Thursday, September 03, 2015

Lessons from 20th Century Alabama's Black Communists for Black Lives Matter

Lessons from 20th Century Alabama's Black Communists for Black Lives Matter

On the 25th anniversary of the groundbreaking history, Hammer and Hoe, author Robin D.G. Kelley discusses the lessons Alabama’s forgotten black communists can offer today’s activists.
Robin D.G. Kelley
August 31, 2015
A sharecropping family.
https://www.jacobinmag.com/2015/08/alabama-hammer-and-hoe-robin-kelley-communist-party/
When historian Robin D. G. Kelley began work in the 1980s on what would become his classic work of radical history, Hammer and Hoe: Alabama Communists During the Great Depression, he was surrounded by activism. There was an uprising against police violence in Liberty City, Florida; multiracial coalitions propelled Harold Washington to the mayor’s office in Chicago; and the presidential campaign of Jesse Jackson was gathering steam. As a young activist and campus organizer, Kelley was part of the movement that pushed the University of California system to divest from its holdings in South Africa, but he was also discovering a tradition of black radical organizing closer to home—that of the Communist Party in Alabama.

Kelley’s dissertation on that subject became Hammer and Hoe, a book that explores what might have seemed to be a fairly esoteric topic yet offered lessons that activists have been drawing on for twenty-five years. Throughout that time, the book has remained in print, winning awards and, more important to Kelley, a place in the hearts and strategic thinking of decades of young organizers struggling with the questions of race, gender, class, and solidarity.
 
In Hammer and Hoe, Kelley details in wonderfully vivid prose how black workers in Alabama made communism their own, blending the teachings of Marx and Lenin with those of the black church and the lessons of decades of resistance to slavery, segregation, and racist terrorism. They were sharecroppers and domestic workers, relief recipients and factory workers. They were men and women who had been denied access to “skilled” positions so that white men could take the jobs instead, and, through those experiences, had found their way to a radicalism that was international in scope but deeply local in practice.
 
Those Alabama communists, Kelley notes, did not see their struggles for voting rights as separate from their struggles against economic exploitation by property owners, factory bosses, or the ostensibly progressive leaders of an unequal New Deal order. To be able to fight either of those struggles they had to challenge the racist terror of the Ku Klux Klan, often in collusion with the police, and to escape the clutches of a criminal legal system that locked up and executed black people based on the thinnest shreds of evidence. The trials of the Scottsboro Nine are in Hammer and Hoe, but so are the stories of many people who have been forgotten, who dared to stand up to injustice and paid with their lives.
 
This summer, the University of North Carolina press published an updated, 25th-anniversary edition of the book. With a nod to the present moment, this edition comes with a new preface and a dedication to the young activists of recent years, whose fights against austerity, racism, militarism, and capitalism itself have echoed, consciously or unconsciously, the struggles of Kelley’s subjects.
Kelley is currently the Gary B. Nash Professor of American History at UCLA. He sat for an interview with The Nation Sarah Jaffe over this summer. Their conversation has been edited for length and clarity.
Sarah Jaffe: You write in the new preface that more people have reached out to you about this book than any other in the past few years. Why do you think that is?
Robin Kelley: The book does a few things that interest readers today. It is about a radical social movement that really was trying to shift the paradigm—it wasn’t about making better reforms, it wasn’t operating within the Democratic Party—in a very unlikely place like Alabama, where the conditions of repression were so enormous. [In doing so], it links two [contemporary] movements that we now think of as separate. One is anti-capitalism and its roots in the Occupy movement and elsewhere, the other is what has now been identified as Black Lives Matter, the struggle against police violence and the carceral state. It just so happens that the Communist party in Alabama focused on these two things directly. And for them these were inseparable.
SJ: You write about the end of the Cold War and how anti-capitalism has begun to rise again since the 2008 financial crisis. Do you think this country is finally ready to understand the contributions of socialists and Communists to its history and to its present?
RK: The Cold War has been so thoroughly suppressed in the public consciousness that there are whole generations of people who don’t have a clue. I have students who don’t even know what the Cold War is.
That kind of erasure creates a blank space. That’s the good news. The bad news is that the frame of reference has become so slim that the key debates even among some of the most vocal advocates for Occupy has been how to reform capitalism, and that really is about returning to the welfare state or imposing regulation, thinking capitalism is going to be with us forever, it’s just the way it is. But unless we can actually break paradigmatically with the structure of capitalism itself we’re not going to come up with good alternatives.
I think Naomi Klein’s book is important because she’s saying that capitalism itself is the problem. The question is, when can activists have the time and luxury to sit down and say, “How do we actually rebuild our new society?”
There’s a sense that we’re in a state of emergency. You’ve got home foreclosures and you’ve got death. You’ve got dispossession. You’ve got people who don’t have access to water. But then, to be honest, all those models of trying to create the alternative to capitalist living in indigenous communities, whether it’s the Zapatistas or elsewhere, have actually come out of states of emergency.
How does Hammer and Hoe relate to that? No one’s going to read that book and say the Communists of Alabama were able to create socialism. But they were functioning in a state of emergency and they were able to surmount differences that today, in today’s identity politics, people think are insurmountable. They got white people from the Klan to join their organization. Not all of them. But if you can get one, I’m applauding you!
The fact that they were able to make those leaps, that’s not tolerance of difference. That’s a transformational identity in a transformational movement that says we’re comrades.
SJ: You write about the way the Alabama communist party grew from the cultures and ideas of the people it served—particularly Alabama’s black working class—and the way that the white left has trouble sometimes seeing and understanding the black left. How are white progressives still misreading the black left?
RK: This is a mantra that has been repeated since the 19th century at least: that issues of race or issues of gender, that those issues are somehow a distraction from the real issues. But history has proven that these things are inseparable, because creating hierarchies of difference is essentially an ideological and economic project.
Slavery and dispossessing Indians and making sure that women are being paid wages that could allow them to buy hats, these are ideologies that actually structure capitalism. Anyone who’s serious about socialism, or some kind of non-capitalist path for development, must address them not as separate issues but as issues that help us have a deeper analysis of how political economy works. Again I come back to Hammer and Hoe, because part of the critique of the New Deal was to say this great welfare state expansion was built on a racial hierarchy in which they were allowed to pay black workers in public works programs less money, or pay southern workers less money than northern. In other words, it’s a hierarchy structured by race, by class, by gender. Unless we understand how the structure works we’ll never be able to address the economic problems.
Is making a revolution simply about having a fairer state? Making sure that everyone has decent housing? Or is it about changing our relationships to one another so that you don’t need state violence to keep the machine operating? How do you actually create a culture in which you can actually have something like a beloved community, where the struggle for the community is part of the project of making change?
That’s part of what I think the best elements of Occupy were trying to do, the best elements of Black Lives Matter: create new community.
SJ: You also wrote about the way white people’s fear of “social equality” for black people was a fear of interracial sex—a fear we heard echoed in Dylann Roof’s statement to his victims as he pulled the trigger in Charleston. Can you talk a bit about that, and the way the Alabama Communists organized against it?
RK: From the very inception of the Communist Party’s presence in the south, anticommunists used sex as a way to mobilize fear and opposition. “What Communists want to do is nationalize your daughters”—I love that line. It’s the combination of sexual depravity associated with Communism and the fact that black rights was a central position. This is one of the ways they were able to keep people away from the Party. It didn’t quite work because, of course, in the south, then and now, there’s never been any real barriers to interracial sex. Especially if you’re talking about white men and women of color. Ask Strom Thurmond about that.
The issue is ultimately about the white supremacy’s treatment of women as property. It’s about women as property, masked in the form of security. For Dylann Roof to make the statement and kill six black women, out of nine, is to also repeat the notion that white women are mere property and that his job is to protect that property from being sullied by black men. That black men are natural rapists is such an old but ingrained myth that I can’t imagine what it’s going to take to uproot it.
SJ: Hammer and Hoe takes place during the Great Depression; we’re still living with the effects of the Great Recession. Can you compare and contrast the organizing that was happening then around jobs and labor and the unemployed, and what’s happening now?
RK: Nothing in the New Deal was a gift, it was all struggled over and fought for. The best parts of the New Deal weren’t so much relief. It was Section 7 of the National Industrial Recovery Act that said workers have the right to organize. Then in 1935 it became stronger. The fact that in most places, industrial trade unions could organize with some limited protections from the state allowed unions to grow.
Strong community-based organizing really matters. Nowadays there’s so much mobility, so much displacement that the notion of an established community, those days are over. So what takes its place? Virtual organizing. And I’m not criticizing it at all because I think it’s played a very important role in being able to mobilize huge numbers of people for different events. The problem is that virtual organizing, while successful at mobilizing for events, it’s very hard to sustain the day-to-day organizational structure that is required for long-term struggles.
People are trying to figure out how we develop stronger organizations—not bigger organizations, because, even in the days of the New Deal, some of the most effective movements were never huge mass movements, but they were movements that were able to sustain themselves, and they were movements that were able to put forward what we think of as transformative demands.
Transformative demands are those demands that, on the one hand, attend to a particular crisis, whether it’s we need relief or we need housing, etc. But then those demands are ratcheted up and ultimately question the very logic of the prevailing system. If you say we need housing then the state could respond and say, “We’re going to have a market system providing housing,” and they’re like, “no, that’s not going to work, we’re going to demand something different than a market-based system.”
One of the problems with so many exciting movements today is this tendency not to make transformative demands, not to make any demands, because somehow making a demand would formalize an organization in such a way where it would undermine democracy, it could be co-opted by the Democratic party or co-opted by the trade unions or whatever. So without those demands you don’t have a space or a platform in which to have a debate over what the future looks like.
I’m not saying it’s fixed like that. There are lots of organizations today that are making transformative demands, I name some in the book. But whatever we think about the problems of the Communist Party, and there are many, it was an international organization that was well-organized and put forward transformative demands.
I don’t know whether the refusal to make demands can lead to something even better. But one of the consequences is that you end up having a segment of the movement embrace the Obama administration’s agenda, which is that racial profiling is bad policing so we need more effective policing, body cameras for cops, better officer training, this sort of thing. We know from the history that none of that stuff really makes a difference. What we’re looking for is transformative changes, eventually the elimination of state violence and the police force itself.
SJ: In Hammer and Hoe, there’s a lot about the way violence was used specifically to quell labor and left organizing by black people in Alabama. You write, “Most scholars have underestimated the Southern Left and have underrated the role violence played in quashing radical movements…”
RK: State violence was necessary to suppress labor-based movements, any social justice movements. It was necessary to intimidate whole groups of people from even thinking about coming together. It was so embedded in the structure of everyday life that it became second nature. There was a constant distrust of working people who spoke up. A constant distrust of black people. And a capacity to transfer that distrust to white working people who gave up cooperation for the sake of security.
The security of whiteness is a very fragile security. You have these systems operating, and at the base of them all is violence. Violence also becomes endemic in the culture in which men and women and children and parents inside their own households embrace that violence as a way to maintain hierarchy within those structures. They mirror the violence of the state. Private violence is tied directly to public violence.
Violence is everywhere, so unless we see that and understand its relationship to the maintenance of the current political economy we’re going to treat public violence separate from private violence, gendered private violence as a separate thing. You’ve got police violence, which is very much tied to economic justice issues, because where does that police violence take place for the most part? In places like Baltimore where you can have a black regime running a city but people whose lives depend on the good graces of their neighbors, on very low wages, whatever’s left of the welfare state. People who live precarious lives are the ones who are most likely to experience that state violence.
That’s why whenever we have exceptional cases, people who actually are not living precarious lives, they just happen to be black, those are the stories that are raised up. They are important, but to raise them up above all other stories of state violence is to basically produce an analysis that’s devoid of class and that separates out the political economy from state violence.
We have to go back and make sure that we understand the relationship between all these forms of violence and their relationship to the economy, and not think of the economy as simply wages, housing, working conditions, consumerism, trade—economy is so much more than that. Economy is access to resources. Economy is being able to live a life that’s not precarious. Economy is racial. Economy is gendered. Economy is not a separate category from race or gender.
SJ: You write about how law enforcement and the state were complicit in extralegal violence and lynching, how law enforcement would arrest some organizer and turn him over to the Klan. How should that inform our understanding of situations like the killing of Trayvon Martin by George Zimmerman?
RK: One of the ways, at least in the 1930s and before that, that the state was able to avoid the expense of prosecution, the expense of detention and also allow for the reproduction of white supremacy on a mass basis was lynching. You think of lynching as terrorizing black communities, terrorizing Mexican communities, it definitely does that. But what it also does is consolidate a white working class investment in a notion of security in a juridical structure that allows them some semblance of citizenship. These are people who, when you really look at their daily life, barely have the privileges of citizenship except in lynching. They could participate even if it’s just as observer.
Naomi Murakawa has this really important book called The First Civil Right, and she shows we had some changes: The Truman administration pushed forward civil rights legislation, more resources for policing to try to stop these kinds of acts of violence. Those resources then fed into a growing criminal justice system. What we end up getting is fewer lynchings—police shooting someone in the back isn’t exactly a lynching, it doesn’t function in the same way. Is it murder? Absolutely. Is it extrajudicial? Yes.
So the reduction of lynchings also means the expansion of a criminal justice system, which actually does detain live bodies and contain them and corrals them. It burgeons and burgeons. It also means that these extrajudicial killings take place with the sanction of the state. Now it’s with police officers who are better armed than they ever were. What hasn’t changed is the basic racial structure of the criminal justice process. The mechanisms change, the processes change, and those processes have enormous consequences, but the basic ideology over time, it’s tweaked.
SJ: Related to both of those, what about the use of armed self-defense among the people you researched? What can we learn from them to apply to today’s conversations about “riots” and how we’re obsessed with particularly black resistance being nonviolent?
RK: One of the biggest myths that is still perpetuated today is that somehow the only natural and legitimate forms of black politics have to embrace nonviolence. No other political agenda or movement has to do the same.
Nonviolence as a political strategy was pretty common among progressive forces in the postwar period, for good reason. However, if you take the history of black freedom struggles, self-defense has been the first principle. It had to be—during Reconstruction something like 58,000 black people were killed. Akinyele Omowale Umoja has this great book called We Will Shoot Back where he proves that in every county in Mississippi where you had organized armed self-defense they had less violence, fewer killings.
Now there’s a difference between armed self-defense and violence as a strategy of resistance. Riots are not necessarily violent strategies of resistance. Riots are oftentimes attacks on property. If you look at the body count of who dies in riots, it’s mostly the people who live in the ghettos. If we look at the body count of the history of riots, even going back to the late 19th and early 20th century, Tulsa, these are racial pogroms where, again, it’s mobs of white people reinforcing their citizenship and white privilege through the violence against the black bodies. Black people have been more the victims of violence than perpetrators of violence against the state.
These are the kind of mythologies that we have to contend with. The amazing thing about the Communist Party in Alabama is that they had dramatic moments and shootouts, yes, in the rural areas in particular you had these moments of militancy, but most of the activists, their strategy was more tricksterism, they wanted to avoid violence to live another day. They knew that they were outnumbered and they were outgunned and so they had to find strategies that were not nonviolent or proviolent but ones that were self-preserving and sustainable.
That’s why every time the question is raised or people have to pronounce their nonviolent intent, that’s about projecting the violence of the state onto the bodies of the very people who are the victims of violence. I am a supporter of nonviolence, but that’s another story.
SJ: Why do you think all of this is happening now?
RK: I think that these movements had been bubbling under the surface, especially with the Clinton administration. Clinton was such a disappointment that a lot of the oppositional movements that have laid the foundation for Occupy were established in the ’90s under Clinton, against welfare deform and all that. To me, the level of organization in preparation for Occupy means that Occupy wasn’t spontaneous. It was an opportunity. The crisis of 2008 was an opportunity, the mobilization around Trayvon Martin and the wave of deaths and social media create opportunities for existing organizations to become visible. If we did not have organization, we wouldn’t have this, that’s my argument. It goes against some of the prevailing wisdom, which is that the conditions just made people so angry and so frustrated that they came out. There’s some of that, but you can’t get people out without organization. That’s why, if there’s a lesson in here, it’s that you’ve got to always organize—whether it’s the optimal time or the non-optimal time, you’ve got to be ready, always.
 
 
- See more at: http://portside.org/2015-09-02/lessons-20th-century-alabamas-black-communists-black-lives-matter#sthash.VSLWZvTm.dpuf

Customer to Publix: “I don’t like Publix’s hardnosed position on farmworkers”…

CIW list header

Customer to Publix: “I don’t like Publix’s hardnosed position on farmworkers”…
Over the course of the past six years, Publix has received countless letters from Fair Food supporters, calling for them to join the Fair Food Program
Over the course of the past six years, Publix has received countless letters from Fair Food supporters, calling on Florida’s hometown supermarket giant to join the Fair Food Program.
Tipping Point Encore: From Florida to New Jersey, consumers continue to applaud recent advances of Fair Food Program, decry failure of remaining corporate holdouts to get on board… 
Even though we’ve already wrapped up our Tipping Point series — capping off a week of letters and articles from consumers with a round-up of tweets for Publix — messages from the Fair Food Nation continue to stream in!  So, once again, we’d like to interrupt our regularly scheduled programming to share two excellent examples of such letters from the past week, one a note from a longtime shopper right here in Florida and the other a blogpost from a faith leader in New Jersey.
First up, in the wake of the recent groundbreaking agreement with Ahold USA (parent company to Giant and Stop & Shop), Rabbi Jesse Olitzky — one of many #TomatoRabbis across the U.S. and a member of T’ruah — took to the blogosphere and hailed the new wave of Fair Food tomatoes coming to the Northeast this fall:
Respecting the Rights of Laborers – Locally & Globally
After hearing the news over the summer that A&P Supermarkets had declared bankruptcy, I was excited to hear that Stop & Shop Supermarkets would be buying a number of the A&P locations, including Pathmark store which are owned by A&P.  At the end of July, we learned that the Pathmark on Valley Street in South Orange, the closest and most convenient grocery store for many of us in town, would become a Stop & Shop.  This news was not only exciting because this local market would get a much needed facelift, with a cleaner store and more product options.  
This was exciting because this means that the fight to end modern day slavery and exploitation of workers in the fields of Florida and across this nation — the fight for human rights of migrant agricultural workers in this country — continues to gain momentum and impact us locally...
You are subscribed to the CIW Mailing List. To unsubscribe, Click here to unsubscribe
Coalition of Immokalee Workers • PO Box 603, Immokalee, FL 34143 • (239) 657-8311 • workers@ciw-online

Contact Undecided Senators and Ask For Their Support of the Iran Deal








www.veteransforpeace.org

 
 

Contact Undecided Senators and Ask For Their Support of the Iran Deal


As of yesterday, 34 Senators have declared their support for the Iran agreement! This means if the Senate will not be able to block the deal

Thank you for all you have done to get us this far.

Claim your power! This victory is due in no small part to the 1.5 million grassroots actions since July 14.

But don’t rest yet.  A vote in the Senate is expected next week.


1.  There are 7 ‘undecided’ Senate DemocratsIf you are in their state, contact them every day to urge their support.  If you are not in their state, contact them every day to urge their support.  Be polite and persistent and let them know you are with Veterans For Peace.  The seven are:
  • Michael Bennett – Colorado
  • Cory Booker – New Jersey
  • Maria Cantwell – Washington
  • Ben Cardin – Maryland
  • Heidi Heitkamp – North Dakota
  • Gary Peters – Michigan
  • Mark Warner – Virginia
Call the Capitol toll-free* at 855-686-6927* and ask for one of the above Senators by name.  Then call back for another on the list.
2.  Legislators who openly support the deal continue to feel pressure from wealthy special interest groups.   Check here to see where your Senator stands. If your Senator is supporting the deal, say Thank You!  The best way to do this is publicly, with a Letter to the Editor.  Use this web page* to easily compose and send letters. Mention the Senator(s) by name and they will be sure to see it.  Be sure to mention that you are with Veterans For Peace to establish a positive relationship for the future.
*Toll-free number and Letter to Editor page provided by the Friends Committee on National Legislation.

Thank you,



Michael McPhearson
Executive Director







Veterans For Peace, 1404 North Broadway, St. Louis, MO 63102, 314-725-6005
www.veteransforpeace.org
Veterans For Peace appreciates your generous donations.

We also encourage you to join our ranks.

 







 

Footer

***On The Nature of True Love-In Search Of The Great Working Class Love Song- With Donna Walker, North Adamsville Class Of 1964, In Mind

***On The Nature of True Love-In Search Of The Great Working Class Love Song- With Donna Walker, North Adamsville Class Of 1964, In Mind

 

 

This song is from YouTube performed by Red Molly, although a more motorcycle strum version is done on a cover by folk singer Greg Brown not there.

 

Said Red Molly to James that's a fine motorbike

A girl could feel special on any such like

Said James to Red Molly, well my hat's off to you

It's a Vincent Black Lightning, 1952

And I've seen you at the corners and cafes it seems

Red hair and black leather, my favorite color scheme

And he pulled her on behind

And down to Box Hill they did ride

 

Said James to Red Molly, here's a ring for your right hand

But I'll tell you in earnest I'm a dangerous man

I've fought with the law since I was seventeen

I robbed many a man to get my Vincent machine

Now I'm 21 years, I might make 22

And I don't mind dying, but for the love of you

And if fate should break my stride

Then I'll give you my Vincent to ride

 

Come down, come down, Red Molly, called Sergeant McRae

For they've taken young James Adie for armed robbery

Shotgun blast hit his chest, left nothing inside

Oh, come down, Red Molly to his dying bedside

When she came to the hospital, there wasn't much left

He was running out of road, he was running out of breath

But he smiled to see her cry

And said I'll give you my Vincent to ride

 

Says James, in my opinion, there's nothing in this world

Beats a 52 Vincent and a red headed girl

Now Nortons and Indians and Greeveses won't do

They don't have a soul like a Vincent 52

He reached for her hand and he slipped her the keys

He said I've got no further use for these

I see angels on Ariels in leather and chrome

Swooping down from heaven to carry me home

And he gave her one last kiss and died

And he gave her his Vincent to ride

 

The search, the everlasting search as it turned out, for the great working class love song, was prompted by a question that Peter Paul Markin had been asked about a few years before from some old North Adamsville high school classmates who had contacted him to cut up old torches via a circuitous route, hell, a byzantine route, or byzantine –worthy, that he would describe some other time since to stop for it then would have snagged the question to death - what music were you listening to back in the day? Back in the early 1960s day when the music was exhausted and they were waiting, waiting impatiently, or he was, for some fresh breeze to come from somewhere after Elvis died (or might as well have died, died army died, died Follywood movie died, squaresville died, when he retired his hips, his snarl, and his nerve and let Tin Pan Alley rather than the back street juke joint down in black night Clarksville or some honkytown, good old boy honkytown bar in back alley Memphis turn his head) , Jerry Lee was busted up with some second cousin(and the hoped for mantle-passing faded after the blast promise of High School Confidential on the back of a flatbed truck turned to ashes and a corny reefer-free B-film, a premature jailbreak minute turned to ashes in our collective youthful mouths not then used to such mortalities), Chuck was out of circulation for messing with Mister’s women (a more serious lesson but what did we, white kids all, all, to a person,  know of such race things, race divides, race records, miscegenation, lust , all we knew was Roll Over Beethoven and approved) , and we were stuck with a batch of songs and singers who made us want to head back to mother womb 1940s music, some Inkspots, pre-doo-wopping, some Lena Horne stormy weather , or some such, that at least had good melodies.

 

Well, for him at that point at least that subject was totally exhausted. He no longer wanted to hear about how his dear AARP-enrolled classmates (distaff side , he presumed) fainted over Teen Angel (the saga of  some dippy frail who was so off-center that she flipped out when she found out her boy’s class ring was back in some railroad track stalled car-and she went back, RIP angel), Johnny Angel (just some hormonal hyperbole about some side-burn corner boy with tight white tee-shirt, tight jeans, tight, but don’t tell her that), or Earth Angel (ditto on the tight, but girl tight, the only girl tight that counted, cashmere sweater, skirt tight). Christ there were more angels around then than could fit on the head of a needle or fought it out to the death in John Milton’s epic revolutionary poem from the seventeenth century , Paradise Lost. Moreover, he had enough of You're Gonna Be Sorry, I'm Sorry, and Who's Sorry Now. What was there to be sorry about, except maybe some minute hurt feelings, some teenage awkward didn’t know how to deal with some such situation or, in tune with the theme here, some mistake that reflected their working class-derived lacks, mainly lacks of enough time, energy and space to think things over without seven thousand parents and siblings breaking the stream. And a little discretionary dough would have helped(dough for Saturday night drive-ins, drive-in movies, hell, even Saturday night dance night down by the shore everything’s all right) to take some teen angel somewhere other than the damn walk to the seawall down Adamsville Beach.   

 

And no more of Tell Laura I Love Her, Oh Donna, and I Had A Girl Her Name Was Joanne, or whatever woman's name came to mind. Sweet woman, sweet mama. sweet outlaw mama, or just waiting to be an outlaw sweet mama in some forlorn midnight Edward Hooper coffee shop waiting for the next best thing to show up and get the hell out of Dudsville, USA (or universe) Red Molly, all dolled up in her black leather put them all to shame, yah, she put them all to shame. (and set off by her flaming red hair making every boy dream, dream restless night dreams, until James took over and then you had best not look, not if you wanted to keep your place in the sun, or breathe to find your own leather tight woman. Guys tried, guys tried and failed as guys will, so be forewarned. ) So it was time, boys and girls, to move on to other musical influences from more mature years, say from the post-traumatic stress high school years.

 

But why the search for the great working -class love song? Well, hello! The old town, old beloved North Adamsville, was (and is, as far as Peter Paul could tell from a recent trip back to the old place) a quintessential beat down, beat around, beat six ways to Sunday working -class town (especially before the deindustrialization of America which for North Adamsville meant the closing of the shipyards that had left it as a basically low-end white collar service-oriented working -class town, dotted with ugly, faux-functional white collar office-style parks and malls to boot making a mockery of the granite origins of the place). The great majority of the tribe in those days came from working- class or working poor homes. Most songs, especially popular songs, then and now, reflected a kind of "one size fits all" lyric that could apply to anyone, anywhere. What he was looking for was songs that in some way reflected that working- class ethos that was still embedded in their bones, that caused their hunger even now, whether they  recognized  it or not.

 

Needless to say, since Peter Paul had had posed the question, he had his choice already prepared. As will become obvious, if the reader has read the lyrics above, this song reflected his take on the corner boy, live for today, be free for today, male angst in the age old love problem. However, any woman was more than free to choice songs that reflected her female angst angle (ouch, for that awkward formulation) on the working- class hit parade.

 

And a fellow North Adamsville female classmate did proposing Bruce Springsteen’s version of Jersey Girl and here was Peter Paul’s response to the interchange on this choice:

 

“Come on now, after reading these lyrics [see above] is any mere verbal profession of undying love, any taking somebody on a ride at some two-bit carnival down on the Jersey shore going to make the cut. (Big deal, he was not going to hang with his corner boys, who he was heartily tired of anyway, or walk the streets looking for hookers to be with his honey. That was something for her to appreciate, she was better than some whore, Jesus.) I am thinking here of the working class song suggested to me by a female classmate , Bruce Springsteen's cover version of Tom Waits’ Jersey Girl where they go down to the Jersey seashore to some amusement park to while the night away in good working- class style, cotton candy, salt water taffy, win your lady a doll, ride the Ferris wheel, tunnel of love, hot dog, then sea breeze love , just like our Paragon Park nights, some buying of a one carat gold ring like every guy on the make is promising to do for his honey if she will just …, or some chintzy, faded flowers that melt away in the night, or with the morning dew going to mean anything? Hell, the guy here, the guy in Vincent Black Lightning 1952, bravo James, was giving her, his Red Molly, HIS bike, his bike, man. No Wild One, Easy Rider, no women need apply bike night. HIS bike. Case closed.”

 

The reader might think, well, big deal he gave, James gave her his bike as a dying declaration, taking such an action as so-so and just a guy trinket love thing, not the stuff of eternity. No way. Markin knew of at least one female, Donna, Donna of the tight cashmere sweater and tight, tight black skirt, of the raven black hair, noted above in the dedication, who might relate to this song. Who knew that her Johnny, Johnny Shine, when he came up and scooped her away from tough guy corner boy Red Radley one cloudy night and roared off into the world on his Indian that he would play the gallant for her, and when he fell, fell robbing all by himself the local branch of the First National Bank and getting killed by a stray cop bullet all to grab a stake so they could start anew some place out West, he became a local legend.  And she kept his bike as a shrine to his memory.

 

Peter Paul also knew at least one male, who shall remain nameless, who snuck out the back door of old North Adamsville High with another classmate, a female classmate, to ride his bike, and a few others things, down by the secluded beach things, during school hours back in the day. It was in the air in those heroic days. So don't think Peter Paul had forgotten his medication, or something, when he called this a great working class love song. Romeo and Juliet by what’s his name, Shakespeare, was nothing but down in the ditch straight punk stuff compared to this. And as Peter Paul insisted on repeating for the slow learners here, the guy, his boy, his universal corner boy James, in the song gave her HIS bike, man. That is love, no question.

When The Pictures Got Small-With Gloria Swanson and William Holden’s Sunset Boulevard In Mind

When The Pictures Got Small-With Gloria Swanson and William Holden’s Sunset Boulevard In Mind






From The Pen Of Sam Lowell

Yeah, Joe, Joe Anybody if you really want to know, Joe just another guy who went through the traumas of World War II like a lot of other guys although don’t ask him about because you will get the pat I did my duty, I did what had to be done and that is that, yeah, a pat answer if that is what you want, if anybody is this cuckoo world is asking about yesterday’s news. But Joe Gillis is the name he went by (Joseph Francis Gillis is what it said on the birth certificate, later adding an Xavier when the Bishop confirmed him so he was brought up at least that far Catholic but don’t ask him that either because you will get another pat answer, one you may not like if you are sensitive about your religion, or anybody’s), the name that the studio, or better studios since he was strictly a free-lancer, strictly on “spec” in those days put on the couple of screenplays he got some credit for anyway, although the story lines he had submitted flipped from what he had originally written.

What you would get a full answer about is that little tragedy, small size in the great movies scheme but meaning a lot to a guy who just knew he had the stuff to make it (apparently nobody told him or he didn’t listen that “the cinema” was filled to the rafters with guys and dolls who had that stuff, join the line brother, join the line), about the miserable fate of his scripts though, and a little harangue about Hollywood, its producers, directors, assistant directors, not a few stars, or starlets (although he had had a few rather nice casual affairs on some very downy billows with a few on the way up, his way up), hell, even the best boy and grip not knowing true literature, true art if it hit them in the face with a cannon (and wouldn’t he like to). And if he was the chips he would give you every detail, “in the chips” meaning he had some gainful work and was not collecting that measly unemployment that barely got him by in that crummy two-bit rooming house and that junk heap of a car he was still paying money on, and was found at The River, a favorite watering hole for the Hollywood back lot crowd either on their way up or down because the booze was cheap and Hank, the bar-tender owner, was not stingy with his drinks, or with credit if you had some decent hard-luck story to throw his way, once or twice no more.  

One of Joe’s stories, his baby, that he had brought out to Hollywood with him, written to reflect what tinsel town was buying and producing just then, male-centered war movies or Westerns to capitalize on the good feelings for the guys coming out of the war and the women who continued to fill the seats with their guys in tow were looking to see what it was all about since their guys were as silent as the grave, as silent as  Joe Gillis about what they had done for Uncle and home (almost like every guy signed a pact that they would keep their wounds, physical and mental to themselves as one final act of “being buddies,”) was about a high plains drifter, a guy who came out from the East to see what the West was all about and got his fill of it, just wanted to stay in one town long enough to see his shadow, who came into some wild ass desert town, maybe a town like Tombstone the way Joe had it figured in his head, and tamed it like some old Wild West desperado character or some long-bearded biblical prophet who could call the judgement day, call the angels home (and bed the local whorehouse owner, Ella, a good-looking redhead, too but that was a shadow he was willing to cut if it did not make it by Hayes) turned into a romance about a minister (with Henry Fonda in the lead) and the virginal but fetching girl next door (Priscilla Ford, the classic “girl next door” even if she was turning the high side of thirty).

The other started out as romance, always worth a try if you are short of script ideas as Joe was then, from hunger in other ways too when he hatched that one, about two writers, one a she, the other a he, who worked together in the Hollywood film mill of the 1940s, fell in love after the usual boy meets girl stormy arguments before they realized, happy-ending Hollywood realized that they were meant for each other and thereafter produced great story lines got turned into a murder mystery based on one of the stories Joe had them working on in the script about some failed fading actress who had a thing for younger men and who was insanely jealous when the younger women came around was “keeping a soda jerk” she ran into at Liggett’s, the one over on Hollywood and Vine naturally since “from hunger” writers could make a milkshake or a cheese sandwich as well as anybody else and off-handedly shot him on the rumor that blew her way that he was seeing somebody in wardrobe, also a job that “from hunger” writers could do as well as anybody else. Here’s how weird it got though they, the coppers, since there were no witnesses, any that would come forward one the studios pulled the hammer down, never did find out who killed the soda jerk although every teenager in America, the audience the studio was going for, could see plain as day on the screen that it was that faded actress who did the deed. The old dame must have still had some great connections to pull the tent down on that one.

Joe swore to himself on more than one occasion that he should have done like Jack Donne and Joan Ditto, a couple of top shelf screen-writers on the lot (the models for his small idea movie) who he would have drinks with in their Malibu cottage had done and walked away from their own stories when they became unrecognizable in the “mill.”  But because he was three months behind on his rent, a fatal two on his car with the repo man breathing down his back, the cupboard was bare and because he no longer had stardust in his eyes he, what did he call it to a co-worker, Betty Smith, you might have seen some of her work on Some Came Running a while back, a fellow screen-writer working in the word “sweatshop” on the United Majestic (U/M) studio lot he let those “revisions” go by since he had to “make a living.” Funny the original stories Joe had submitted and which had been reworked out of existence by the time he got his moment in the sun credit later, later after he was gone and wouldn’t be around to fuss over copyrights and royalties won a few art house kind of awards and nominations. But by then the scripts were the property of U/M and some smart guy in accounting figured that the studio could cash in to on the notoriety around Joe’s name. Still when the deal went down Joe Anybody, no, Joe Gillis buckled under, got in the payroll line on pay day.

Yeah, Joe Gillis, Joe from Anywhere Ohio, Steubenville, to give the place a name, the guy with the stardust in his eyes coming out of World War II all alive and everything, a college boy after all was said and done on the big ass GI Bill out of State U that was the ticket out of the doldrums night reporter for the Steubenville Sentinel had dreams just like every other guy (girls too if anybody was asking although not that many were then, not after that boomerang of guys coming off the troops ships needed jobs and space). See Joe saw what a lot of guys and gals saw, saw that there was nothing but gold waiting for them in the hills above Hollywood, gold sitting there just waiting for them to come west and pick it up.

Hell Joe said to himself more than once, and told the guys on the night desk too when around two in the morning the bottom drawer whiskey bottles came out that he could out write whatever hacks wrote up the screenplays passing for good work in the studios in a day and still have time for cocktails and diner. Could write, for example, one he always liked to give, circles around whoever wrote that silly story about some smart-ass detective out in Frisco town back about 1930 whose partner got iced on a case out job getting taken in, getting blind-sided about six different ways by some bimbo wearing some jasmine scent that had him up in the clouds and who admittedly had some charms got him all worked up about some statute worth a mint and figured to use his services to get the damn thing. And then flee leaving him to take the fall, maybe take the big step off if it came to that. Kids’ stuff.        

And so our boy Joe borrowed fifty bucks from his mother (promising to have her paid back in a month, a long month as it turned out since Joe never got around to paying her back), another twenty-five from his brother Jim on the sly (ditto on the payback), and took another twenty five from his old sweetie, Lorraine (no need to pay that back she said after he had taken her down to the river front shoreline one Saturday night and gave her a little something to remember him by if you got his drift when he told the boys at the news desk about his conquest)  he was off and running to sunny California. Got himself a room, small but affordable filled with many, too many, people  who had the same stardust in their eyes as Joe (and if any of them had bothered to look closely many, the rooming house not only had the latest immigrants but too many long in the tooth denizens who had missed the big show only they were not smart enough to know it. Or if smart enough decided the stardust was better to live with than what beckoned in Tulsa, Odessa, Kansas City. Moline.)

Got himself a typewriter too, rented, and wrote those two stories that U/M hired him to work the screenplays on. And so our Joe was on his way. Onward and upward. Then the roof caved in, not literally but it might as well have. See U/M and a lot of places made plenty of room for returning GIs and so Joe squeezed through the door on that basis (and the fact, which had not come out until later, until that too late mentioned before that his stories were excellent and that some reader had recommended to her boss that they go with those stories as is but he too could see their possible later value and see that Joe was from hunger enough to stand the gaff for the big rewrites that would turn his work into dross).

But that door only remained open long enough for the studio to “fill their quota,” take the government heat off, and once those conditions were they began laying off writers (and others too). And Joe found that he was just another payroll number to be blanked out, pushed out on to the mean streets of Hollywood, the streets of surly repo men, sullen landlords and sharp-eyed grocers. So Joe sat, sat like the thousand other guys looking for work, at Liggett’s Drugstore, the one near Hollywood and Vine, close to the studio lots just in case job calls came in while Mister Liggett was getting rich off of selling cups of coffee and to the “from hunger” clientele hanging out.

 

And then she came in, came in like a rolling cloud of thunder, she who he would later find out, later when it was almost too late that those who had been around a while, had been long in the tooth on those stardust dreams maybe turned to cocaine sister dreams if you asked a certain night pharmacist nicely and were discrete enough to keep that information on the QT, called the Dragon Queen, came in with her teeth bared that night. Joe, a movie buff of long standing from the Steubenville Stand Theater re-rerun Saturday afternoon black and white double features from the 1930s just after they started to talk on the screen days when he and his other from hunger friends would sneak in the back door and slip up into the balcony and while away a lazy afternoon (and later when he came of age taking that same Lorraine mentioned above for some heavy petting although they did not sneak in the backdoor then), though he recognized her, but for a moment could not place her name.

Then Artie, a fellow screen-writer whom he would pal around with when Artie was not out with his girlfriend, Sarah, also a writer although over on the Paramount lot, said in a low voice “Here comes the Dragon Lady she must be on the prowl.” Joe asked “Who is the Dragon Lady, I recognize her but I can’t place her name.” Artie answered that Joe must be losing it, whatever stuff was in his brain because the Dragon Lady was none other than the legendary actress Norma Desmond who won three, count them, three golden boy awards back in the day. Joe turned red not knowing her since while she had in her turn gotten long in the tooth there was some kind of commanding presence about her still, the way she carried herself, the way the room hushed a bit when she breezed in along with her “secretary” Maxine, a real terror in the old days protecting Miss Desmond, no question (rumored to be her lover, her Boston marriage partner, her Isle of Lesbos companion, her Sapphic muse, you know her “love that cannot speak its name friend, hell, her dyke pal, although that information would also come a bit too late).

Joe should have taken that hushed room lack of sound and the silent actions of lots of the guys drinking up their last gulps of coffee (or bit of sandwich because under the circumstances of being reduced to Liggett’s luncheonette fare one was not sure when or where the next meal would come from), of the sudden need to head to the telephone booth with a bag full of dimes to check with your merciless agent, your merciful mother, your have mercy baby, or heading toward  the magazine section with bended head looking at the latest from the scandal sheets more seriously, or making it look that way. Or at least have checked with Artie who knew what she was there for. But no stardust boy had to step forward to “impress” Miss Desmond with his arcane knowledge of every film she ever starred in back in those re-run 1930s Strand days and asked her-“Aren’t you Miss Desmond.” And she returned his question with her brightest viper smile with a simple “yes.” Then to go in for the kill he asked “Haven’t seen you in a picture lately, too bad for you were a big star.” Of course vanity personified (and maybe necessary to get through the day when you have convinced yourself that film studios and the “day of the locust” common clay depend on seeing your every feature) Norma answered “she was still big, it was the pictures that had gotten smaller.” And with that Joe Anybody, yes, I know, Joe Gillis got caught up in the spider’s web. (What he didn’t see that night were the daggers in Maxine’s eyes once Norma began her peacock dance.)       

Nothing happened that night except upon request about his employment status Joe had answered Norma that he was a writer, currently unemployed (later she would tell him she already knew he was not working since why else would he be at Liggett’s at nine in the evening rather than slaving away trying to save some stinks-to-high-heaven script at one of the studio writers’ cubbyholes and why else would she go into Liggett’s on her own when she could buy and sell Mister Liggett ten times over), that he had a couple of scripts to his credit (he did not mention the butcher job done on them and she did not ask), and that no he was not looking for work as a reader for some seemingly corny sounding script about some gypsy woman with seven veils that Norma said she wanted help on in order to make her big comeback on the screen. Frankly as she got more animated about her project, got more flirtatious for an old dame (he at twenty-five, good-looking and despite his Hollywood stardust eyes with many sexual conquests under his belt was fairly repulsed by the thought of an old dame of at least fifty if he figured her career right, he was only off by a couple of years when the deal went down, coming on to him so graphically and sexually), and more urgent in the need to have him come out to her place on the high number end of Sunset Boulevard (the numbers where the mansions begin and the hills rise away from the heat of the city but he did not know either fact then) and at least read the script before he refused her offer he seriously balked. Told her he was not the boy for her.                    

And for a few weeks that resolve held out, until that inevitable wave of bill notices, rent due, repo man madness and food hunger got in the way and he  made his way to Sunset Boulevard. He hadn’t bothered calling because until Maxine answered the door with a vagrant smile he was not at all sure he was going to go through with the whole thing. Artie had filled him in on what he knew about the Dragon Lady which while correct as far as it went was far from being very knowledgeable although toward the end he did not blame Artie who was after all deeply in love with Sarah, hell, Joe was half in love with Sarah himself since she had said some very kind things about a few sketches of his Artie had shown her and although he was not usually attracted to the Sarah “ girl next door” type there was something very refreshing, not all jaded and facing the world just for kicks, about her even though she had been born in the devil’s kitchen, born on Vine Street a few blocks from Liggett’s. So when that Maxine door opened he was on his own.

Sure when the blats got a hold of the story later when it really didn’t matter, or would not have helped they drew a bee-line picture that Joe, a war veteran and not some skimpy-kneed kid like a few of the “soda jerks” (literally) that Norma had picked up over the years and threw over like some much trash when their number was up, knew the “score” all along and just got on the gravy train and rode, took the ticket, took the ride so no one should bleed for him, except maybe Artie who took it hard (and apparently Sarah too who Artie suspected was half in love with Joe too although he never mentioned that idea to her, and they did in the end get married so make of that what you will).

Forget about the blats, forget about what Hedda Hopper had to say about the whole mess, and that was plenty, none of it having Joe as anything as just another gone boy on the hustle from nowhere Ohio (hah, and her out on Podunk Indiana) here is  how it came down though. Joe went into that open door, into that opulent if run down mansion with his eyes open, once he figured out the score, figured it to his advantage. And for a while it worked, worked out kind of nice. That script of Norma’s, her ticket back to the top was a stinker, strictly nothing except a poor rehash of half the films she had ever been in back in the days when her every expression was plastered over every newspaper review and imitated by every young girl (and not a few boys) who had nothing but stardust in their eyes. But Joe figured that the salary she was giving him made it easy to believe that he was working “legit” that he was not just a “kept man,” Miss Desmond’s pet poodle. And for a while that illusion held up, although Artie began to suspect when he showed up at a New Year’s Eve party all decked out in fine top shelf Hollywood clothing that something more than earning a screen-writer’s salary was going on up in high number Sunset Boulevard.

And there was. Joe could see after a few weeks that Norma was going for him in a big romantic way, and he was playing into that a little, playing into her vanity that she still had something that a younger man would want. Although at first he was repelled by the idea that he would bed somebody his mother’s age he began to get a feel for the moral climate of Hollywood where the stage hands might titter over the age difference but would just nod it off as another gold-digger story like ten thousand others up in the hills, and on the lots. And so one night he took the plunge, went walking slowly to her sullen bedroom and to his fate.

Here is where the story got mixed, all balled up if you believed the blats who had their own reasons to play the story as a gigolo playing way over his head. After they “did the do” Joe no longer figured in the script-writing for Norma business but rather they made the rounds among her old time friends in the new Hudson she had custom-fitted for him so she could show off her new trophy. And for a while, a long while, that worked out just fine but Norma, maybe as a former actress used to getting whatever outlandish wishes of hers met, maybe just as a woman of a certain age who knew her limited appeal over the long haul or maybe that crazy streak that she had which drove more than one producer crazy in her wake Joe could not keep up, could not phantom the idea of forever being Norma’s fancy man, never to get out from under that decaying set she was parading him around to. So he started taking long rides out to Malibu at night in his new Hudson to get the “stink blowed off” as his farmer grandfather used to say. That is where he met Cara, young sweet new star on the horizon Cara. And that was his fatal mistake, or part of it.  One night along the Pacific Coast Highway parked in a parking lot who came up to them in her own Hudson (or rather Norma’s) but Maxine. Maxine told the startled pair that she has been following them for weeks and that they had better break it off or she would tell Norma. Fair enough if the world ran in Norma time, Joe was no longer happy with being Norma’s pet poodle now that the wrinkle-free Cara (and gymnast in bed which he appreciated since Norma was like a corpse one minute and then do this, do that the next) but Joe was tired of Norma time.

That tiredness is what really did Joe in. When Joe would not break it off with Cara (and from her description in the papers and a quick glance off her going to court on the television why would he, why would any guy) then Maxine told Norma the tale. Norma was livid, was ready to kill the ingrate, ready to ship him back to Steubenville in a body bag-minus the three piece suit she had just purchased for him let him go back in that foolish Robert Hall’s sport jacket he showed up at her door in. But here is where things got dicey. Norma for all her Dragon Lady reputation, all the headaches she gave every even sympathetic had portrayed every kind of villainous woman from axe murderer to midnight poisoner. The sight of blood sickened her and maimed bodies revolted her, even stage dummies. So she held her grief in, almost. And here is where the rumors about her and Maxine and their illicit love nest got all kinds of play. Although the rumor about their love was false, at least on Norma’s side, Maxine really did love Norma in that straight Boston marriage way and once Norma seemed so prostrate that she could barely move, seemed like she would never get over the Joe betrayal (that is the way Norma constantly pitched her grief) Maxine went into action. She had a final confrontation with Joe, told him to break off with Cara or she would personally do something about it. Joe, now ready to leave, ready to face the scorn of society about being an older woman’s kept man, was now ready to laugh in Maxine’s pathetic face as he walked out the door to his room toward the swimming pool to take his daily exercise. This last part is under any theory of the story that Norma and Maxine would later tell other than as an “act of god” which in high Babylon got no play is frankly filled with too many holes, has too many moving parts to make sense. Allegedly Maxine, in broad daylight, heard noises coming from the pool area, loud noises which frightened her and she grabbed the gun that Norma kept in the house to prevent burglaries (although how a pearl-handled 38 was going to stop serious breaking and enterings raised a few eyebrows. Out of her wits she saw what looked like a huge man in the shadows and just fired, fired five times in that direction. Then she called the cops who found one Joe Gillis in the pool face down with five, count them, five slugs in his body. That is the story she swore to and no one could shake her, or Norma’s story then or later at the inquest. So Joe Anybody, no, no definitely no, Joseph Gillis, Junior went to sleep as another killing, a domestic dispute after the papers got through with the war-circus that ensued like a million others nothing more.

Nothing more except to Artie, Artie Shaw to give him a name the only guy who every tried to stop Joe Gillis in his tracks, in his wrong tracks. One day a few weeks after they laid Joe to rest and went to put some flowers on his poor misbegotten grave out in the hills Artie said to Sarah that although he knew that there would never be an end to the stardust eyed kids coming to Hollywood to pursue whatever dreams they were dreaming for God’s sake Joe’s story should get out there in the hinterlands. And so it has. That and Artie’s reminder for all that stardust to keep the hell away from the high numbers on Sunset Boulevard.