This space is dedicated to the proposition that we need to know the history of the struggles on the left and of earlier progressive movements here and world-wide. If we can learn from the mistakes made in the past (as well as what went right) we can move forward in the future to create a more just and equitable society. We will be reviewing books, CDs, and movies we believe everyone needs to read, hear and look at as well as making commentary from time to time. Greg Green, site manager
A View From The Left-The Marxist Theory of the State
Workers Vanguard No. 1120
20 October 2017
TROTSKY
LENIN
The Marxist Theory of the State
(Quote of the Week)
As the proletarian revolution in Russia was unfolding, V.I. Lenin wrote The State and Revolution to reclaim the Marxist theory of the state from the distortions of the opportunists. Lenin underlined the need for the working class to overthrow the rule of the bourgeoisie and replace it with the dictatorship of the proletariat, which, extended internationally, would lay the basis for the withering away of the state in a communist society.
The completion of The State and Revolution was “‘interrupted’ by...the eve of the October revolution,” as Lenin noted in the postscript, concluding, “It is more pleasant and useful to go through the ‘experience of the revolution’ than to write about it.” He continued his critique the following year in The Proletarian Revolution and the Renegade Kautsky.
Marx continued:
“Between capitalist and communist society lies the period of the revolutionary transformation of the one into the other. Corresponding to this is also a political transition period in which the state can be nothing but the revolutionary dictatorship of the proletariat.”...
Democracy for the vast majority of the people, and suppression by force, i.e., exclusion from democracy, of the exploiters and oppressors of the people—this is the change democracy undergoes during the transition from capitalism to communism.
Only in communist society, when the resistance of the capitalists has been completely crushed, when the capitalists have disappeared, when there are no classes (i.e., when there is no distinction between the members of society as regards their relation to the social means of production), only then “the state...ceases to exist,” and “it becomes possible to speak of freedom.” Only then will a truly complete democracy become possible and be realised, a democracy without any exceptions whatever. And only then will democracy begin to wither away, owing to the simple fact that, freed from capitalist slavery, from the untold horrors, savagery, absurdities and infamies of capitalist exploitation, people will gradually become accustomed to observing the elementary rules of social intercourse that have been known for centuries and repeated for thousands of years in all copybook maxims. They will become accustomed to observing them without force, without coercion, without subordination, without the special apparatus for coercion called the state.
—V.I. Lenin, The State and Revolution (August-September 1917)
Staying The Course In Tough Political Times-Organizing Cadre-On The 100th Anniversary Of The Russian October Revolution
Frank Jackman comment:
No question we, those of us who adhere to a radical or revolutionary, hell, even a liberal political perspective, are living in tough times here in America (hey, make that the world, or a lot of it). The monsters who have previously been in the shadows have come out with their bloody fangs on full display. Someone recently mentioned to me that we of the left, particularly the pro-socialist left, should wake up every day bending in prayer to the East for one Donald Trump who has been the catalyst for the current wave of people interested in fighting back, in building the resistance mostly right now from a liberal political perspective. But as life, the real everyday political life of the times, showed us back in the 1960s when I for one went from a pretty straight forward liberal who was crazy for Robert Kennedy to more radical assumptions about the way we have to move to bring serious social change that we can live with things can change rapidly in socially turbulent times. A whole slew of people, mostly young but with a smattering of older folks, shared that same trajectory with me.
Once you get the “masses” in motion the question, as we also learned from the 1960s experience as the Vietnam War wound down or people retreated to “identity” politics is keeping them in motion, keep them interested in “staying the course.” And that is the simple point I want to make today in commenting on this article posted below I found in one of the left-wing presses that find their way to my door.
Now over the years I have read quite a few articles from the socialist and communist press just to keep informed about what is going on out on the edges of rational politics and most of the time I let the articles pass into cyberspace. A few I will have the site moderator, Peter Paul Markin, post which may be of interest to the radical public without comment by since I am entirely capable of making comments if necessary under my own name in my own space. Those occasions for my comment tend to be significantly fewer but this one got me thinking, kept me up late one night in fact. What kept me up was the idea of staying the course, the mass of people who have been politicized recently staying the course, unlike Markin, myself and mighty few others over the years who have held the socially progressive banner as high as possible in good times and bad. We are rare political animals for sure.
What struck me in this tribute by the speaker to a fallen comrade who “stayed the course” in support of her political perspectives was the comment about how Leon Trotsky, a certified revolutionary for all of his adult life, some forty years, mentioned that revolutionaries, and here we can add radicals and hopefully liberals as well, live for the future. Stay the course and don’t let get beaten down at any particular point which might drive them back into the mud. Stick with the idea that even if we are small, relatively small, today in terms of active cadre who have been through some experiences, good and bad, we can take heart that politics at certain times and the state of cold civil war we are in here in America right now is one such time will galvanize the masses. But people who know something, who are or want to be cadre, who can organize have to be around. Enough said for now.
******
Workers Vanguard No. 1106
24 February 2017
In Memory of Martha Phillips
1948–1992
The following remarks were delivered by Jon Bride, member of the International Executive Committee of the International Communist League, at a February 12 meeting in the Bay Area.
Twenty-five years ago, our comrade Martha Phillips was murdered in Moscow. She died in the front lines of the fight against counterrevolution in the Soviet Union. The ICL waged an international campaign to press for an investigation into this heinous crime, but it remains unsolved.
Russia was the birthplace of the communist program. Martha understood that Soviet Russia belonged to the workers of the whole world and that we were coming home to defend the gains of the October Revolution. For Trotskyists the USSR had never been a foreign country, and we can say truly that Martha died in her homeland.
Before joining our tendency, Martha had been a member of the American SWP [Socialist Workers Party]. There she took on the “pint-sized Kautskyites,” as she called them, who were seeking to build a “peaceful, legal” anti-Vietnam War movement. This was a gigantic popular front with liberal Democrats, whose purpose was to prevent a defeat for U.S. imperialism. Martha was won to Spartacism and fought for “Military Victory to the NLF” [National Liberation Front] and “All Indochina Must Go Communist!” She died in Moscow fighting for the same revolutionary internationalist program she defended against the renegades in the SWP who had reconciled themselves with their own bourgeoisie.
Martha did not have an easy life. She had a handicapped child. In midlife, she began a serious study of the Russian language. Later, she got a job teaching in a Soviet school. Her Soviet friends were astounded that any foreigner would live like that. She could have found an easier way to survive, but Martha wanted to get a better sense of how Soviet working people lived.
Martha was the leader and principal spokesman of the ICL group in Moscow. This job was not made easier for her, as a Jewish woman communist, in a period when anti-Jewish bigotry and backward social attitudes were proliferating in the final days of the Soviet Union. She was one of several outstanding women leaders in the ICL; her interview with Soviet women in Women and Revolution [No. 40, Winter 1991-92] is testimony to Martha’s conviction that a Leninist party must be a tribune of the people.
Trotsky once said that all genuine revolutionaries live for the future; that is, they refuse to sacrifice principle for temporary expedient. Martha refused to allow herself to be daunted by the temporary setbacks of today or yesterday. When asked by skeptics how many members we had, she always replied: “A few less than Lenin had at the time of Zimmerwald.” She often made the point that at the time of the February Revolution, the Mensheviks had larger numbers, more writers, etc. But Lenin had a hard cadre trained in a revolutionary program. That is what made the difference. For her entire political life, Martha was a party person from head to toe, understanding that it was the subjective element that was indispensable to proletarian victory.
****** "I want to die a communist"-and he did
Workers Vanguard No. 1119
6 October 2017
Edward Cliffel
1939–2017
Our comrade Ed Cliffel died in Orlando, Florida, at the age of 78. At his side were his wife, Linda, and daughter Lauren. Also, two comrades were sent to be with him in his final hours. Ed had been in New York assisting Workers Vanguard and the central party leadership when he became gravely ill and had to be hospitalized. He died on September 23, only three weeks after a diagnosis of aggressive metastatic cancer.
Edward James Cliffel was born in Cleveland on 28 August 1939 and grew up in a working-class family. In a 2012 interview, recorded as part of a younger comrade’s oral history project aimed at preserving the experiences and knowledge of senior party cadre, he described his family’s politics as “right-wing Catholic” and anti-Communist. He was moved by the injustice of his father’s life—just working and sleeping—and thought the working class deserved better. In 1957, he enrolled at Case Institute of Technology but left two years later after getting involved in other pursuits—mainly politics but also playing bridge. Having worked as a postal worker for a year and a half, Ed then returned to education, eventually earning a master’s degree in psychology. His professional knowledge and understanding of people were invaluable to the party in many situations. His job was psychology, but Ed’s profession was communist politics.
Ed was a leader of our organization for nearly four and a half decades. He was elected an alternate member of the Spartacist League Central Committee (CC) in 1977. He was a member of the Central Control Commission from 1980 to 1983. He became a full CC member in 1983 and served in that capacity until his death. Ed became a full member of the International Executive Committee (IEC) of the ICL beginning in 1992. He took a hard stand in defense of Leninism on the national question in the fight leading up to our Seventh International Conference earlier this year (see Spartacist [English-language edition] No. 65, Summer 2017). He actively participated in that conference, even as he was recovering from open-heart surgery, and became a consultative member of the IEC.
Ed joined the party in 1973 as part of a fusion process between the Spartacist League and the Cleveland Marxist Caucus (CMC). At 34 years old, he was older than most of those we were recruiting at that time. While many of those who burned with revolutionary fervor during those tumultuous years of anti-racist and antiwar struggles soon returned to the more comfortable options available to them, Ed was steadfast in placing his life in the service of his communist convictions.
The Cleveland Marxist Caucus was a loose collective of friends and sometime cothinkers who were moving toward systematic study of Marxism. The political origins of the CMC members lay in the breakup of the New Left, coming individually from the Cleveland Students for a Democratic Society, the Movement for a Democratic Society and Weatherman. Other members came out of the Cleveland women’s liberation movement.
In this period, the SL and its youth organization had a number of regroupments with local New Leftist groupings that were studying Marxism and becoming convinced of the need for a revolutionary party. One of these was the Buffalo Marxist Caucus, which had ties with and strongly influenced the CMC. Our fusion with the Buffalo Marxist Caucus in November 1972 paved the way for winning Ed and other CMC members, including his lifelong friend and comrade, Corky.
Ed authored the article for WV that described the CMC’s roots and its process of fusion:
“The group’s definitive break with New Leftism, opening the door to development on the basis of Marxism, thus came from the piecemeal recognition that isolated sectors of the oppressed, organized around struggles for immediate needs, do not automatically come to socialist conclusions. The group’s illusions as to the revolutionary potential of the lumpenized ‘community’ dwindled as the destructive effects of lumpenization were realized. Such struggles do not spontaneously come together and unite in socialist revolution...but must be united behind the class struggle of the workers through the agency of a mass, working-class vanguard party.”
As a party member, Ed moved from Cleveland to New York in 1974. He played a leading role in the NYC local, including as education director, and wrote for the party press. Ed transferred to Chicago in March 1979 and, over time, became the central political leader of that local. A frequent and effective public spokesman, Ed was the SL’s presenter at a formal debate with the Chicago-based Sojourner Truth Organization in 1981 on “The Polish Events and the Russian Question.” The account in WV No. 275 (27 February 1981) includes extensive quotes from Ed’s remarks—he wiped the floor with his anti-Soviet opponent.
Comrade Ed possessed a keen understanding of the U.S. and its peculiarities, of the many ways in which black oppression has been and remains at the core of American history and political life. In a 1995 exchange with an official of the International Association of Machinists who defended the union bureaucracy’s chauvinist protectionism, Ed skewered the union tops:
“The class collaborationism of the union officialdom has sapped the organized strength of the working class. Nor is that all. The savage attacks on the living standards of working people and on the very ability of the poor and helpless to live, the slashing of health care at all levels, the McJobs and empty futures of youth, the rampant racist attacks and massive incarceration of blacks (a social agenda neatly fitting with that of the Ku Klux Klan) are, no less, the products of this treacherous collaboration. Those who you defend, with the bosses, have made this bed. Others, however, must sleep in it.”
— “Exchange on Boeing Strike,” WV No. 634, 1 December 1995
Ed was arguably WV’s best writer, and drafted many of our front-page articles. His prose was always eloquent and persuasive, drawing on a broad range of sources—from Shakespeare and the King James Bible to popular movies. He presented complex issues concisely and often with mordant humor. His knowledge was wide-ranging, as reflected in his incisive remarks in meetings and contributions to our internal bulletins.
To cite one example, Ed was instrumental in strengthening our programmatic understanding of the Chinese deformed workers state. In 1997, he initiated a discussion on a formulation that had appeared in Spartacist which defended “the right of independence for a Tibetan soviet republic.” Ed pointed out that there was no objective basis for an independent soviet Tibet, one of the most backward and inaccessible regions on earth. By offering such an illusory perspective, we were making a “curtsy toward ‘human-rights’-led counterrevolution,” i.e., the Tibetan “independence” movement of the Dalai Lama and his imperialist sponsors. Ed was right and was the author of an article correcting the line in the Spartacist piece. It was published in WV No. 695 (28 August 1998) under the headline “‘Free Tibet’: Rallying Cry for Counterrevolution in China.”
Ed was a presence, his booming laugh irresistible. He was a voracious reader of everything, from politics and history to science, poetry and literature, and enjoyed a wide range of music—classical, jazz, Sinatra, Meat Loaf. He thought outside the box and was one of the most creative, independent and critical Marxist thinkers in our party. Ed was always looking for political discussion and debate—usually over copious amounts of alcohol. His mind was brilliant and his spirit was kindly belligerent; his gusto for life was Falstaffian. He had a deep sense of the human condition. In his public political work, people of every background quickly opened up to him.
Ed’s death is a great loss to the ICL. It is an indescribable diminution of our collective knowledge, culture and political understanding. We extend our condolences to Linda, Ed’s companion for 45 years, and Lauren. Linda has told us that Ed used to say, “My one wish is to die a communist.” Indeed, Ed lived as he had wanted to and died with his boots on, in the trenches of the struggle for a communist future.
Memorial meetings for comrade Ed Cliffel are being organized in Chicago and New York. Please contact us for more information.
A View From The Left-Self-Determination and Socialist Revolution
Workers Vanguard No. 1119
6 October 2017
TROTSKY
LENIN
Self-Determination and Socialist Revolution
(Quote of the Week)
In many of his writings, V.I. Lenin emphasized that the fight of subjugated peoples against their national oppression was a necessary link in the struggle of the international working class for socialist revolution. Lenin’s intransigent fight for the self-determination of nations, that is, the right to separate and establish an independent state, was crucial for the Bolshevik Party in winning the confidence of the various nationalities imprisoned within the tsarist empire.
Not only the right of nations to self-determination, but all the fundamental demands of political democracy are only partially “practicable” under imperialism, and then in a distorted form and by way of exception (for example, the secession of Norway from Sweden in 1905). The demand for the immediate liberation of the colonies that is put forward by all revolutionary Social-Democrats is also “impracticable” under capitalism without a series of revolutions. But from this it does not by any means follow that Social-Democracy should reject the immediate and most determined struggle for all these demands—such a rejection would only play into the hands of the bourgeoisie and reaction—but, on the contrary, it follows that these demands must be formulated and put through in a revolutionary and not a reformist manner, going beyond the bounds of bourgeois legality, breaking them down, going beyond speeches in parliament and verbal protests, and drawing the masses into decisive action, extending and intensifying the struggle for every fundamental democratic demand up to a direct proletarian onslaught on the bourgeoisie, i.e., up to the socialist revolution that expropriates the bourgeoisie....
Increased national oppression under imperialism does not mean that Social‑Democracy should reject what the bourgeoisie call the “utopian” struggle for the freedom of nations to secede but, on the contrary, it should make greater use of the conflicts that arise in this sphere, too, as grounds for mass action and for revolutionary attacks on the bourgeoisie.
—V.I. Lenin, “The Socialist Revolution and the Right of Nations to Self-Determination” (January-February 1916)
Once Again On The - 75th Anniversary Of Humphrey Bogart and Ingrid Bergman’s “Casablanca” -
By Bart Webber (October 2017)
I have spent much ink this year starting almost at the beginning of the year writing about the classic black and white film Casablanca a staple at every retro-film locale including the Brattle Theater in Cambridge, Massachusetts where I first saw it with a “hot date” back in the late 1960s. “Hot date” in those days for those not around then or who have forgotten (shame on you) in the female department being a gal who wore short dresses (mini-skirts being a heavy fashion sea-change brought over I think by the English rock invasion which in any case replaced the severe stiff collared shirt and long flouncy, I guess that is the right word, skirt of earlier high school times) and long hair. Long hair also something of a sea-change brought not from over the ocean deeps but locally by imitation of folk-singing icon Joan Baez among the folk set which I was hung up on. (Many a young woman with less than candid straight hair had told me that she spent not a few hours “ironing” her hair to perdition to get that cool “look”)
More important than the skirt-hair combo attached to the folk scene aficionado-hood a date who did not mind going on a cheap date (hell the theater admission was about a dollar maybe two so there was something left over for the obligatory popcorn) when I told her what film we would be seeing. (That cheap movie date acceptance usually having already having been charted by a first or second date Harvard Square coffeehouse date where for the price of two long sipped cups of coffee and a shared pastry you could sit and talk to while away the night, sometimes depending on the night accompanied by some rising folk singer working out his or her performance kinks playing for the “basket” passed through the audience.)
Now I am talking about Casablanca but when the Brattle did a retro usually there were twelve to twenty films in the repertoire almost all of which I would have either seen in my youth with my old friend Sam Lowell, who later became a film critic for a bunch of alternative newspapers like back in the day like The Rolling Stone, or by myself on Saturday afternoon double feature days at the Strand Theater in North Adamsville where we grew up. The young woman in this Casablanca scenarios and maybe others as well somehow had asked her mother who had been there on the first run about the film and so was intrigued about this hot on-screen romance during wartime between Rick and Ilsa. I am sure the mother young and in love with some departed soldier boy ready to go to Europe or the Pacific to do battle against that age’s night-takers filled her head with all the classic expressions and all the intimate moments when the two wartime star-crossed lovers had to go their separate ways reflecting just a bit her own concerns. Maybe she couldn’t explain the twenty some years after tear in her eye when reciting the plotline to that young daughter but she must have reflected on that line “We’ll always have Paris” dovetailing with her own broody thoughts back then.
Here’s what was really nice about that particular date and I may have owed it all to the film (and a mother’s reflections too not recognized at the time. That movie coupled with a quick after film stop at equally cheap Harvard Square Hayes Bickford for coffee (always an iffy proposition depending on when the stuff was brewed also iffy) and some kind of pastry that had been sitting on the stainless steel dessert shelves for who knows how long got me away without having to call “Dutch treat.” (Of course going to a local coffeehouse for coffee and pastry was out of the question once the gold bars had been spent on the movie and that mandatory popcorn.) The Hayes in those days not only a waystation for winos, the homeless and friendless and con artists but a place where rising folk-singers and their hangers-on hung out on the cheap.
Naturally that Hayes-Bickford coffee take in led to a play by play recording of her and my takes on the film. Maybe naturally as well from a viewing perspective the conversation turned into a guy-gal thing me thinking about the resistance action parts and she with the romance lingering fragrance. I remember I concentrated on Rick Blaine’s moving off dead-center “a curse on both your houses” I ain’t doing nothing for nobody approach at the beginning of the film to his giving up his life’s love for the cause of fighting the night-takers one more time.
The key to me was that Rick was not just some grumbling ex pat stuck in Casablanca trying to get over a broken love affair but that he had a past, a good past, as we find out when he is introduced to the Germans come to check on the Vichy French and they seem to know all about his past (including the color of his eyes). Rick had smuggled guns to the Ethiopians during the Italian invasion and fought for the Loyalist side in Spain so he had no love lost for the German night-takers when they showed up in Casablanca to keep that eye on their Vichy French collaborators. Moreover even as an American in Paris where he had met and fallen in love with Ilsa when the Germans were ready to come marching into Paris it was no accident that he (and he assumed love Ilsa) had to get out of Paris quickly before they had a chance to pick him up. So his later actions, his so-called “gesture for love” giving those damn letters of transport away gratis made more sense.
Of course that gal, that Mary Beth to finally give her a name, came back at me on that “gesture of love” business which she felt I had expressed kind of sarcastically when she pointed out that Rick’s new found interest in life, in being more than a “saloon-keeper,” a “gin-joint operator” and a drunk and womanizer all changed when spring flower Ilsa showed up at his doors. Mary Beth honed in on the scene where after first being re-introduced to Ilsa and introduced to the legendary Lazlo and after castigating his longtime employee Sam for playing the sentiment “their” song he gets good and drunk and starts thinking about those Paris days. From that point on he comes alive, starts to think about him and Ilsa high-tailing it. When that came to nothing, when he saw that the troubles of three people in a big old world turning in on itself he made the fateful gesture-and committed to the struggle. So just as naturally as going to the Hayes-Bickford to chat about the film we agreed to disagree and leave it at that.
But got me as well another six months of very nice dates so my memories of that gorgeous film with the six million quotable and unforgettable lines from “play it again, Sam” (Ingrid Bergman as Ilsa request to Humphrey Bogart Rick’s main entertainment provider Dooley Wilson to play the sentimental As Time Goes By) to that “We will always have Paris” (when Rick responds to Ilsa’s bewilderment that he is letting her take that last plane to Lisbon with those wicked blood-stained letters of transit provided by him to her husband Czech liberation leader Victor Laszlo so he can continue to do his work against the night-takers running the world in those days) are still pristine.
As we commemorate the 75th anniversary of that premier of that film I am not the only one who is crazy for this movie since I am enclosing a link to an interview done by Terry Gross on her Fresh Air show on NPR with film historian Noah Isenberg on the making of the classic Hollywood film in his new book, We'll Always Have Casablanca. " Needless to say when I get my greedy little hands on that item I will be reviewing it in this space. This guy has me and even know it all Sam Lowell who knows a lot about all the characters particularly the fate of Paul Henreid l beaten six ways to Sunday with what he knows about that film. Kudos.
When Legendary Bank Robber Pretty James Preston Made The Bankers Squeal-And All The Women Sweat-With Bruce Willis, Billy Bob Thornton And Cate Blanchett’s “Bandits” (2001) In Mind-A Special Guest Commentary
By Special Guest Scott Allen, contributing editor North Adamsville Ledger
Bandits, starring Cate Blanchett, Billy Bob Thornton, Bruce Willis, 2001
The legendary Pretty James Preston, bank robber, solo bank robber, would have had the so-called “Sleep-over bandits,” Terry and Joe, a couple of cons, a couple of holy goofs really, masquerading as bank robbers in the film Bandits, for lunch and had time for a nap. And I am just the guy who knows that hard fact for after all I was the guy who put together the legend, wrote up Pretty James’ exploits right up until the end. See I was nothing but a young cub reporter, a clog in the back- room police beat death march for the heralded North Adamsville Ledger in the 1970s when Pretty James was robbing, arms in hand, every bank and department store not entombed in concrete around Eastern Massachusetts when I saw my chance for a by-line in maybe the Boston Globe, maybe television. anything but that stinking police backroom that smelled of stale coffee and staler donuts. My “in” was that I knew Pretty James in high school and once I connected with him, once he knew he could trust me as far as he could trust anybody I became essentially his publicity flak, his press agent to make that legend that he always craved deep down inside. Don’t get me wrong Pretty James wanted the dough, and plenty of it fast and easy but that legend business was never far below the surface when we would meet in downtown Boston across from the JFK Federal Building which he insisted on to put a thumb in the government’s eye just for kicks, because he could do the deed.
(By the way Pretty James’ mode of operation, modus operandi okay, was always to show plenty of firepower when on a job. One night over beers at Shacky’s he told me that was the only thing, other than surprise, that will keep everybody afraid to breathe, including bank guards and department store security. Somehow he got some M-16s, AR-15s which are semi-automatic assault rifles they used in Vietnam where they were not worth crap, would jam up in the mud, and would go into with one in every hand. Although people still don’t believe it thinking I made it up as part of the Pretty James legend on an early job he did actually fire the guns, in the air, after he left the building just to prove that he was willing to do what was necessary to get the dough-easy or hard. For a long time, almost ten years he never had to do any more shooting, so he probably was right to “show the colors” early on. All I did was verify with a witness on the street that he had fired the weapons when I did my report on the action, nothing more.)
In lots of ways touting Pretty James was a piece of cake, easy once he started consulting me, always theoretically to be sure, about what actions would draw some attention to him, what the world wanted from a lone gunman essentially in the days when bank robbing still had some cache. Pretty James had plenty of advantages-one being that he was a stone-cold bank robber whose instincts until the end were unerring, knew what would draw and what would not. Big granite-etched banks which in those days of symbolic show were pictures of safe harbors for a depositor’s money were prime targets. As the banking industry went suburban, went to cheapjack trailers and small storefronts they were not although as Pretty, lets’ just call him Pretty from here on in to save space since you know who I am talking about, kept telling me even I could stick-up, his term, half of them. When he decided to vary up his game and hit department stores he avoided the ones that had kids’ clothes and toys as too dangerous while, as will become apparent in a minute a women’s clothing store was the cat’s meow. Hell, some women, and I still have my notes and still have my disbelief would go shopping just to see if Pretty was going to hit their shopping spree place that day. As already noted, better unlike Terry and Joe who were something out of the late Jimmy Breslin’s The Gang That Couldn’t Shoot Straight worked alone, didn’t have to deal with informers who got caught, sharing plans that might go awry-or the dough. Even better, from a commercial legend point of view and a newspaper’s as well Pretty went into the bank or store in broad daylight with no ruse just plenty of nerve and firepower. He could lead off the late edition or the 6 o’clock news and jump ratings. Best of all he really was “pretty” a wiry good- looking guy in the mold of the bad-ass biker criminal that Nick Nolte and Eddie Murphy chased in 48 Hours so all the women would sweat over him, and in the real contact cases cover him and hide him out. I remember in high school girls who were supposed to be social butterflies, who were on the top of the totem pole, who wouldn’t dream of even noticing a low-rent biker were known to show up at Pretty house and get taken whatever way they wanted. You didn’t go to Pretty’s at midnight for anything else but to curl his toes. Sweet.
Sure, I will get to the two deadbeat amateur bank robbers Terry and Joe, along with their collective squeeze, their so-called hostage, Kate and how they took a page from the late George V. Higgins’ The Friends of Eddie Coyle caper that Jimmy Skaggs started way back when grabbing the bank manager and holding his or her family hostage while they brought the manager to his little bank and grabbed the cash-no sweat. The only thing they did, a variation if you will, was grab the bank personnel the night before. Big deal. But first let me explain how I worked my Pretty legend magic once I got his go ahead.
Every reporter, hell, maybe everybody who can write more than a sentence or two knows that half, maybe more, of what you put out in print, in behalf of making a legend is pure bullshit, crap. Here is what most of those who can write don’t know though people, the great unwashed masses, lead such dull existences that they will believe almost all of what they read or heard about-if it makes them feel good, if they connect. Like I said I already had a running start with the women, young and old as it turned out because of Pretty’s looks to make the clincher though I needed the guys. I will say that Pretty, determined, single-minded Pretty, was hard on his women, those who protected him, and those who wanted to. I won’t say at this late date he was a “love them and leave them” guy but he surely was no hearts and flowers to the ladies guy, except that last gal, that Sally something and here I will be on safe ground not giving a last name because even a “simp” knows that once she blew town she changed that moniker more than once. Toward the end I would get letters from some disheartened women who tried to protect Pretty, hide him out and while none of them finked on him to the coppers they also didn’t think he was that great in the sack, seemed preoccupied with the next hit, the next target, what it would take to keep the trail hot. That is when I knew I would have to double-down on his reputation, advise him a little to get even more daring with his exploits.
I played the old Robin Hood gag that writers have been using forever-taking from the rich and giving to the poor. What a laugh if you knew Pretty. Maybe he left a fifty- cent tip for some diner waitress he was looking to screw, looking to have play his flute as he called it, but the guy was nothing but a self-indulgent fool, would go through the dough living high off the hog at the Ritz for months at a time with a different woman, maybe two, every night, stuff like that. But giving dough away was not his thing, he told me so flat-out and I kind of knew from my own family that he hungered for a lot of things he didn’t have as kid. I made his giving a hundred here, two hundred there to his women like charity with a little twist of paying off the whole of Babylon thrown in. Pretty never paid for his women, never paid for sex and you can believe than, huh, take it to the bank. I had him giving dough to the families of those in “the projects” over in Adamsville where he grew up and also to the Sacred Heart Church where he went once, maybe twice as a kid. Pure gold, although don’t go to either location looking for examples of how much he gave to anybody. Zilch. Still an easy sell especially once he branched out into an occasional department store heist and people would be waiting in line, especially older women, older meaning then in their thirties, maybe with a couple of kids, a tired ass of a husband and a bleak future to see if he was going to show up and rob that place that day and maybe they would get some of his largesse.
That is the public bullshit, the crap for public consumption but go back a bit to where I described Pretty as a stone-cold bank robber, a guy who robbed whatever he robbed in broad daylight, armed to the teeth and taking no prisoners as the saying goes. I don’t know if Pretty knew about Willie Sutton, an early famous bank robber who was credited with the observation when asked later about why he robbed banks-that is where the money is. I never mentioned Willie or his observation you don’t crowd one legend with tales of another, especially if you are tasked with making the new guy’s up but Pretty went after the dough with something like that kind of concentration to get the dough. A few people, a few heroes who tried to stop him took the fall and early on I used the old gag that being a hero was for cops and professionals leave Pretty alone, get out alive. In the end though I couldn’t save him “rep” when on that last caper, the big Granite National Bank job over in Braintree he wasted four customers who tried to rush him after a silly bank guard who thought the bank’s money was his or something took a shot at him and Pretty unloaded. Ran into the streets, they say he was looking down the block, looking for that Sally who had his ride, or maybe that is the way I wrote it was gunned down in a hail of bullets. That Sally never did surface, never contacted me in any way to give her side of the story but I like to think for one fucking time in his too short life Pretty tried to protect somebody by taking those slugs without a murmur. Maybe that is why she never peeped to me. Never did get that Globe job though. Yeah, Pretty was a piece of work while he lasted.
Now to the holy goofs, the Sleepy Hollow Bandits or whatever they called themselves who have given me something to whale on courtesy of site manager Greg Green who took Seth Garth’s advice and hired me to do this one-shot special guest reviewer job. I didn’t know Seth then back when Pretty was tearing up the place but met him later when he mentioned that he had read everything I had written about Pretty being a hometown North Adamsville boy. He is the one who encouraged me to tell the tale about a real bank robber not some misplaced schoolboy antics which went out with Bonnie and Clyde. And I have but part of the deal was to tell what was seriously wrong with the legend these dopes Terry and Joe were trying to put together.
You already know about their stealing Jimmy Skaggs’ playbook move to ease the way on getting into the bank. That though was old even back in the 1970s because the coppers through an informer, the guy who sold Jimmy’s guys the guns, were able to wrap that caper up without a muss or fuss. The worst thing though was maybe the guys had heard of Willie Sutton, its hard to say because their first freaking bank robbery was done without plan, without thinking things through and Pretty would tell you, Willie too, you need a plan, plan, plan plan, especially if you are going to last for ten years like Pretty did without catching day one of jailtime. I won’t even go into the double-dipping, actually triple-dipping since they had a third guy as a driver to split the dough with. Pretty would have freaked big time on that shares stuff. He told me once he actually took a cab from a bank robbery scene in Stoughton, the car was across from the bank, he got in, where to and that was it. Gave the cabbie ten bucks and thought he was a great guy for doing so. His haul one hundred thou not bad for a day’s work minus that ten bucks. (I was always careful about how much the bank takes were since it was in the coppers and banks’ interest to jack up the take to make the “perp” look harder than he was and for the bank to grab some easy fed insurance money. I also took a skeptical eye to whatever Pretty said his haul was since in the interest of his legend he might jack up the heist price. On the Stoughton caper, for example, the take was fifty thou not one hundred so maybe that ten bucks to the cabbie really was big to Pretty)
You know how hard Pretty was on his women, except maybe that last one, mainly us them to hide him out, fuck them and then move on, no strings around him, no revealing plans or ideas. The cardinal sin of these holy goofs, this Terry and Joe comedy act if you think about it was grabbing that weirdo Kate, not because she wasn’t a good-looking little redhead but because when you throw a woman in the mix you get nothing but trouble with a capital “T.” You know this Kate stirred both men, and she played them on that seesaw. Got them crazy for no good reason. Let me tell you what Pretty told me about the one time he thought about taking a woman along, some twist he met at a gin mill in New York while he was on “vacation.” She was maybe nineteen and build for trouble, big trouble if a guy let himself get involved with her. Well Pretty did for a while. Got hot as nails for her. Decided that he needed a look-out (probably what he expected Sally to do on that last doomed caper I don’t know since the last time I saw him was in a morgue) and so he brought the twist along. When showtime came she vanished, went long gone and the caper depended on that look-out job she was supposed to perform since this bank was across from a police station. He barely got out alive with twenty-five thou (actually ten and some change) and never went that route again. You know I could go on and on about these goofs, about Pretty but you can see by now that Pretty would have had them for lunch. Maybe dinner too.
Our Lady Of The Mountain-With Hazel Dickens In Mind
By Zack James
Jack Callahan caught the folk minute bug when he was in high school in his hometown of Carver back in maybe 1961, 1962 he was not sure now exactly which with the elapse of almost sixty years and his memory not what it once had been. Knew it could not be before that since Jack Kennedy, of his own clan and brethren was President then so 1961 would be the earliest. Caught that bug after having heard some songs that held him in thrall over a fugitive radio station from Rhode Island, a college station, that every Sunday night would have a two hour show called Bill Marlowe’s Hootenanny where he, Bill Marlowe, would play all kinds of songs. Songs from the latest protest songs of the likes of then somewhat unknown but soon to explode onto scene as the media-ordained king of folk Bob Dylan and sullen severe Phil Ochs to old country blues, you know, Son House, Skip James, Bukka White, and above all Mississippi John Hurt who were “discovered” and feted by adoring mostly white urban college students who had a famous “king of the blues’ shoot-out one year down at the Newport Folk Festival to Bob Wills and Milton Brown Western Swing and everything in between. A fast paced glance at a very different part of the American songbook from which he knew either from his parent’s dreary (his term) 1940s Frank Sinatra-Andrews Sisters-Inkspots material to budding rock and roll. What got to Jack, what caused him to pay attention though was the mountain music that he heard, things like East Virginia, Pretty Polly and his favorite the mournful Come All You Fair And Tender Ladies sung by Linda Lane, a now forgotten treasure of a singer from deep in the Tennessee hills somewhere whose voice can still haunt his dreams.
Now this adhesion to folk minute was quite by accident since most Sunday nights if Jack was listening to anything it was Be-Bop Benny’s Blues Hour out of WNAC in Chicago where the fix was on for the electric blues and rhythm and blues that were the precursors of that rock which would be the staple of his early musical tastes (and reaction to that parent’s dreary 1940s music but that story has been told elsewhere and this is about mountain music so forward). Usually in those days something had gone awry or some ghost was in the air in radio wave land, classmate Irwin Silver the science wiz of his school tried to explain it one day but he never really caught the drift of the science behind it, and he had caught that station and then the Rhode Island Station, WAFJ. Although he was becoming something of an aficionado of blues just then and would become something of a folk one as well his real love then was the be-bop classic rock and roll music that was the signature genre for his generation (and again for those who missed the point the bane of his parents). He never lost the love of rock or the blues but he never went all out to discover material he had never heard before like he did with mountain music.
One summer, this was 1964 he thought, while he was in college in Boston, he had decided rather than a summer job he would head south down to mountain country, you know West Virginia, Kentucky maybe rural Virginia and see if he could find some tunes that he had not heard before. (That “no job” decision did not set well with his parents, his poor parents who both worked in the local industry, the cranberry bogs, when that staple was the town’s claim to fame so he could go to college but that is a story for another day). Now it was not strange in those days for all kinds of people, mostly college students with time on their hands, archivists, or musicians to travel down to the southern mountains and elsewhere in search of authentic American music by the “folk.” Not professional archivists like Pete Seeger’s father, Charles, or the Lomaxes, father and son, or inspired amateurs like Harry Smith from earlier times but young people looking for roots which was a great occupation of the generation that came of age in the 1960s in reaction to their parents’ generation trying might and main to favor vanilla Americanization, golden age modernization and forget the hunky, dusty, dirty immigrant pasts. (A sad admission in an immigrant country except for those indigenous peoples who ground we stand on today making no discrimination between sacred or profane land, or mocking those distinctions. Sadder today when vast tracts of people are being denied access to their sacred and profane lands down along the gringo-imposed southern American border and working the northern ones now too. But that story too is for another day.)
A lot of the young, and that included Jack who read the book in high school, had first been tuned into Appalachia through Michael Harrington’s The Other America which prompted them to volunteer to help their poor brethren. Jack was somewhat animated by that desire to help but his real purpose was to be a gadfly who found some hidden trove of music that others had not found. In this he was following the trail started by the Lally Brothers, a local Boston folk group who were dedicated to the preservation of mountain music and having headed south had “discovered” Buell Hobart, the lonesome fiddler and had brought him north to do shows and be acclaimed as the “max daddy” of the mountain world.
Jack had spent a couple of weeks down in Kentucky after having spent a couple of weeks striking out in West Virginia where, for a fact, most of the rural folk were either rude or suspicious of his motives when he inquired about the whereabouts of some old-time red barn musicians he had read about from outside Wheeling. Then one night, one Saturday night he found himself in Prestonsburg, down in southeast Kentucky, down in coal country where the hills and hollows extent for miles around. He had been brought to that town by a girl, a cousin of his high school friend Jimmy Jenkins who was later killed in hellhole Vietnam on his father’s side from back home in Carver. Jimmy had told Jack to look her up if he ever got to Hazard where his father had hailed from and had lived before World War II had driven him to the Marines and later to love of his mother from Carver.
This girl, a pretty girl to boot, Nadine, had told Jack that mountain music had been played out in Hazard, that whatever legends about the coal wars and about the music had long gone from that town. She suggested that he accompany her to an old-fashioned red barn dance that was being held weekly at Fred Brown’s place on Saturday nights on the outskirts of Prestonsburg if he wanted to hear the “real deal” (Jack’s term). That night when they arrived and paid their dollar apiece jack saw a motley crew of fiddlers, guitar player, and a few of what Nadine called mountain harps.
The first half of the dance went uneventfully enough but the second half, after he had been fortified with what the locals called “white lightning,” illegal whiskey, this woman came up to the stage after being introduced although he did not for some reason remember her name at first, maybe the sting of the booze and began to play the mountain harp and sing a song, The Hills of Home, that had everybody mesmerized. She sang a few other songs that night and Jack marveled at her style. When Jack asked Nadine who that woman singer was she told him a gal from “around those parts” (her expression) Hazel Dickens and wasn’t she good. When Jack got back to Boston a few weeks later (after spending more time with friendly Nadine in that searching for mountain music) he contacted the Lally Brothers to see if they could coax her north for college audiences to hear. They did so although Hazel initially was fearful of coming north to what she thought was a crime-ridden black plague city but which turned out since she was to play at Harvard’s Memorial Hall an ivy-covered sanctuary which she would visit several times later in her career and recognize as the start of her break-out from the hills and hollows of home to a candid world. That was Jack Callahan’s small proudly boasted contribution to keeping the mountain music tradition alive. For her part Hazel Dickens did before she dies several years ago much, much more to keep the flame burning.
Once Again On The - 75th Anniversary Of Humphrey Bogart and Ingrid Bergman’s “Casablanca” -
By Bart Webber (October 2017)
I have spent much ink this year starting almost at the beginning of the year writing about the classic black and white film Casablanca a staple at every retro-film locale including the Brattle Theater in Cambridge, Massachusetts where I first saw it with a “hot date” back in the late 1960s. “Hot date” in those days for those not around then or who have forgotten (shame on you) in the female department being a gal who wore short dresses (mini-skirts being a heavy fashion sea-change brought over I think by the English rock invasion which in any case replaced the severe stiff collared shirt and long flouncy, I guess that is the right word, skirt of earlier high school times) and long hair. Long hair also something of a sea-change brought not from over the ocean deeps but locally by imitation of folk-singing icon Joan Baez among the folk set which I was hung up on. (Many a young woman with less than candid straight hair had told me that she spent not a few hours “ironing” her hair to perdition to get that cool “look”)
More important than the skirt-hair combo attached to the folk scene aficionado-hood a date who did not mind going on a cheap date (hell the theater admission was about a dollar maybe two so there was something left over for the obligatory popcorn) when I told her what film we would be seeing. (That cheap movie date acceptance usually having already having been charted by a first or second date Harvard Square coffeehouse date where for the price of two long sipped cups of coffee and a shared pastry you could sit and talk to while away the night, sometimes depending on the night accompanied by some rising folk singer working out his or her performance kinks playing for the “basket” passed through the audience.)
Now I am talking about Casablanca but when the Brattle did a retro usually there were twelve to twenty films in the repertoire almost all of which I would have either seen in my youth with my old friend Sam Lowell, who later became a film critic for a bunch of alternative newspapers like back in the day like The Rolling Stone, or by myself on Saturday afternoon double feature days at the Strand Theater in North Adamsville where we grew up. The young woman in this Casablanca scenarios and maybe others as well somehow had asked her mother who had been there on the first run about the film and so was intrigued about this hot on-screen romance during wartime between Rick and Ilsa. I am sure the mother young and in love with some departed soldier boy ready to go to Europe or the Pacific to do battle against that age’s night-takers filled her head with all the classic expressions and all the intimate moments when the two wartime star-crossed lovers had to go their separate ways reflecting just a bit her own concerns. Maybe she couldn’t explain the twenty some years after tear in her eye when reciting the plotline to that young daughter but she must have reflected on that line “We’ll always have Paris” dovetailing with her own broody thoughts back then.
Here’s what was really nice about that particular date and I may have owed it all to the film (and a mother’s reflections too not recognized at the time. That movie coupled with a quick after film stop at equally cheap Harvard Square Hayes Bickford for coffee (always an iffy proposition depending on when the stuff was brewed also iffy) and some kind of pastry that had been sitting on the stainless steel dessert shelves for who knows how long got me away without having to call “Dutch treat.” (Of course going to a local coffeehouse for coffee and pastry was out of the question once the gold bars had been spent on the movie and that mandatory popcorn.) The Hayes in those days not only a waystation for winos, the homeless and friendless and con artists but a place where rising folk-singers and their hangers-on hung out on the cheap.
Got me as well another six months of very nice dates so my memories of that gorgeous film with the six million quotable and unforgettable lines from “play it again, Sam” (Ingrid Bergman as Ilsa request to Humphrey Bogart Rick’s main entertainment provider Dooley Wilson to play the sentimental As Time Goes By) to that “We will always have Paris” (when Rick responds to Ilsa’s bewilderment that he is letting her take that last plane to Lisbon with those wicked blood-stained letters of transit provided by him to her husband Czech liberation leader Victor Laszlo so he can continue to do his work against the night-takers running the world in those days) are still pristine.
As we commemorate the 75th anniversary of that premier of that film I am not the only one who is crazy for this movie since I am enclosing a link to an interview done by Terry Gross on her Fresh Air show on NPR with film historian Noah Isenberg on the making of the classic Hollywood film in his new book, We'll Always Have Casablanca. " Needless to say when I get my greedy little hands on that item I will be reviewing it in this space. This guy has me and even know it all Sam Lowell who knows a lot about all the characters particularly the fate of Paul Henreid l beaten six ways to Sunday with what he knows about that film. Kudos.
All The Liquor In Costa Ricah-With The Max Daddy Blues Guitarist Taj Majal In Mind
By Zack James
Seth Garth the old time music critic for the now long gone alternative newspaper The Eye who had followed all the trends in the folk world in the old days once his friend from high school, Jack Callahan, had turned him on to the genre after having heard some mountain music coming on high via the airwaves from a fugitive radio station one summer Sunday night still was interested in what was left of that world. More importantly who was still left still standing from that rough-hewn folk minute of the early 1960s. An important part of that interest centered on who still “had it” from among those who were still standing.
That was no mere academic question but had risen quite sharply in the early part of 2002 when Seth, Jack and their then respective wives had attended a Bob Dylan concert up in Augusta Maine and had come away disappointed, no, more than disappointed, shocked that Dylan had lost whatever voice he had had and depended increasingly on his backup singers and musicians. Dylan no longer “had it.” Both agreed that they would have to be satisfied with listening to the old records, tapes, CDs, and YouTube on sullen nights when they wanted to hear what it was like when men and women played folk music, protest and meaningful existence folk music, for keeps.
That single shocking event led subsequently to an earnest attempt to attend concerts and performances of as many of the old-time folkies as they could find helter-skelter before they passed on. The pair have documented elsewhere some of those others some who have like Utah Phillips and Dave Van Ronk have subsequently passed on. But one night recently, a few months ago now, they were discussing one Taj Majal (stage name not the famous wonder of the world mansion, building, shrine, mausoleum whatever it is in India) and how they had first heard him back in the day in anticipation of seeing him in person up at the great concert hall overlooking the harbor at Rockport.
Naturally enough if you knew Seth and Jack they disagreed on exactly where they had first seen him after Jack had hear him do a cover of the old country blues classic Corrina, Corrina on that fugitive folk program out of Rhode Island, WAFJ. Seth said it was the Club 47 over in Harvard Square in Cambridge and Jack said they had gone underground to the Unicorn over on Boylston Street in Boston. Of course those disputes never got resolved, never got final resolution. What was not disputed was that they had both been blown away by the performance of Taj and his small backup band that night. His blues mastery proved to them that someone from the younger generation was ready to keep the old time blues tradition alive, including playing the old National Steel guitar that the likes of Son House and Bukka White created such great blues classics on. The highlight that night had been The Sky Is Crying which has been covered by many others since but not equaled.
The track record of old time folkies had been mixed as one would expect as the shocking Dylan experiences pointed out. Utah Phillips by the time they got to see him at the Club Passim in Cambridge had lost it, David Bromberg still had it for two examples. The night they were discussing and disputing the merit of Taj’s case both agreed that he probably had lost it since that rough-hewn gravelly voice of his had like Dylan’s and Willie Nelson’s taken a beating with time and many performances. Needless to say they should not have worried (although they did when old be-hatted Taj came out and immediately sat down not a good sign for prior experiences with other old time performers) since Taj was smokin’ that night. Played the old Elmore James Television Blues on the National Steel like he was about twenty years old. Did his old version of Corrina proud and his version of CC Rider as well. Yeah, Taj still had it. But if you don’t believe a couple of old folkies and don’t get a chance to see him in person out your way then grab this album Shoutin’ In Key from the old days and see what they meant. Got it.
Mix and Mingle Among The Mayfair Swells-Jane Austen’s “Love and Friendship” (2016)-A Film Review
DVD Review
By Senior Film Critic Sandy Salmon
Love And Friendship, starring Kate Beckindale, Xavier Samuel, based on the novella Lady Susan by Jane Austen, 2016
Damn my old friend and former colleague at American Film Gazette Sam Lowell whom I replaced as film critic at this site although occasionally writes some “think” pieces now that he is no longer under any deadline. His damnation centers on the tendency that he had when he got interested in a type of film or an author/writer and do a “run” based on that interest (still does so when writing about film noir which he been doing a slow moving “run” B-grade noirs on recently). Over the many years I have known him I also seemed to have picked up the habit. The habit in the present case being taking a “run” at various films based on Jane Austen’s novels and other works after having viewed the film The Jane Austen Book Club. Well we are going down that trail once again with the film adaptation of her early work Lady Susan using the title of another Austen work Love and Friendship.
The scheme in Book Club was to take a modern book club membership and develop the plot of the film around the similarity of relationships among them to those in Austen’s six major novels. No question that one Jane Austen was an astute observer of the social mores and ethos of the later 18th century, early 19th century English country gentry, a strata of society which if it didn’t have the prestige of the upper nobility nevertheless owned the vast tracts of land and controlled the doings of the Parliament in those days that made the kingdom work. Here dear Jane looks at the mating rituals of that country gentry whose members were always in the end driven by the need to avoid dropping down the social ladder. That is most definitely the concern of the lead character Lady Susan, played by Kate Beckindale, whose aim is just that desire to avoid dropping down in her circumstances-and because inheritance is everything just look at the obtuse Common Law provisions that of her daughter.
Let the games begin. Bring a scorecard. Lady Susan is on the rebound having been tossed out of one manor for going toe to toe with the lord of said manor. So off she goes to the country estate of her brother-in law and wife with her lady companion to see what she can dig up to restore her diminished sources. Before long she has that brother-in-law’s wife’s brother, Reginald played by Xavier Samuel, eating out of her hand despite himself (despite knowing that she is in modern language a “tramp”). But his/their father said no way, forget it. Still that brother is not so easy to convince of milady’s sullen sooty character and things look like he will be snagged.
Then all hell breaks loose Lady Susan as it turned out was still going toe to toe with that randy lord and his wife found out about it through a letter delivered by Reginald. The long and short of it is that Lady Susan was forced to call off her relationship with promising Reginald although that is not the last we will see of him. Enter Lady Susan’s daughter Frederica along with a goof companion Sir James Martin. Once Reginald sees Frederica they quickly become an item and goof Sir James is left empty-handed. Well not quite since on the rebound and fiercely committed to her own cozy future she picks up Sir James. All’s well that ends well. With this scenario it is a wonder that Britain was able to rule the world for as long as it did. Hey, what do you think maybe it was because of it.
