made to understand that if they succumb to revolutionary teachings, they will be dead revolutionaries.” This policy was carried out under both the Democratic administration of Lyndon Johnson and his Attorney General, Ramsey Clark, and the Republican Nixon administration. Under the FBI’s “counter-intelligence” program known as COINTELPRO, 38 Panthers were murdered and hundreds of others framed up and railroaded to prison. The 900 pages of FBI files the PDC was able to obtain on Mumia’s behalf, even though highly expurgated, make clear that the FBI and cops used any “dirty trick” in their mission to get him. His every move was tracked and his name put on the FBI’s Security Index, the 1960s version of a “terrorist” hit list. Even with the demise of the Panthers, the state did not call off its vendetta against Mumia. As a journalist known as the “voice of the voiceless,” Mumia’s impassioned defense of black rights continued to enrage them. The Philly cops particularly seethed over his sympathetic coverage of the MOVE organization, which was subjected to an onslaught of state terror. Mumia was targeted for death because of his political beliefs, because of what he wrote, because of what he said. And in the early morning hours of 9 December 1981 at the corner of 13th and Locust Streets in Philadelphia, the cops finally saw their chance. Mumia was driving a cab through the area that night. He heard gunshots. He saw people running, saw his own brother and got out of his cab to help him. Moments later, Mumia was critically wounded by a bullet through the chest. Nearby lay a wounded police officer, Daniel Faulkner. The cops found their long-awaited opportunity and seized on it to frame up Mumia as a “cop killer.” The prosecution’s case rested on three legs, all based on lies: the testimony of “eyewitnesses” coerced through favors and terror; a “confession” purportedly made by Mumia the night of the shooting that was such a blatant hoax that it didn’t surface until months later; and nonexistent ballistics “evidence.” In 2001, this frame-up was completely blown to pieces with Arnold Beverly’s confession that he was the man who shot Faulkner. In a sworn affidavit printed in the PDC pamphlet Mumia Abu-Jamal Is an Innocent Man!, Beverly stated:   “I was hired, along with another guy, and paid to shoot and kill Faulkner. I had heard that Faulkner was a problem for the mob and corrupt policemen because he interfered with the graft and payoffs made to allow illegal activity including prostitution, gambling, drugs without prosecution in the center city area.   “Faulkner was shot in the back and then in the face before Jamal came on the scene. Jamal had nothing to do with the shooting.” Beverly stated that the second shooter also fled the scene. This is supported by a sworn affidavit by Mumia’s brother, Billy Cook, who testified that his friend Kenneth Freeman was a passenger in Cook’s VW at 13th and Locust that night. Freeman later admitted to Cook that he was part of the plan to kill Faulkner and had participated in the shooting and then fled the scene. This is further corroborated by the testimony of a witness at the scene, William Singletary, who said he saw a passenger get out of Cook’s VW, shoot Faulkner and then flee the scene. At least half a dozen witnesses who were on the scene the night of the shooting saw, from several different vantage points, one or more black men flee. Police radio “flashes” right after the shooting reported that the shooters had fled the scene with Faulkner’s gun. Five witnesses, including two cops, describe someone at the scene wearing a green army jacket, which both Beverly and Freeman were wearing that night. Neither Mumia nor Cook wore a green army jacket: Mumia wore a red ski jacket with wide vertical blue stripes and Cook had a blue jacket with brass buttons. Beverly said that Mumia was shot by a cop at the scene. This is confirmed by no less an authority than the state Medical Examiner’s office, whose record written the same morning as the shooting quotes a homicide officer saying that Mumia was shot by “arriving police reinforcements,” not by Faulkner. Other witnesses have corroborated Beverly’s testimony that undercover and uniformed police were in the vicinity at the time of the shooting, which Beverly assumed meant that they were in on the plan to kill Faulkner. One witness, Marcus Cannon, saw two undercover cops on the street across from the shooting. William Singletary also saw “white shirts” (police supervisors) at the scene right after the shots were fired. The prosecution dismisses the idea that the cops would kill one of their own as an outlandish invention. Leaving aside that Beverly passed two lie detector tests, his account fits with the fact that at the time of Faulkner’s killing in 1981, there were at least three ongoing federal investigations into police corruption in Philadelphia, including police connections with the mob. Police working as FBI informants were victims of hits in the early 1980s. A former federal prosecutor acknowledged that the Feds had a police informant whose brother was a cop, just as Faulkner had a brother who was a cop. A sworn affidavit by Donald Hersing, a former informant in an FBI investigation into police corruption, confirms that at the time of Faulkner’s shooting the word was out that the Feds had an informant in the police force. The commanding officer of the Central Police Division, where the murder of Faulkner took place, the chief of the police Homicide Division and the ranking officer at the scene of Faulkner’s killing, Alfonzo Giordano, were all under investigation at the time on federal corruption charges. These cops were literally the chain of command in the frame-up of Mumia Abu-Jamal. Giordano had been the right-hand man for Philadelphia’s notoriously racist police chief and later mayor, Frank Rizzo. From 1966 to 1970, Giordano was in charge of the cop “Stakeout” squad, which led the police raid on the Black Panthers’ headquarters in 1970. He was also the supervisor of the 15-month police siege of MOVE’s Powelton Village house in 1977-78, which resulted in nine MOVE members being sent to prison on frame-up charges of killing a cop. Giordano knew exactly who Mumia was. The senior officer on the scene, he had both motive and opportunity to frame up Mumia for the killing of Faulkner. Giordano originated the claim that Mumia’s gun—the putative murder weapon—was lying beside him on the street. But according to police radio records, the cops were still looking for the gun some 14 minutes after hordes of police had arrived on the scene. Giordano arranged the identification of Mumia by cab driver Robert Chobert, who became a witness for the prosecution. Giordano was the central witness for the prosecution at Mumia’s pretrial hearing. But he was never called as a witness at Mumia’s trial. Shortly before the trial, he was assigned to a desk job. One working day after Mumia was convicted, Giordano resigned from the force. In 1986, Giordano copped a plea on federal charges based on his receiving tens of thousands of dollars in illegal payoffs from 1979 to 1980. He didn’t spend a day in jail.   Prosecution’s Web of Lies The prosecution’s story is that two people were on the corner of 13th and Locust where Faulkner was shot: Mumia’s brother Billy Cook and Faulkner. They claim that Mumia ran across the street when he saw his brother being beaten by Faulkner. According to police and prosecutors, Mumia shot the cop in the back, the cop shot back at Mumia and then Mumia stood over the fallen cop and shot him “execution style” several times in the head. Even a close examination of the cops’ and prosecution’s own evidence gives the lie to this scenario. A look at the “three legs” of the prosecution’s case provides not only stark confirmation of Mumia’s innocence but clear corroboration of Beverly’s testimony. The Prosecution’s Witnesses: Even with police and prosecution threats and favors at the time of the 1982 trial, no witness testified to seeing Mumia actually shoot Faulkner. Only one, Cynthia White, the prosecution’s star witness, testified that she thought she saw a gun in Mumia’s hand when he crossed the street. A prostitute working in the area, White claimed to have witnessed the events from the southeast corner of 13th and Locust. Yet the other two prosecution witnesses, as well as two defense witnesses who knew White, all denied she was at the scene during the shooting! Other prostitutes testified in subsequent court hearings that White alternately got police favors or was threatened by police in order to extract her testimony. As for Robert Chobert, at first he told police that the shooter “ran away.” After further interrogation, he changed his story, claiming that Mumia stood over Faulkner while the shots were fired and that no one ran away. A cab driver using a suspended license while on probation for felony arson, Chobert was given favors by the prosecution in exchange for his testimony. He later admitted that he never saw the shooting. The third state witness was Michael Scanlan. He initially identified Mumia as the VW driver but then claimed that the shooter ran across Locust Street, which Beverly admits that he did. He also admitted that he did not know if Mumia was the man he saw. Ballistics and Forensics: The prosecution claimed that ballistics evidence was “consistent” with Mumia’s gun being the murder weapon even while admitting that the “consistency” applied to millions of handguns. There is no evidence that Mumia’s gun was even fired that night. There was every opportunity to test Mumia’s hands, or the gun, for evidence that it had been recently fired. But according to police no such tests, which are standard operating procedure, were ever done! The Stakeout officer who claimed he picked up Mumia’s gun did not turn it over for more than two hours, providing more than ample time to have it tampered with. The Medical Examiner’s report states that Faulkner was shot with a .44 calibre bullet, yet Mumia’s gun was a .38 calibre. Although the crime lab claimed that the main bullet fragment removed from Faulkner’s head was too damaged to test, the defense team’s ballistics expert denied this. A second bullet fragment removed from the head wound simply disappeared without a trace. Evidence at the scene—bullet fragments, blood stains, the absence of divots in the sidewalk—refutes the prosecution claim that Faulkner was shot repeatedly while lying on the ground. The bullet patterns are far more consistent with multiple shooters, as Beverly testifies. A copper bullet jacket found at the scene was inconsistent with either Faulkner’s or Mumia’s guns, suggesting that a different gun was fired. Similarly, type O blood was found at the scene, but Faulkner, Mumia and Cook were all type A, suggesting that another person was present and injured. The angle of Mumia’s own wounds is impossible if he was shot while standing over Faulkner as the prosecution claimed. However, Mumia’s wounds are consistent with Beverly’s testimony that Mumia was shot by a cop at the scene. The “Confession”: The frame-up’s final leg was the claim that Mumia, lying in a pool of blood at the hospital where he was taken for treatment, shouted out that he had shot the cop. Yet the police officer assigned to guard Mumia there reported that same day that Mumia “made no comments.” In reality, he was so badly wounded, with a bullet hole through one lung, and had been so badly beaten by police on the street and at the hospital, that he could not have “shouted” anything. The “confession” was manufactured by the prosecution at a roundtable meeting with cops two months after the shooting. Priscilla Durham, a security guard, was the only hospital employee who backed up the cops’ “confession” lie. In 2003 Durham’s stepbrother Kenneth Pate swore that Durham said she was pressured by the cops to say Mumia confessed. Pate also said Durham heard Mumia say, “Get off me, get off me, they’re trying to kill me.” Mumia Abu-Jamal has always categorically maintained his innocence. As he declared in a 2001 affidavit: “I did not shoot Police Officer Daniel Faulkner. I had nothing to do with the killing of Officer Faulkner. I am innocent…. I never confessed to anything because I had nothing to confess to.” Mobilize Now to Free Mumia! The case of Mumia Abu-Jamal is an object lesson in the class nature of the capitalist state. Its justice system is class- and race-biased to the core. The cops and courts who framed up this innocent man, the living tomb of the prison system in which he is jailed, the executioner who stands ready to kill—all are instruments of organized violence used to preserve the rule of the capitalist class through the forcible suppression of the working class and oppressed. Smashing this racist frame-up machine will require a socialist revolution that overturns the capitalist system. Demands for a “new trial” which have been raised by liberals, self-proclaimed socialist organizations, black nationalists and others have fed illusions that there can be justice in the capitalist courts. Those illusions demobilized a movement of millions around the world in Mumia’s defense. The time is now to rekindle mass protest—nationally and internationally—on behalf of Mumia. Mumia’s freedom will not be won through reliance on the rigged “justice” system or on capitalist politicians, whether Democrat, Republican or Green. The power that can turn the tide is the power of millions—working people, anti-racist youth, death penalty abolitionists—united in struggle to demand the freedom of this innocent man. Crucial to this perspective is the mobilization of the labor movement, whose social power derives from its ability to shut down production. As we have stated since we first took up Mumia’s defense in the mid 1980s, what’s necessary are labor-centered united-front actions, generating effective protest across a spectrum of political beliefs while assuring all the right to have their own say. The time is now to make Mumia’s case a rallying cry against the racist death penalty, against black oppression, against government repression. Raise your voice and organize now in your union, on your campus, in your community to demand: Free Mumia Abu-Jamal! Abolish the racist death penalty! —Partisan Defense Committee, 27 May 2006

An Open Letter to Mumia Abu-Jamal Supporters-A Personal Commentary (April 2008)


The Partisan Defense Committee has passed "An Open Letter to All Supporters of Mumia‘s Freedom" to this writer. Those few who might not know of the torturous legal battles to free this innocent man can find further information at the above-mentioned Partisan Defense site. I make my own comments below.

Normally I pass information about the case of political prisoner Mumia abu-Jamal on without much comment because the case speaks for itself. The case has been front and center in international labor defense struggles for over two decades. However, in light of the adverse ruling by a majority of a federal Third Circuit Court of Appeal panel in March 2008 that affirmed Mumia’s 1982 conviction for first-degree murder of a police officer and left the only issue for decision that of resentencing to either reinstate his original death sentence or keep him imprisoned for life without parole I have some things to say about this fight.

Occasionally, in the heat of political battle some fights ensue around strategy that after the smoke has cleared, upon reflection, leave one with more sorrow than anger. Not so today. Today I am mad. Am I mad about the irrational decision by the majority of the Third Circuit panel in Mumia’s case? Yes, but when one has seen enough of these cases over a lifetime then one realizes that, as the late sardonic comic and social commentator Lenny Bruce was fond of saying, in the Hall of Justice the only justice is in the halls.

What has got me steamed is the obvious bankruptcy of the strategy, if one can use this term, of centering Mumia’s case on the question of a new trial in order to get the ‘masses’- meaning basically parliamentary liberal types interested in supporting the case. This by people who allegedly KNOW better. The bankruptcy of this strategy, its effects on Mumia’s case and the bewildered response of those who pedaled it as good coin is detailed in the above-mentioned Open Letter. Read it.

Today, in reaction to the Third Circuit court’s decision, everyone and their brother and sister are now calling for Mumia’s freedom. At a point where he is between a rock and a hard place. However, it did not have to be that way. Mumia was innocent in 1982 and he did not stop being innocent at any point along this long road. Freedom for Mumia was (and is) the correct slogan in the case. A long line of political criminal cases, starting in this country with that of the Haymarket Martyrs if not before, confirms that simple wisdom. Those who consciously pedaled this weak ‘new trial’ strategy as a get rich quick scheme now have seen the chickens come home to roost. And Mumia pays the price.

I would point out two factors that made a ‘retrial’ strategy in the case of an innocent man particularly Pollyanna-ish for those honest militants who really believed that Mumia’s case was merely a matter of the American justice system being abused and therefore some court would rectify this situation if enough legal resources were in place. First, it is illusory that somehow, as exemplified in this case, a higher court system would remedy this egregious wrong. Long ago I remember a lawyer, I believe that it might have been the late radical lawyer Conrad Lynn no stranger to political defense work, telling a group of us doing defense work for the Black Panthers, that all these judges belong to the same union. They do not upset each other’s work except under extreme duress.

Second, and this is where the ‘wisdom’ of the reformists about reaching the ‘masses’ by a stagest theory of defense work (fight for retrial first, then freedom) turns in on them. As witness the list of names of those who have signed the Partisan Defense Committee’s call for Mumia’s freedom, excepting professional liberals and their hangers –on, those interested in Mumia’s case (or any leftwing political defense case) will sign on just as easily for freedom as retrial. Thus, opportunism does not pay, even in the short haul. That said, Free Mumia- say it loud, say it proud.
 *******

From The Left-Wing Archives -The United Nation Anti-War Coalition And The Struggle Against The Endless American Wars

 

The Bombing of Black Tulsa (1921)

Workers Vanguard No. 1068   15 May 2015 TROTSKY LENIN The Bombing of Black Tulsa (Quote of the Week)   On 31 May 1921, police obliterated the heart of black Tulsa, Oklahoma, dropping dynamite from airplanes that killed at least 75 people. This racist bombing, followed by the detention of thousands of black people, came after black residents had taken up arms to defend a teenager from a white lynch mob. In the face of anti-black pogroms sweeping American cities from East St. Louis to Washington, D.C., at the end of World War I, black radicals like those in the African Blood Brotherhood (ABB) advocated race pride and armed self-defense against racist terror. Leaders of the ABB, which was mainly composed of West Indian immigrants, joined the early Communist Party, drawn by the liberating promise of the October 1917 proletarian revolution in Russia. Accused of inciting a “race riot” in Tulsa, the ABB replied with a defiant editorial excerpted below.   As at Washington, D.C., so at Tulsa, Okla. The entire power of the State, all of the forces of capitalist “law and order,” were turned upon the Negro in the process of “putting down” race riots that were started and most actively prosecuted by white mobs. All the deputies sworn in by the Tulsa authorities during the recent race riot were white. All the prisoners taken up and sent into concentration camps by these deputies, the Tulsa city police and the Oklahoma State militia were colored. That is the kind of justice the Negro gets in capitalist America! That is the kind of justice the Jew used to get in capitalist-Czarist Russia, until the workers of all races arose in their wrath and overthrew the capitalist-Czarist combination, and set up Soviets. Now the workers of all races get equal justice—in Russia. How long will the Negro in America continue to fall for capitalist bunk? How many more Tulsas will it take to line up the Negro where by all race interest he belongs—with the radical forces of the world that are working for the overthrow of capitalism and the dawn of a new day, a new heaven and a new earth?   —“The Tulsa Outrage,” Crusader, July 1921

As The 100th Anniversary Of The First Year Of World War I (Remember The War To End All Wars) Continues ... Some Remembrances-Musicians’ Corner

In say 1912, 1913, hell, even the beginning of 1914, the first few months anyway, before the war clouds got a full head of steam in the summer they all profusely professed their unmitigated horror at the thought of war, thought of the old way of doing business in the world. Yes the artists of every school the Cubist/Fauvists/Futurists/Constructivists, Surrealists or those who would come to speak for those movements (hell even the hide-bound Academy filled with its rules, or be damned, spoke the pious words of peace, brotherhood and the affinity of all humankind when there was sunny weather), those who saw the disjointedness of modern industrial society in its squalor, it creation of generations of short, nasty, brutish lives just like the philosophers predicted and put the pieces to paint, sculptors who put twisted pieces of metal juxtaposed to each other saw that building a mighty machine from which you had to run created many problems; writers of serious history books proving that, according to their Whiggish theory of progress,  humankind had moved beyond war as an instrument of policy and the diplomats and high and mighty would put the brakes on in time, not realizing that they were all squabbling cousins; writers of serious and not so serious novels drenched in platitudes and hidden gazebo love affairs put paid to that notion in their sweet nothing words that man and woman had too much to do, too much sex to harness to denigrate themselves by crying the warrior’s cry and by having half-virgin, neat trick, maidens strewing flowers on the bloodlust streets; musicians whose muse spoke of delicate tempos and sweet muted violin concertos, not the stress and strife of the tattoos of war marches with their tinny conceits; and poets, ah, those constricted poets who bleed the moon of its amber swearing, swearing on a stack of seven sealed bibles, that they would go to the hells before touching the hair of another man, putting another man to ground or laying their own heads down for some imperial mission.

They all professed loudly (and those few who did not profess, could not profess because they were happily getting their blood rising, kept their own consul until the summer), that come the war drums they would resist the siren call, would stick to their Whiggish, Futurist, Constructionist, Cubist worlds and blast the war-makers to hell in quotes, words, chords, clanged metal, and pretty pastels. They would stay the course. 

And then the war drums intensified, the people, their clients, patrons and buyers, cried out their lusts and they, they made of ordinary human clay as it turned out, poets, beautiful poets like Wilfred Owens who would sicken of war before he passed leaving a beautiful damnation on war, its psychoses, and broken bones and dreams, and the idiots who brought humankind to such a fate, like e. e. cummings who drove through sheer hell in those rickety ambulances floors sprayed with blood, man blood, angers, anguishes and more sets of broken bones, and broken dreams, like Rupert Brooke all manly and old school give and go, as they marched in formation leaving the ports and then mowed down like freshly mown grass in their thousands as the charge call came and they rested, a lot of them, in those freshly mown grasses, like Robert Graves all grave all sputtering in his words confused about what had happened, suppressing, always suppressing that instinct to cry out against the hatred night, like old school, old Thomas Hardy writing beautiful old English pastoral sentiments before the war and then full-blown into imperium’s service, no questions asked old England right or wrong, like old stuffed shirt himself T.S. Eliot speaking of hollow loves, hollow men, wastelands, and such in the high club rooms on the home front, and like old brother Yeats speaking of terrible beauties born in the colonies and maybe at the home front too as long as Eliot does not miss his high tea. Jesus what a blasted night that Great War time was.  

And as the war drums intensified, the people, their clients, patrons and buyers, cried out their lusts and they, they made of ordinary human clay as it turned out, artists, beautiful artists like Fernand Leger who could no longer push the envelope of representative art because it had been twisted by the rubble of war, by the crashing big guns, by the hubris of commanders and commanded and he turned to new form, tubes, cubes, prisms, anything but battered humankind in its every rusts and lusts, all bright and intersecting once he got the mustard gas out of his system, once he had done his patria duty, like speaking of mustard gas old worn out John Singer Sargent of the three name WASPs forgetting Boston Brahmin society ladies in decollage, forgetting ancient world religious murals hanging atop Boston museum and spewing trench warfare and the blind leading the blind out of no man’s land, out of the devil’s claws, like Umberto Boccioni, all swirls, curves, dashes, and dangling guns as the endless charges endlessly charge, like Gustav Klimt and his endlessly detailed gold dust opulent Asiatic dreams filled with lovely matrons and high symbolism and blessed Eve women to fill the night, Adam’s night after they fled the garden, like Joan Miro and his infernal boxes, circles, spats, eyes, dibs, dabs, vaginas, and blots forever suspended in deep space for a candid world to fret through, fret through a long career, and like poor maddened rising like a phoenix in the Spartacist uprising George Grosz puncturing the nasty bourgeoisie, the big bourgeoisie the ones with the real dough and their overfed dreams stuffed with sausage, and from the bloated military and their fat-assed generals stuff with howitzers and rocket shells, like Picasso, yeah, Picasso taking the shape out of recognized human existence and reconfiguring the forms, the mesh of form to fit the new hard order, like, Braque, if only because if you put the yolk on Picasso you have to tie him to the tether too.          

And do not forget when the war drums intensified, and the people, their clients, patrons and buyers, cried out their lusts and they, they, other creative souls made of ordinary human clay as it turned out sculptors, writers, serious and not, musicians went to the trenches to die deathless deaths in their thousands for, well, for humankind, of course, their always fate ….           

Memorial Day for Peace

Smedley D. Butler Brigade of Veterans for Peace invites all to join us in remembering. This Memorial day we will be recalling the 70th anniversary of V-E, and the 40th anniversary of the end of Vietnam. Poets and speakers will help us remember. 
We will also recall names of fallen, and ceremoniously drop carnations into the sea with a toll of the bell.
Monday, May 25, 1-4pm
Christopher Columbus Park
Atlantic Ave. & Richmond St, Aquarium T, Boston
Directions from the Aquarium T stop:
Follow the signs in the station for Waterfront and Aquarium.
As you exit the T station, turn right on Atlantic Ave. and turn right again after passing the Long Wharf Marriott. Enter Christopher Columbus Park. The event will be taking place along the harbor, look for the Veterans for Peace white flags.

Stop The Damn Wars- Stop The Damn American And Allied  Bombings In Syria And Iraq- Stop The Damn American Killer Drone Attacks Everywhere- Stop The Saudi Bombing Decimation Of Yemen-Stop The American Military Aid To Israel- Hell, Just Stop The Madness In The Middle East  

 

If you look closely, hell, if you just look at the visual, an old “stick-on” button-Stop The Wars meaning this day Stop The F-----g Wars that I have been wearing for years, that accompanies this sketch you will notice that it is ragged with wear, has been through a lot of hard times over the past decade or so but the message still rings true, still needs to be proclaimed like never before. Today in April 2015 I add the now month long American-supported Saudi aerial decimation of Yemen as the latest installment on the war front, no war fronts, that I had initially written about in February 2015 when I argued against the very real likelihood that Obama (okay, okay I will be civil today since he and his ilk hold all the cards, ah, hold all the weapons, and call him President Obama but I do so holding my nose) would get a resolution through Congress to go full-bore on the ISIS front. He, the President, said at the time not including ground troops, or really no additional ground troops since he has snuck a couple of thousand in as “advisers” in Iraq and Syria who are holding his Iraqi and Syrian agents by the hand as they go into battle already but we should be very wary on that sneaky front since it looks like additional ground forces will be necessary as everybody now has a timetable of a decade of so more of off-hand fighting. AND included at the time some kind of stepped-up military engagement in Ukraine which is looking very much more likely than when I posited the idea in February.

As I said then as well this from a “peace” President (an oxymoron in the United States and a few other countries) who has actually won the Nobel Peace Prize if you can believe that by this unconventionally bellicose man. So you can image what the other guys, the Republicans are up to, are ready to go hammer and tong on (beside their bugaboo Obamacare obsession which really is played out).

So, yes, I am a non-partisan, I willingly go after both parties, on the issues of war and peace and have been doing so since I got “religion” after my own service during the Vietnam War, another war that proved nothing, that we were consciously lied to about, and one that almost tore the United States apart including a near mutiny in the Army by about 1969. Prior to that “religious” conversion, I had had harbored the same kind of bellicose thoughts about America’s enemies in the world, including the benighted Vietnamese as the next guy, excepting a quirky thing about abolishing nuclear weapon learned at the knew of my Catholic Worker-influenced grandmother. So I know both sides and know too the vehemence of my anti-war commitment, the kind of vehemence that is the special Provence of the converted.      

Make no mistake I hold, and those I know who I have worked with lately in Veterans For Peace and the umbrella nation organization United National Anti-War Coalition (UNAC), an organization that long ago provided the stick-on button which has seen much wear, hold no truck with ISIS, none for those savages. Hold no truck with all the emerging swarms of religious fanatics from Christian fundamentalist climate nay-sayers to Islamist fundamentalists ready to carry one and all back to the 8^th century (including those advanced jet fighter Saudis who actually think they are running an 8^th century society otherwise) to Zionist irredentists going back to Biblical times for their authority. And you wonder why the world is going to hell in a handbasket.

But that, my friends, is a long way from assuming that the United States, which one way or another has “created” ISIS (and on the other “front” aided the fascist-supported coup in Ukraine which has exploded in its face), should be bombing and threatening ground troops in situations where who knows what the hell is going on. Off the recent track record in the failed state of Iraq, the failed state in Libya, the failed state of Yemen (if it ever really was a state but since everybody of late, every bourgeois academic from Henry Kissinger on down has been yakking about the inviolability of the nation-state since the Treaty of Westphalia in 1648 I will let that argument pass) the nearly failed state in Syria (I am still looking for those “moderate” anti-ISIS forces that the United States is trying to supply in Syria) and the also nearly failed state in Ukraine all of which have the fingerprints of American involvement over them the beginning of wisdom is to oppose further military involvement. Hands Off Syria! No New War In Iraq! Stop The Bombings and Drone Attacks! No Military Aid To Israel! No Military Aid to Ukraine….and that is just for starters.                 

Boston-Park Street Station Weekly Vigil-May 30th-Five Years In Jail Is Enough, More Than Enough- President Obama Pardon Chelsea Manning Now!

 

Boston vigil details:

1:00-2:00 PM Saturday, May 30, 2015
Park Street Station Entrance on the Boston Common

Chelsea Manning’s Five Years Of Confinement

Taken into Army MP custody on May 27, 2010 and later held for months under torturous conditions at the Quantico Marine Base in Virginia Chelsea Manning was tried and sentenced in a military court-martial at Fort Meade in Maryland to 35 years in August 2013 for releasing many military secrets through Wikileaks about U.S. crimes in the wars in Iraq and Afghanistan among other revelations. If this sentence stands she will be out in 2045. We cannot let this happen– we have to get her out! Join us on May 30^th and encourage others to attend. Sign the on-line petition for a presidential pardon from President Barack Obama at the Chelsea Manning Support Network website- http://www.chelseamanning.org/. We will not leave our sister behind.