*****Just Before The Sea Change - With The Dixie Cups Going To The Chapel Of Love In Mind

*****Just Before The Sea Change - With The Dixie Cups Going To The Chapel Of Love In Mind

 

 

From The Pen Of Sam Lowell

 

There were some things about Edward Rowley’s youthful activities, those that he thought would bring some small honor to his name, that he would rather not forget, things that defined his life, gave him that “fifteen minutes of fame,” if only to himself and his, that everybody kept talking about that everyone deserved before they departed this life. That “fifteen minutes of fame” business which he thought had been uttered by the Pop-artist Andy Warhol in one of his prankster moments, one of his New York high society put-downs, was fine by him even if it had been the result of some small honor thing.

The subject of that small honor done in the spurt of his youth that had defined a lot of what came later is what got him thinking one sunny afternoon in September about five years ago as he waited for the seasons to turn almost before his eyes about the times around 1964, around the time that he graduated from North Adamsville High School, around the time that he realized that the big breeze jail-break that he had kind of been waiting for was about to bust out over the land, over America. (His world view did not encompass the entire world or what was the same thing the young nations part of that view but later after making plenty of international connections from here and there he could have said he was waiting for that breeze to bust out over the world.)

It was not like Edward was some kind of soothsayer, like some big think tank thinker paid well to keep tabs on social trends for those in charge so they didn’t get waylaid like they did with the “rebel without a cause” and “beat” phenomena or anything like that back then, like could read tea leaves or tarot cards like some latter day Madame La Rue who actually did read his future once down at the Gloversville Fair when she had come to that location with her daughter, Gypsy Anne, one hot August week when he was about twelve. Madame that day read that he was made for big events. The big event that he was interested in just then was winning a doll, a stuffed animal or something like that for dark-haired, dark-eyed just starting to fill out  Gypsy Anne at the Skee game which he was an expert at. (For those clueless about Skee, have forgotten or have never spent their illicit around carnivals, small time circuses, or penny-ante amusement parks, the game is simplicity itself once you get the hang of it and play about 10,000 hours’ worth of games you roll small balls, which come down a chute one you pay your dough, or credit/debit card the way they have the machines worked now a days, and you roll them like in bowling up to a target area like in archery and try to get a ton of points which gives you strips of coupons to win a prize depending on high your score is, and what you want. Like I say, simple.) And Edward did win her a stuffed animal, a big one, and got a very big long wet kiss for his heroics (and “copped a little feel” from that starting to fill out shape of hers and he finally solved, no, he solved for that one minute that budding girls turned to women were as interested in sex, or at least being “felt up” as the other guys around Harry’s Variety Store had told him  they were if approached the right way) down by the beach when she gave her best twelve year old “come hither” look, not the last time he would be snagged by that look by her or any other women later. No way though that tarot reading when he was twelve left an impression, left him with that vague feeling about the big breeze coming, not then when the hormones drove his big thoughts, and not for a long while.

That big breeze blowing through the land thing had not been Edward’s idea anyway, not his originally although he swore by it once he thought about the possibilities of breaking out of Podunk North Adamsville, but came from “the Scribe,” the late Peter Paul Markin, a corner boy at Jack Slack’s bowling alleys on Thornton Street where he occasionally hung out in high school since he had been childhood friends with the leader of that crowd, Frankie Riley, who read books and newspapers a lot and would go on and on about the thing on lonesome Friday nights when all the guys were waiting, well, just waiting for something to happen in woebegone North Adamsville where the town mainly went to sleep by ten, or eleven on Friday and Saturday night when Jack Slack’s closed late (for the younger set, Doc’s Drugstore, the place where he and Frankie hung in their younger days as well, the place where they all first heard rock and roll played loud on Doc’s jukebox by the soda fountain, every night was nine o’clock at night just when things were getting interesting as the shadows had time to spank vivid boy imaginations and you wonder, well, maybe not you, but parents wondered why their kids were ready to take the first hitchhike or hitch a freight train ride out of that “one-horse town” (an expression courtesy of the grandmothers of the town, at least the ones he knew, mostly Irish grandmothers with corn beef and cabbage boiling on their cast-iron stoves and smirks on their faces, if grandmothers could have smirks over anything, about how dear the price of everything was if you could get it a very big problem, including Edward’s Anna Riley, where he first heard the words).

Here is where that big breeze twelve million word description thing Markin was talking about intersected with that unspoken trend for Edward (unknown and unspoken since the corner at Jack Slacks’ did not have a resident professional academic sociologist in residence to guide them since those “hired guns” were still hung up on solving the juvenile delinquency problem and so as usual well behind the curve  and Markin, the Scribe as smart as he was, was picking his stuff up strictly from newspapers and magazines who were always way also behind the trends until the next big thing hit them in the face). Edward’s take on the musical twists and turns back then is where he had something the kids at North Adamsville High would comment on, would ask him about to see which way the winds were blowing, would put their nickels, dimes and quarters in the jukeboxes to hear based on his recommendations.

Even Markin deferred to him on this one, on his musical sense, the beat or the “kicks” as he called then although he, Markin, would horn in, or try to, on the glory by giving every imaginable arcane fact about some record’s history, roots, whatever which would put everybody to sleep, they just wanted to heard the “beat” for crying out loud. Edward did have to chuckle though when he thought about the way, the main way, that Markin worked the jukebox scene since he was strictly from poverty, from the projects, poorer even than Edward’s people and that was going some if you saw the ramshackle shack of a house that he and his four older brothers grew up in. The Scribe used to con some lonely-heart girl who maybe had just broken up with her boyfriend, maybe had been dateless for a while, or was just silly enough to listen to him into playing what he wanted to hear based on what Edward had told him. But he was smooth in his way since he would draw a bee-line to the girl who just put her quarter in for her three selection on Jack Slack’s jukebox (Doc’s, sweet and kindly saint Doc whose place was a bee-hive after school for that very reason , had five for a quarter if you can believe that). He would become her “advisor,” and as the number one guy who knew every piece of teenage grapevine news in the town and whom everybody therefore deferred on that intelligence so he would let her “pick” the first selection, usually some sentimental lost love thing she could get weepy over, the second selection would be maybe some “oldie but goodie,” Breathless or At The Hop, which everybody still wanted to hear, and then on number three, the girl all out of ideas Markin would tout whatever song had caught his ear. Jesus, Markin was a piece of work. Too bad he had to end the way he did down in Mexico now lying in some unmarked grave in some town’s potter’s field back in the mid-1970s which guys from the old town were still moaning over.

That was Markin on the fringes but see Edward’s senses were very much directed by his tastes in music, by his immersion into all things rock and roll in the early 1960s where he sensed what he called silly “bubble gum” music (what high priest Markin called something like the “musical counter-revolution” but he was always putting stuff in political bull form like that) that had passed for rock.  Which, go figure, the girls liked, or liked the look of the guys singing the tunes, guys with flipped hair and dimples like Fabian and Bobby Rydell but was strictly nowhere with Edward. The breeze Edward felt was going to bury that stuff under an avalanche of sounds going back to Elvis, and where Elvis got his stuff from like Lonnie Johnson and the R&B and black electric blues guys, the rockabilly hungry white boys, and forward to something else, something with more guitars all amped to big ass speakers that were just coming along to bring in the new dispensation.

More importantly since the issue of jailbreaks and sea changes were in the air Edward was the very first kid to grasp what would later be called “the folk minute of the early 1960s,” and not just by Markin when he wrote stuff about that time later before his sorry end. Everybody would eventually hone in on Dylan and Baez, dubbed the “king and queen” of the moment by the mass media always in a frenzy to anoint and label things that they had belatedly found about out about and run into the ground.  But when folk tunes started showing up on the jukebox at Jimmy Jack’s Diner over on Latham Street where the college guys hung and where families went to a cheap filling dinner to give Ma a break from the supper meal preparations it was guys like the Kingston Trio, the Lettermen, and the Lamplighters who got the play after school and some other girls, not the “bubble gum” girls went crazy over the stuff when Edward made recommendations.

He had caught the folk moment almost by accident late one Sunday night when he picked up a station from New York City and heard Pete Seeger and Woody Guthrie songs being played, stuff that Mr. Dasher his seventh grade music teacher had played in class to broaden youthful minds, meaning trying to break the Elvis-driven rock and roll habit. So that musical sense combined with his ever present sense that things could be better in this wicked old world drilled into him by his kindly old grandmother, that Anna Riley with her boiling kettles and smirks mentioned before,   who was an old devotee of the Catholic Worker movement kind of drove his aspirations (and Markin’s harping with the political and so-called historical slant triggered by his own grandmother’s devotion to the Catholic Worker movement added in). But at first it really was the music that had been the cutting edge of what followed later, followed until about 1964 when that new breeze arrived in the land.

That fascination with music had occupied Edward’s mind since he had been about ten and had received a transistor radio for his birthday and out of curiosity decided to turn the dial to AM radio channels other that WJDA which his parents, may they rest in peace, certainly rest in peace from his incessant clamoring for rock and roll records and later folk albums, concert tickets, radio listening time on the big family radio in the living room, had on constantly and which drove him crazy. Drove him crazy because that music, well, frankly that music, the music of the Doris Days, the Peggy Lees, The Rosemary Clooneys, the various corny sister acts like the Andrews Sisters, the Frank Sinatras, the Vaughn Monroes, the Dick Haynes and an endless series of male quartets did not “jump,” gave him no “kicks,’ left him flat. As a compromise, no, in order to end the family civil war, they had purchased a transistor radio at Radio Shack and left him to his own devises.

One night, one late night in 1955, 1956 when Edward was fiddling with the dial he heard this sound out of Cleveland, Ohio, a little fuzzy but audible playing this be-bop sound, not jazz although it had horns, not rhythm and blues although sort of, but a new beat driven by some wild guitar by a guy named Warren Smith who was singing about his Ruby, his Rock ‘n’ Roll Ruby who only was available apparently to dance the night away. And she didn’t seem to care whether she danced by herself on the tabletops or with her guy. Yeah, so if you need a name for what ailed young Edward Rowley, something he could not quite articulate then call her woman, call her Ruby and you will not be far off. And so with that as a pedigree Edward became one of the town’s most knowledgeable devotees of the new sound.

Problem was that new sound, as happens frequently in music, got a little stale as time went on, as the original artists who captured his imagination faded from view one way or another and new guys, guys with nice Bobby this and Bobby that names, Patsy this and Brenda that names sang songs under the umbrella name rock and roll that his mother could love. Songs that could have easily fit into that WJDA box that his parents had been stuck in since about World War II.

So Edward was anxious for a new sound to go along with his feeling tired of the same old, same old stuff that had been hanging around in the American night since the damn nuclear hot flashes red scare Cold War started way before he had a clue about what that was all about. It had started with the music and then he got caught later in high school up with a guy in school, Daryl Wallace, a hipster, or that is what he called himself, a guy who liked “kicks” although being in high school in North Adamsville far from New York City, far from San Francisco, damn, far from Boston what those “kicks” were or what he or Edward would do about getting those “kicks” never was made clear. But they played it out in a hokey way and for a while they were the town, really high school, “beatniks.”  So Edward had had his short faux “beat” phase complete with flannel shirts, black chino pants, sunglasses, and a black beret (a beret that he kept hidden at home in his bedroom closet once he found out after his parents had seen and heard Jack Kerouac reading from the last page of On The Road on the Steve Allen Show that they had severely disapproved of the man, the movement and anything that smacked of the “beat” and a beret always associated with French bohemians and foreignness would have had them seeing “red”). And for a while Daryl and Edward played that out until Daryl moved away (at least that was the story that went around but there was a persistent rumor for a time that Mr. Wallace had dragooned Daryl into some military school in California in any case that disappearance from the town was the last he ever heard from his “beat” brother).

Then came 1964 and  Edward was fervently waiting for something to happen, for something to come out of the emptiness that he was feeling just as things started moving again with the emergence of the Beatles and the Stones as a harbinger of what was coming.

That is where Edward had been psychologically when his mother first began to harass him about his hair. Although the hair thing like the beret was just the symbol of clash that Edward knew was coming and knew also that now that he was older that he was going to be able to handle differently that when he was a kid.  Here is what one episode of the battle sounded like:                   

“Isn’t that hair of yours a little long Mr. Edward Rowley, Junior,” clucked Mrs. Edward Rowley, Senior, “You had better get it cut before your father gets back from his job working on repairing that ship up in Maine, if you know what is good for you.” That mothers’-song was being endlessly repeated in North Adamsville households (and not just those households either but in places like Carver, Hullsville, Shaker Heights, Ann Arbor, Manhattan, Cambridge any place where guys were waiting for the new dispensation and wearing hair a little longer than boys’ regular was the flash point) ever since the British invasion had brought longer hair into style (and a little less so, beards, that was later when guys got old enough to grow one without looking wispy, had taken a look at what their Victorian great-grandfathers grew and though it was “cool.” Cool along with new mishmash clothing and new age monikers to be called by.)

Of course when one was thinking about the British invasion in the year 1964 one was not thinking about the American Revolution or the War of 1812 but the Beatles. And while their music has taken 1964 teen world by a storm, a welcome storm after the long mainly musical counter-revolution since Elvis, Bo, Jerry Lee and Chuck ruled the rock night and had disappeared without a trace, the 1964 parent world was getting up in arms.

And not just about hair styles either. But about midnight trips on the clanking subway to Harvard Square coffeehouses to hear, to hear if you can believe this, folk music, mountain music, harp music or whatever performed by long-haired (male or female), long-bearded (male), blue jean–wearing (both), sandal-wearing (both), well, for lack of a better name “beatniks” (parents, as usual, being well behind the curve on teen cultural movements since by 1964 “beat”  except on silly television shows and by “wise” social commenters who could have been “Ike” brothers and sisters, was yesterday’s news).

Mrs. Rowley would constantly harp about “why couldn’t Edward be like he was when he listened to Bobby Vinton and his Mr. Lonely or that lovely-voiced Roy Orbison and his It’s Over and other nice songs on the local teen radio station, WMEX (he hated that name Eddie by the way, Eddie was also what everybody called his father so you can figure out why he hated the moniker just then). Now it was the Beatles, the Rolling Stones and a cranky-voiced guy named Bob Dylan that has his attention. And that damn Judy Jackson with her short skirt and her, well her… looks” (Mrs. Rowley like every mother in the post-Pill world refusing to use the “s” word, a throw-back to their girlish days when their mothers did not use such a word either and so everybody learned about sex is some strange osmotic out in the streets, in the school lavs, and from older almost as clueless older brothers and sisters just like now.)     

Since Mrs. Rowley, Alice to the neighbors, was getting worked up anyway, she let out what was really bothering her about her Eddie’s behavior, "What about all the talk about doing right by the down-trodden Negros down in Alabama and Mississippi. And you and that damn Peter Markin, who used to be so nice when all you boys hung around together at Jimmy Jack’s Diner [Edward: corner boys, Ma, that is what we were and at Jack Slack’s alleys not Jimmy Jack’s that was for the jukebox and for checking out the girls who were putting dough in that jukebox] and I at least knew you were no causing trouble, talking about organizing a book drive to get books for the little Negro children down there. If your father ever heard that there would be hell to pay, hell to pay and maybe a strap coming out of the closet big as you are. Worse though, worse than worrying about Negros down South is that treasonous talk about leaving this country, leaving North Adamsville, defenseless against the communists with your talk of nuclear disarmament. Why couldn’t you have just left well enough alone and stuck with your idea of forming a band that would play nice songs that make kids feel good like Gale Garnet’s We’ll Sing In The Sunshine or that pretty Negro girl Dionne Warwick and Her Walk On By instead of getting everybody upset."

And since Mrs. Rowley, Alice, to the neighbors had mentioned the name Judy Jackson, Edward’s flame and according to Monday morning before school girls’ “lav” talk, Judy’s talk they had “done the deed” and you can figure out what the deed was let’s hear what was going on in the Jackson household since one of the reasons that Edward was wearing his hair longer was because Judy thought it was “sexy” and so that talk of doing the deed may well have been true if there were any sceptics. Hear this:      

“Young lady, that dress is too short for you to wear in public, take it off, burn it for all I care, and put on another one or you are not going out of this house,” barked Mrs. James Jackson, echoing a sentiment that many worried North Adamsville mothers were feeling (and not just those mothers either but in places like Gloversville, Hullsville, Shaker Heights, Dearborn, Cambridge any place where gals were waiting for the new dispensation and wearing their skirts a little longer than mid-calf was the flash point) about their daughters dressing too provocatively and practically telling the boys, well practically telling them you know what as she suppressed the “s” word that was forming in her head. She too working up a high horse head of steam continued, "And that Eddie [“Edward, Ma,” Judy keep repeating every time Mrs. Jackson, Dorothy to the neighbors, said Eddie], and his new found friends like Peter Markin taking you to those strange coffeehouses in Harvard Square with all the unwashed, untamed, unemployed “beatniks” instead of the high school dances on Saturday night. And that endless talk about the n-----s down South, about get books for the ignorant to read and other trash talk about how they are equal to us, and your father better not hear you talk like that, not at the dinner table since he has to work around them and their smells and ignorance over in that factory in Dorchester.  And don’t start with that Commie trash about peace and getting rid of weapons. They should draft the whole bunch of them and put them over in front of that Berlin Wall. Then they wouldn’t be so negative about America."

Scene: Edward, Judy and Peter Markin were sitting in the Club Nana in Harvard Square sipping coffee, maybe pecking at the one brownie between them, and listening to a local wanna-be folk singing strumming his stuff (who turned out to be none other than Eric Von Schmidt whose Joshua Gone Barbados and a couple of other songs would become folk staples and classics). Beside them cartons of books that they are sorting to be taken along with them when they head south this summer after graduation exercises at North Adamsville High School are completed in June. (By the way Peter’s parents were only slightly less irate about their son’s activities and used the word “Negro” when they were referring to black people, black people they wished their son definitely not to get involved with were only slightly less behind the times than Mrs. Rowley and Mrs. Jackson and so requires no separate screed by Mrs. Markin. See Peter did not mention word one about what he was, or was not, doing and thus spared himself the anguish that Edward and Judy put themselves through trying to “relate” to their parents, their mothers really since fathers were some vague threatened presence in the background in those households.)

They, trying to hold back their excitement have already been to some training sessions at the NAACP office over on Massachusetts Avenue in the Roxbury section of Boston and have purchased their tickets for the Greyhound bus as far as New York’s Port Authority where they will meet others who will be heading south down to Mississippi goddam and Alabama goddam on a chartered bus. But get this Peter turned to Edward and said, “Have you heard that song, Popsicles and Icicles by the Mermaids, it has got great melodic sense.” Edward made a very severe off-putting “no way” face. Yes, we are still in the time just before the sea change after which even Peter will chuckle about “bubble gum” music. Good luck though, young travelers, good luck.

Stick With The Crooks, Jerry-George V. Higgins’ Sandra Nichols Found Dead

Stick With The Crooks, Jerry-George V. Higgins’ Sandra Nichols Found Dead

Book Review   

From The Pen Of Frank Jackman

 

Sandra Nichols Found Dead, George V. Higgins, 1996

 

Recently I have been on a crime novelist George V. Higgins tear as a result of re-reading his classic first and I believe still his best crime novel, The Friends of Eddie Coyle (and re-watched as well as a result of that read the film adaptation starring Robert Mitchum as Eddie). As is my wont when I get on a tear on an author I have been picking off his later work although in no particular order. Higgins certainly had an ear, a close ear, for dialogue, especially down in the streets dialogue gained from his growing up working-class town of Brockton where in the old days he would have found plenty of corner boys in the old Irish or Italian streets and from his having been a federal government prosecutor. So Higgins has tackled all kinds of criminal situations, murder, extortion, leg-breaking, money laundering, you name in the rough crime categories and has tackled white collar crime, you know, taking bribes, dishing out contracts for a cut, embezzlement, the whole litany of governmental and private company crimes. Along the way there seems to have been three main story lines that Higgins’ work can be grouped around. Stories about the classic street hoods like Eddie, corrupt government officials like Billy Ryan, and those amorphous tales like the one in the book currently under review, Sandra Nichols Found Dead, involving, for lack of a better term, private citizen crimes, rough or white. I have mentioned previously that I believe that the prolific Higgins had his best days when he took on the street hoods, brought them to life, and the contrast to that in this book makes that case stronger in my mind.

Higgins starts off here with a simple premise, or maybe a couple. Not every murder, done in passion or by design, gets solved in this wicked old world and taking a leaf from old F. Scott Fitzgerald the rich, the very rich that we don’t even see, are very different from you and me. They are as likely as not to get away, one way or the other, with murder, murder most foul. Here the subject named in the title has been found murdered, brutally murdered and dumped to be found several months later. If she had been an ordinary citizen, or had not married a very rich man, Peter Wade, Sandra would have, given her checkered history of marriages, affairs, and “working the streets,” been chalked up as a lost cause. As usual the police and District Attorney work the case as best they can but then not finding enough clues to build an airtight case and with the case leading nowhere they put the thing in the “cold case” files.        

But this is where Sandra not being an ordinary citizen and having signed a pre-nuptial agreement with Wade to benefit her three emotionally battered and bruised kids (a big part of that as a result of her own behavior by the way) if she and Peter were divorced or something else happened to her. Smart woman in that regard. After Sandra is found in some desolate swamp the case takes a turn for the better when one of the DAs investigators, a plugger, keeps looking for the murderer and has a damn good idea of who did it, or ordered it done, Wade. The case also takes a turn for the better when the probate judge in the case, a law school classmate of recurring Higgins character, Attorney Jerry Kennedy, is assigned the case by him and will not take no for an answer. Now Kennedy is strictly a criminal lawyer, a guy who got Billy Ryan the public official grafter off without working up a sweat, but this probate stuff acting on behalf of the three children seems beyond his expertise. Worse, even that plugger investigator knew that although murder was in the air, knew the nuts and bolts of how it was done, knew as well that Wade was not going to take the fall for murder one since no way could the prosecution prove its case beyond a reasonable doubt.                

Kennedy is no quitter though and so he plans his strategy as an end around, make Wade pay like he should under that pre-nuptial agreement for the kids’ education and their pain and suffering, about three million he thought would square things. Kennedy spends the bulk of the novel proving to his own satisfaction that Wade is the one who ordered the murder of his wife once he tired of her and wanted to move on to the next best thing and set up the framework where Wade would be forced to pay out. And he does in the end. The problem for me with this plot-line though is that I could not suspend my disbelief long enough to figure out why the mostly absent and hence not fully sketched out by Higgins Wade felt he needed to order the “hit” on Sandra when forking out the  dough would have worked just as well. Moreover unlike the tight narrative in a work like Coyle this one has way too much sidebar talk about camera clubs, Kennedy’s unhappy marriage, the history of private schools and lots more, not remotely relevant to the case. I think Higgins bulked this one up when he too found the plot-line rather thin. Enough said.   

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 those traumas 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 in this cuckoo world is asking about yesterday’s news. Yesterday’s news is exactly the way Joe expressed it one time back in 1947 to a guy he worked with, a sports writer a couple of years older than Joe but who somehow ducked out of the war like a lot of guys for reasons they are not discussing, not discussing this side of a bottle, so a guy whose closest call to combat was the battle of the barroom stool he fought most nights after work dribbling down low-shelf whiskies in order to come up with yet another superlative to fawn over some Triple A baseball prospect, on the Daily Tribune, a newspaper, or rather the newspaper of record if you will in Lima, Ohio where Joe landed feet first after he got his discharge papers and headed home.

Yeah in this cuckoo world only supply sergeants, class clowns, and barroom stool heroes tried to trade off their war experiences for so much as a drink when things were back to normal, normal as they were going to be, tried to bring what they did or did not do up from the dregs now that everybody else, everybody including our own Joe Average, don’t worry we will give Joe a last name in a minute, once we get this issue of what we are never going to know about what Joe did in the war, beyond what he had to. Yeah, stick with the pat answer, brother, stick with the pat answer. See though back in 1941, and maybe I don’t need to say more than that but if I do let’s say after Pearl, Pearl Harbor, December 7, 1941 for the forgetful, or those too young to have remembered what that was all about a lot of Joe Average guys, guys who were working out in some factory making whatever they were making, other guys were plowing fields for hungry mouths out in the plains, and guys like Joe, literary types, were going to places like Big Ten Ohio State where they expected to move up in the world, move past those parents who got their dreams decapitated, there is no other word for what happened and if Joe had written that word he would not have been far off in his own family history. 

But Pearl put the world on hold for Joe Average guys who flocked to the recruiting stations forming big long lines to get into uniform just like our Joe Average did when he got the word, when Roosevelt put the word out. Not that they, those Joes, expected to get a hell of a lot of whatever the war’s conclusion would bring but they were kind of funny about a bunch of night-takers in places like Tokyo and Berlin trying to crowd them, trying to make them cry “uncle” and holler. Yeah, they whatever else they ready to they were ready to lay down their heads in some mephitic swamp, on some salted atoll, storming some heavily defended beach, traipsing through the dusty roads of wherever they had to go to give the night-takers the short stick. That is the stuff that our Joe Average was made of, don’t mistake that by his cavalier attitude now that the war was yesterday’s news. If you don’t believe me a quick look at the fruit salad on that laid away uniform up in the closet of his parents’ house in Lima, Ohio will disabuse you of that notion.               

All that said now is time to take our Joe Average out of the shapeless clay of Joe Average-dom, give him a name, a name   fit for a guy on the move in the hustle-bustle. 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 came down from Cleveland to confirm him so he was brought up at least that far Catholic but don’t to run that Joseph Francis Xavier Gillis by him, not if you don’t want a ration of shit like that drunken sports writer did one night to bait Joe when he got a commendation from Charley Squire, the city editor, for a big story he did on returning veterans who had no place to live, had not housing except the damn county farm after all they went through in the Atlantic and Pacific wars. Don’t ask him either, except maybe if his mother was around, if he still had the religion, still was a believer in the message of the Roman Catholic Church because you will get another pat answer, one you may not like if you are sensitive about your religion, or anybody’s.

So Joe Gillis, to bring everything and everybody up to speed,   is 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 had been totally flipped by the screen-writers from what he had originally written. Don’t ask him the wrong way what he thought of that maneuver, not if you want the same fate as that ill-advised sports writer back in Lima. See before the war, while Joe was at Ohio State he majored in English (mainly because in high school he could tell stories in English class that both the teachers and his fellow students were spell-bound by and he was nobody from nowhere in math, science and history but he certainly had literary ambitions). Of course the war had put a big detour on that vocation, except Joe would write like crazy when he had five minutes to collect his thoughts and the bullets were not whizzing over his head. So when the war ended he landed that job in Lima, a job that was practically promised him at the time of his enlistment. Joe though only thought of that assignment, that city desk assignment, as a stepping-stone to becoming a serious writer, a screen-writer at least. Like a lot of young men who served their country in the war, who had left their small towns, city neighborhoods, villages, who had lost their moorings once out in the big world, and who could no longer be contained in the Limas of the country Joe drifted West, drifted to see what a couple of guys in his unit were talking about when they said that California was the future, and by that Joe took what they said to mean for him the dazzle of Hollywood, to see if he was made of the right stuff. He sold some stuff, some “spec” stuff but as we pick him up on in Hollywood he is trying to figure if he can borrow another ten bucks from his old buddy Artie who had showed the ropes when he hit town and was clueless how the “system” worked except stay by the phone, stay healthy and stay ready to eat crow to get off the ground.

Here is the funny about Joe, maybe about a lot of guys like Joe, he wouldn’t give you the time of day about his war record, about his bouts of religious faith and faithlessness but given the slightest encouragement and maybe a nice shot of high-shelf liquor to tide him over, in short set him up the right way, he would give you chapter and verse about the ups and downs of his life in Tinsel-town. Some guys are funny like that, the literary types are built that way, no question. They say with Hemingway and Fitzgerald it didn’t even have to be high-shelf liquor if there was no quality around, with younger guys like Norman Mailer and Jack Kerouac slip them a joint andthey would go on and on.           

So you would, will, get a full answer from Joe about that little tragedy, small size in the great movies scheme of things but meaning a lot to a guy like Joe who just knew he had the stuff to make it, after all his schoolmates and his city editor tapped him on the head, people who go to movies in any case if not interested in great literary squabbles, 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, a good-looking guy, with that Gary Cooper “ah shucks” handsomeness one would expect from a corn-fed Midwestern boy that the jaded ladies of Hollywood were eager to try on so he had had had a few rather nice casual affairs on some very downy billows with a few on the way up,  his way up, theirs they were on their own about but mainly they would go back to Davenport, or whatever Lima they had to get the dust off their shoes from), 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 just like to). Apparently nobody told Joe, or he didn’t listen, probably the latter if he was invoking his heroes Hemingway and Fitzgerald as literary giants and not just their skills with the bottle, that “the cinema” was filled to the rafters with guys and dolls who had that right stuff, join the line brother, join the line.

Joe had a little system about how much he would tell you depending, no matter how good the scotch, on whether he was on an “up” or on a “down” meaning that he was either borrowing or not borrowing money from Artie, this according to Artie who had a pretty good idea what Joe was about since he had done everything from nurse-maid him when he, a raw kid out of the sticks Lima came to town with googly eyes to getting him laid from among the bevy of starlets he knew from the casting couches of the studios since Artie had with lots of hard work raised his own position in the Hollywood firmament meaning that he did all the real work on the birthing of a film.

If Joe was the chips he would give you every detail of his time in the town, “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, From Hell and Back, that he had brought out to Hollywood with him, had written the piece while at that city desk during slack time to reflect what Tinsel town was buying and producing just then, had written the outline under fire in Europe when the 1^st Division, the Big Red One, his division, was on the move east, ever east, male-centered war movies or Westerns which were really the same thing except taking play about one hundred years earlier but with that same male lonely introspective brooding 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 (one guy from Joe’s unit passing through Lima on his way to the West s had over drinks at Harry’s across the street from the Daily Tribune told Joe that it was 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,”). Joe’s baby was a Western since it was easier to deal with that a war movie where his own emotions but bungle the plotline beyond repair 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 script, Two To Go, 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 script rooms of 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. That perfectly serviceable script, maybe with a little work on the background of the two writers, he had in mind a Waspish guy from the Midwest and a Jewish girl from Brooklyn maybe with the two worlds colliding, maybe work through some deeper issues about literature and life before they hit the sheets 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 from the 1920s, from the silent movie days when good looks and gestures carried the day but whose voice turned out to sound a train horn and she was unceremoniously dumped by MGM, who had a thing for younger men, had had a notorious stable of them to keep her young while “keeping” the guys since she had a ton of dough made and invested when that was easier to do to avoid taxes,   and who was insanely jealous when the younger women came around was just “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 the revised plot got though they, the coppers when they came to the faded actresses house up in the secluded hills, since there were no witnesses, any that would come forward once 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 with the gratuitous violence since the studio bosses felt that they were losing older women, those women who would have a few years before gone for the original script and brought their ex-servicemen with them, to motherhood and the newly emerging television, 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 had done (the models for his small idea movie) who he would have drinks with in their Malibu cottage 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 long gone and wouldn’t be around to fuss over copyrights and royalties won a few art house kind of awards and nominations (the coveted Globe among the literary set and the Lawrence from the high-brow cinema set). 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. This is how a guy who knew Joe, pieced the price that Joe would wound up paying for getting in line like a million other hard-bitten guys:

Yeah, Joe Gillis, Joe from Anywhere Ohio, Lima, 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 finishing out at Ohio State that was the ticket out of the doldrums night city desk reporter for the Daily Tribune and later 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 had 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 re-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, a reader being a smart Seven Sisters college girl who could sniff out a few gems among the million scripts left at the studios’ doors from hungry guys like Joe, had recommended to her boss that they go with those original 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 smoothed over 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 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 Lima 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 back door 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 he 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 up, got 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 Joe 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 or wherever he hailed from 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 director had portrayed every kind of villainous woman from axe murderer to midnight poisoner hated the sight of blood. The sight of blood sickened her and maimed bodies revolted her, even stage dummies. So she held her grief in, almost.

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.                            

 

 

 

 

 

The Latest From The Partisan Defense Committee Website- Free All Class-War Prisoners

*****The Latest From The Partisan Defense Committee Website- Free All Class-War Prisoners

 

James P.Cannon (center)-Founding leader of The International Labor Defense- a model for labor defense work in the 1920s and 1930s.

Click below to link to the Partisan Defense Committee website.

http://www.partisandefense.org/

Reposted from the American Left History blog, dated December 1, 2010, updated December 2014.

Markin comment:

I like to think of myself as a long-time fervent supporter of the Partisan Defense Committee, an organization committed to social and political defense cases and causes in the interests of the international working class. Cases from early on in the 1970s when the organization was founded and the committee defended the Black Panthers who were being targeted by every police agency that had an say in the matter, the almost abandoned by the left Weather Underground (in its various incantations) and Chilean miners in the wake of the Pinochet coup there in 1973 up to more recent times with the Mumia death penalty case, defense of the Occupy movement and the NATO three, and defense of the heroic Wiki-leaks whistle-blower Chelsea Manning (formerly Bradley).

Moreover the PDC is an organization committed, at this time of the year, to raising funds to support the class-war prisoners’ stipend program through the annual Holiday Appeal drive. Unfortunately having to raise these funds in support of political prisoners for many years now, too many years, as the American and international capitalist class and their hangers-on have declared relentless war, recently a very one-sided war, against those who would cry out against the monster. Attempting to silence voices from zealous lawyers like Lynne Stewart, articulate death-row prisoners like Mumia and the late Tookie Williams, anti-fascist street fighters like the Tingsley Five to black liberation fighters like the Assata Shakur, the Omaha Three and the Angola Three and who ended up on the wrong side of a cop and state vendetta and anti-imperialist fighters like the working-class based Ohio Seven and student-based Weather Underground who took Che Guevara’s admonition to wage battle inside the “belly of the beast” seriously. Others, other militant labor and social liberation fighters as well, too numerous to mention here but remembered.

Normally I do not need any prompting in the matter. This year tough I read the 25th Anniversary Appeal article in Workers Vanguard No. 969 where I was startled to note how many of the names, organizations, and political philosophies mentioned there hark back to my own radical coming of age, and the need for class-struggle defense of all our political prisoners in the late 1960s (although I may not have used that exact term at the time).

That recognition included names like black liberation fighter George Jackson’s now deceased after a brutal prison murder class-war prisoner Hugo Pinell’s San Quentin Six comrade; the Black Panthers in their better days, the days when the American state really was out to kill or detain every last supporter, and in the days when we needed, desperately needed, to fight for their defense in places from Oakland to New Haven,  as represented by two of the Omaha Three (Poindexter and wa Langa), in their younger days; the struggle, the fierce struggle, against the death penalty as represented in Mumia’s case today (also Black Panther-connected); the Ohio 7 and the Weather Underground who, rightly or wrongly, were committed to building a second front against American imperialism, and who most of the left, the respectable left, abandoned; and, of course, Leonard Peltier and the Native American struggles from Pine Ridge to the Southwest. It has been a long time and victories few. I could go on but you get the point.

That point also includes the hard fact that we have paid a high price, a very high price, for not winning back in the late 1960s and early 1970s when we last had this capitalist imperialist society on the ropes. Maybe it was political immaturity, maybe it was cranky theory, maybe it was elitism, hell, maybe it was just old-fashioned hubris but we let them off the hook. And have had to fight forty years of rear-guard “culture wars” since just to keep from falling further behind.

And the class-war prisoners, our class-war prisoners, have had to face their “justice” and their prisons. Many, too many for most of that time. That lesson should be etched in the memory of every pro-working class militant today. And this, as well, as a quick glance at the news these days should make every liberation fighter realize; the difference between being on one side of that prison wall and the other is a very close thing when the bourgeois decides to pull the hammer down. The support of class-war prisoners is thus not charity, as International Labor Defense founder James P. Cannon noted back in the 1920s, but a duty of those fighters outside the walls. Today I do my duty, and gladly. I urge others to do the same now at the holidays and throughout the year. The class-war prisoners must not stand alone. 

*Free The Last of the Ohio Seven-They Must Not Die In Jail

COMMENTARY

ONE OF THE OHIO SEVEN -RICHARD WILLIAMS- RECENTLY DIED IN PRISON (2006). THAT LEAVES JAAN LAAMAN AND TOM MANNING STILL IN PRISON. IT IS AN URGENT DUTY FOR THE INTERNATIONAL LABOR MOVEMENT AND OTHERS TO RAISE THE CALL FOR THEIR FREEDOM. FREE ALL CLASS WAR PRISONERS.

Free the last of the Seven. Below is a commentary written in 2006 arguing for their freedom.

The Ohio Seven, like many other subjective revolutionaries, coming out of the turbulent anti-Vietnam War and anti-imperialist movements, were committed to social change. The different is that this organization included mainly working class militants, some of whose political consciousness was formed by participation as soldiers in the Vietnam War itself. Various members were convicted for carrying out robberies, apparently to raise money for their struggles, and bombings of imperialist targets. Without going into their particular personal and political biographies I note that these were the kind of subjective revolutionaries that must be recruited to a working class vanguard party if there ever is to be a chance of bringing off a socialist revolution. In the absence of a viable revolutionary labor party in the 1970’s and 1980’s the politics of the Ohio Seven, like the Black Panthers and the Weathermen, were borne of despair at the immensity of the task and also by desperation to do something concrete in aid of the Vietnamese Revolution and other Third World struggles . Their actions in trying to open up a second front militarily in the United States in aid of Third World struggles without a mass base proved to be mistaken but, as the Partisan Defense Committee which I support has noted, their actions were no crime in the eyes of the international working class.

The lack of a revolutionary vanguard to attract such working class elements away from adventurism is rendered even more tragic in the case of the Ohio Seven. Leon Trotsky, a leader with Lenin of the Russian Revolution of 1917, noted in a political obituary for his fallen comrade and fellow Left Oppositionist Kote Tsintadze that the West has not produced such fighters as Kote. Kote, who went through all the phases of struggle for the Russian Revolution, including imprisonment and exile under both the Czar and Stalin benefited from solidarity in a mass revolutionary vanguard party to sustain him through the hard times. What a revolutionary party could have done with the evident capacity and continuing commitment of subjective revolutionaries like the Ohio Seven poses that question point blank. This is the central problem and task of cadre development in the West in resolving the crisis of revolutionary leadership.

Finally, I would like to note that except for the Partisan Defense Committee and their own defense organizations – the Ohio 7 Defense Committee and the Jaan Laaman Defense Fund- the Ohio Seven have long ago been abandoned by those New Left elements and others, who as noted, at one time had very similar politics. At least part of this can be attributed to the rightward drift to liberal pacifist politics by many of them, but some must be attributed to class. Although the Ohio Seven were not our people- they are our people. All honor to them. As James P Cannon, a founding leader of the International Labor Defense, forerunner of the Partisan Defense Committee, pointed out long ago –Solidarity with class war prisoners is not charity- it is a duty. Their fight is our fight! LET US DO OUR DUTY HERE. RAISE THE CALL FOR THE FREEDOM OF LAAMAN AND MANNING. MAKE MOTIONS OF SOLIDARITY IN YOUR POLITICAL ORGANIZATION, SCHOOL OR UNION.

YOU CAN GOOGLE THE ORGANIZATIONS MENTIONED ABOVE- THE PARTISAN DEFENSE COMMITTEE- THE OHIO 7 DEFENSE COMMITTEE- THE JAAN LAAMAN DEFENSE FUND.

From The Archives-2014