Friday, June 09, 2017

The 50th Anniversary Of The Summer Of Love,1967- Hunter S.Thompson-The "Gonzo" King Near The End

The 50th Anniversary Of The Summer Of Love,1967- Hunter S.Thompson-The "Gonzo" King Near The End


Zack James’ comment June, 2017:

Maybe it says something about the times we live in, or maybe in this instance happenstance or, hell maybe something in the water but certain things sort of dovetail every now and again. I initially started this commentary segment after having written a longest piece for my brother and his friends as part of a small tribute booklet they were putting together about my and their takes on the Summer of Love, 1967. That event that my brother, Alex, had been knee deep in had always interested me from afar since I was way too young to have appreciated what was happening in San Francisco in those Wild West days. What got him motivated to do the booklet had been an exhibit at the de Young Art Museum in Golden Gate Park where they were celebrating the 50th anniversary of the events of that summer with a look at the music, fashion, photography and exquisite poster art which was created then just as vivid advertising for concerts and “happenings” but which now is legitimate artful expression.

That project subsequently got me started thinking about the late Hunter Thompson, Doctor Gonzo, the driving force behind a new way of looking at and presenting journalism which was really much closer to the nub of what real reporting was about. Initially I was interested in some of Thompson’s reportage on what was what in San Francisco as he touched the elbows of those times having spent a fair amount of time working on his seminal book on the Hell’s Angels while all hell was breaking out in Frisco town. Delved into with all hands and legs the high points and the low, the ebb which he located somewhere between the Chicago Democratic Convention fiasco of the summer of 1968 and the hellish Rollins Stones Altamont concert of 1969.     

Here is what is important today though, about how the dots get connected out of seemingly random occurrences. Hunter Thompson also made his mark as a searing no holds barred mano y mano reporter of the rise and fall, of the worthy demise of one Richard Milhous Nixon at one time President of the United States and a common low-life criminal of ill-repute. Needless to say today, the summer of 2107, in the age of one Donald Trump, another President of the United States and common low-life criminal begs the obvious question of what the sorely missed Doctor Gonzo would have made of the whole process of the self-destruction of another American presidency, or a damn good run at self-destruction. So today and maybe occasionally in the future there will be some intertwining of commentary about events fifty years ago and today. Below to catch readers up to speed is the most recent “homage” to Hunter Thompson. And you too I hope will ask the pertinent question. Hunter where are you when we need, desperately need, you.       
*******
Zack James comment, Summer of 2017 

You know it is in a way too bad that “Doctor Gonzo”-Hunter S Thompson, the late legendary journalist who broke the back, hell broke the neck, legs, arms of so-called objective journalism in a drug-blazed frenzy back in the 1970s when he “walked with the king”’ is not with us in these times. (Walking with the king not about walking with any king or Doctor King but being so high on drugs, your choice, that commin clay experiences fall by the way side. In the times of this 50th anniversary commemoration of the Summer of Love, 1967 which he worked the edges of while he was doing research (live and in your face research by the way) on the notorious West Coast-based Hell’s Angels. His “hook” through Ken Kesey and the Merry Pranksters down in Kesey’s place in La Honda where many an “acid test” took place, where many walked with the king, if you prefer, and where for a time the Angels, Hunter in tow, were welcomed. He had been there in the high tide, when it looked like we had the night-takers on the run and later as well when he saw the ebb tide of the 1960s coming a year or so later although that did not stop him from developing the quintessential “gonzo” journalism fine-tuned with plenty of dope for which he would become famous before the end, before he took his aging life and left Johnny Depp and company to fling his ashes over this good green planet. He would have “dug” the exhibition, maybe smoked a joint for old times’ sake (oh no, no that is not done in proper society, in high art society these days) at the de Young Museum at the Golden Gate Park highlighting the events of the period showing until August 20th of this year.   


Better yet he would have had this Trump thug bizarre weirdness wrapped up and bleeding from all pores just like he regaled us with the tales from the White House bunker back in the days when Trump’s kindred one Richard Milhous Nixon, President of the United States and common criminal was running the same low rent trip before he was run out of town by his own like some rabid rat. He would have gone crazy seeing all the crew deserting the sinking U.S.S. Trump with guys like fired FBI Director Comey going to Capitol Hill and saying out loud the emperor has no clothes and would not know the truth if it grabbed him by the throat. Every day would be a feast day. But perhaps the road to truth these days, in the days of “alternate facts” and assorted other bullshit would have been bumpier than in those more “civilized” times when simple burglaries and silly tape-recorders ruled the roost. Hunter did not make the Nixon “hit list” (to his everlasting regret for which he could hardly hold his head up in public) but these days he surely would find himself in the top echelon. Maybe too though with these thugs who like their forbears would stop at nothing he might have found himself in some back alley bleeding from all pores. Hunter Thompson wherever you are –help. Selah. Enough said-for now  


BOOK REVIEW

Kingdom of Fear, Hunter S. Thompson, Penguin, New York, 2004


Make no mistake the late, lamented Hunter Thompson was always something of a muse for me going way back to the early 1970's when I first read his seminal work on outlaw bikers, The Hell's Angels. Since then I have devoured, and re-devoured virtually everything that he has written. I have reviewed many of those efforts elsewhere in this space. As I noted recently in reviewing his 2004 work Hey, Rube, a screed on the misadventures of a gambling freak (himself), not all his efforts have been equally compelling. That was the case in my panning of Hey, Rube but here we are back on much more solid `gonzo' style from the old days. Maybe it is because this work is in the form of a memoir and thus intentionally places the good Doc's actions in the center of the writing that puts this effort in the mold of his better compilations like the Great Shark Hunt and Songs of the Doomed.

Thompson uses his patented stream of consciousness trope to create amusing stories starting from the then present (early 2000's) and his then current doings and splices them together, in some segments randomly, to events as far back as his childhood in Louisville, Kentucky. Along the way we find him at age nine in trouble with the FBI, and none the worst for the confrontation. Later, it is down and dirty in Rio with the crazies. Throughout, we find him incessantly testing his beloved guns and various ‘hot’ motorcycles at various and sundry appropriate and inappropriate times.

Additionally, we have some compelling and insightful stories as this radical journalist tours the news breaking global spots, taking trips to places like Vietnam just before the fall, Cuba, Grenada just after the invasion and elsewhere wherever the journalistic action might be and a story, in the Thompson style, might develop. Needless to say there is plenty of ink about sex, drugs and rock and rock including his deeply affecting and traumatic tangle with the law in Aspen the early 1990's. That, my friends, was a close call.

And throughout, as usual, there are pithy political comments about the various idiots-in-chiefs, their henchmen and hangers-on that he spent his life hammering. Maybe not hammering your way, definitely not my way, but his way. His fateful run for Sheriff of Aspen on the Freak Power ticket in 1970 probably accurately set the tone as a lifelong description of his politics. For those who have read other works by Thompson some of the signature language may be old hat as he meanders along in this volume. For others it is a chance to learn the lingo. Damn, especially this election year, I miss him. Read on.

The 50th Anniversary Of The Summer Of Love, 1967- Elegy For A Los Angeles Man- The Trials and Tribulations of A Literary Man-Charles Bukowski

The 50th Anniversary Of The Summer Of Love, 1967- Elegy For A Los Angeles Man- The Trials and Tribulations of A Literary Man-Charles Bukowski




Zack James’ comment June, 2017:

Maybe it says something about the times we live in, or maybe in this instance happenstance or, hell maybe something in the water but certain things sort of dovetail every now and again. I initially started this commentary segment after having written a longest piece for my brother and his friends as part of a small tribute booklet they were putting together about my and their takes on the Summer of Love, 1967. That event that my brother, Alex, had been knee deep in had always interested me from afar since I was way too young to have appreciated what was happening in San Francisco in those Wild West days. What got him motivated to do the booklet had been an exhibit at the de Young Art Museum in Golden Gate Park where they were celebrating the 50th anniversary of the events of that summer with a look at the music, fashion, photography and exquisite poster art which was created then just as vivid advertising for concerts and “happenings” but which now is legitimate artful expression.

That project subsequently got me started thinking about the late Hunter Thompson, Doctor Gonzo, the driving force behind a new way of looking at and presenting journalism which was really much closer to the nub of what real reporting was about. Initially I was interested in some of Thompson’s reportage on what was what in San Francisco as he touched the elbows of those times having spent a fair amount of time working on his seminal book on the Hell’s Angels while all hell was breaking out in Frisco town. Delved into with all hands and legs the high points and the low, the ebb which he located somewhere between the Chicago Democratic Convention fiasco of the summer of 1968 and the hellish Rollins Stones Altamont concert of 1969.     

Here is what is important today though, about how the dots get connected out of seemingly random occurrences. Hunter Thompson also made his mark as a searing no holds barred mano y mano reporter of the rise and fall, of the worthy demise of one Richard Milhous Nixon at one time President of the United States and a common low-life criminal of ill-repute. Needless to say today, the summer of 2107, in the age of one Donald Trump, another President of the United States and common low-life criminal begs the obvious question of what the sorely missed Doctor Gonzo would have made of the whole process of the self-destruction of another American presidency, or a damn good run at self-destruction. So today and maybe occasionally in the future there will be some intertwining of commentary about events fifty years ago and today. Below to catch readers up to speed is the most recent “homage” to Hunter Thompson. And you too I hope will ask the pertinent question. Hunter where are you when we need, desperately need, you.       
*******
Zack James comment, Summer of 2017 

You know it is in a way too bad that “Doctor Gonzo”-Hunter S Thompson, the late legendary journalist who broke the back, hell broke the neck, legs, arms of so-called objective journalism in a drug-blazed frenzy back in the 1970s when he “walked with the king”’ is not with us in these times. (Walking with the king not about walking with any king or Doctor King but being so high on drugs, your choice, that commin clay experiences fall by the way side. In the times of this 50th anniversary commemoration of the Summer of Love, 1967 which he worked the edges of while he was doing research (live and in your face research by the way) on the notorious West Coast-based Hell’s Angels. His “hook” through Ken Kesey and the Merry Pranksters down in Kesey’s place in La Honda where many an “acid test” took place, where many walked with the king, if you prefer, and where for a time the Angels, Hunter in tow, were welcomed. He had been there in the high tide, when it looked like we had the night-takers on the run and later as well when he saw the ebb tide of the 1960s coming a year or so later although that did not stop him from developing the quintessential “gonzo” journalism fine-tuned with plenty of dope for which he would become famous before the end, before he took his aging life and left Johnny Depp and company to fling his ashes over this good green planet. He would have “dug” the exhibition, maybe smoked a joint for old times’ sake (oh no, no that is not done in proper society, in high art society these days) at the de Young Museum at the Golden Gate Park highlighting the events of the period showing until August 20th of this year.   


Better yet he would have had this Trump thug bizarre weirdness wrapped up and bleeding from all pores just like he regaled us with the tales from the White House bunker back in the days when Trump’s kindred one Richard Milhous Nixon, President of the United States and common criminal was running the same low rent trip before he was run out of town by his own like some rabid rat. He would have gone crazy seeing all the crew deserting the sinking U.S.S. Trump with guys like fired FBI Director Comey going to Capitol Hill and saying out loud the emperor has no clothes and would not know the truth if it grabbed him by the throat. Every day would be a feast day. But perhaps the road to truth these days, in the days of “alternate facts” and assorted other bullshit would have been bumpier than in those more “civilized” times when simple burglaries and silly tape-recorders ruled the roost. Hunter did not make the Nixon “hit list” (to his everlasting regret for which he could hardly hold his head up in public) but these days he surely would find himself in the top echelon. Maybe too though with these thugs who like their forbears would stop at nothing he might have found himself in some back alley bleeding from all pores. Hunter Thompson wherever you are –help. Selah. Enough said-for now  





DVD REVIEW

Bukowski: Born Into This, Charles Bukowski and others, directed by John Dullaghan, Magnolia, 2003

Back in the early 1970’s, well- before he became a cult figure of some stature, someone, somewhere directed me to some articles written by the king of “gonzo” journalist, the late Doctor Hunter S. Thompson for the then radical political/musical “Rolling Stone” magazine. Readers of this space are well aware of my affection for the writings of the good doctor. Around that same time the same person who “turned me on to” Thompson, as the expression of the day went, also mentioned that if I liked Thompson then I would definitely go for the then emerging Los Angeles literary cult figure under review here, Charles Bukowski.

I then read some of Bukowski’s stuff, mainly poetry from the various “little” presses like "City Light" but I was not that impressed at the time. Later, in the late 1980’s, when the movie “Barfly”, starting Mickey Rourke as Bukowski, came out I again tried to read his work, this time mainly the novels. Still no sale. Now, however, with this rather well done documentary that details the ups and downs of this literary figure who may have had the same kind of feel for the dispossessed, the “street people” of L.A., that his near contemporary Nelson Algren had for Chicago I think I have to take another look.

This documentary puts together the various aspects of Bukowski’s life (and incidentally demonstrates how tough it is to be an avant guarde artist in America) from his broken childhood to his struggle to find work, but most importantly, his struggle to write with the deck stacked against him. Add in a mercurial personality, some physical facial deformities (due to severe facial acne) and a very heavy drinking problem, including periods of abusive behavior to his girlfriends and others, to help drown his sorrows and one does not get a pretty picture. The film also gives enough snippets of his work (including some readings by Bukowski himself) to intrigue me to go back and check him out again.

But here is the kicker. I am always on the lookout for those who will speak for the dispossessed (like Algren, James T. Farrell, the young Dos Passos, etc.) even if there is no direct political linkage. Maybe I missed something before. Moreover, the “talking heads” that naturally populate a documentary like this included Tom Waits, Sean Penn, Bono, and Harry Dean Stanton. These are the same guys who provided commentary on a couple of Hunter Thompson documentaries that I have reviewed in this space recently. So, maybe I did miss something. Who would have thought?

BEER
from: Love is A Mad Dog From Hell


I don't know how many bottles of beer
I have consumed while waiting for things
to get better
I dont know how much wine and whisky
and beer
mostly beer
I have consumed after
splits with women-
waiting for the phone to ring
waiting for the sound of footsteps,
and the phone to ring
waiting for the sounds of footsteps,
and the phone never rings
until much later
and the footsteps never arrive
until much later
when my stomach is coming up
out of my mouth
they arrive as fresh as spring flowers:
"what the hell have you done to yourself?
it will be 3 days before you can fuck me!"

the female is durable
she lives seven and one half years longer
than the male, and she drinks very little beer
because she knows its bad for the figure.

while we are going mad
they are out
dancing and laughing
with horney cowboys.

well, there's beer
sacks and sacks of empty beer bottles
and when you pick one up
the bottle fall through the wet bottom
of the paper sack
rolling
clanking
spilling gray wet ash
and stale beer,
or the sacks fall over at 4 a.m.
in the morning
making the only sound in your life.

beer
rivers and seas of beer
the radio singing love songs
as the phone remains silent
and the walls stand
straight up and down
and beer is all there is.

AS CRAZY AS I EVER WAS
from: Love is A Dog From Hell


drunk and writing poems
at 3 a.m.

what counts now
is one more
tight pussy

before the light
tilts out

drunk and writing poems
at 3:15 a.m.

some people tell me that I'm
famous.

what am I doing alone
drunk and writing poems at
3:18 a.m.?

I'm as crazy as I ever was
they don't understand
that I haven't stopped hanging out of 4th floor
windows by my heels-
I still do
right now
sitting here

writing this down
I am hanging by my heels
floors up:
68, 72, 101,
the feeling is the
same:
relentless
unheroic and
necessary

sitting here
drunk and writing poems
at 3:24 a.m.

ANOTHER BED
from: Love is a Mad Dog from Hell


another bed
another women

more curtains
another bathroom
another kitchen

other eyes
other hair
other
feet and toes.

everybodys looking.
the eternal search.

you stay in bed
she gets dressed for work
and you wonder what happened
to the last one
and the one after that...
it's all so comfortable-
this love making
this sleeping together
the gentle kindness...

after she leaves you get up and use her
bathroom,

it's all so intimate and strange.
you go back to bed and
sleep another hour.

when you leave its with sadness
but you'll se her again
whether it works or not.
you drive down to the shore and sit
in your car. it's almost noon.

-another bed, other ears, other
ear rings, other mouths, other slippers, other
dresses

colors, doors, phone numbers.

you were once strong enough to live alone.
for a man nearing sixty you should be more
sensible.

you start the car and shift,
thinking, I'll phone Jeanie when I get in,
I haven't seen her since Friday.

SHE SAID
from: War All the Time


what are you doing with all those paper
napkins in your car?
we dont have napkins like
that
how come your car radio is
always turned to some
rock and roll station?do you drive around with
some
young thing?

you're
dripping tangerine
juice on the floor.
whenever you go into
the kitchen
this towel gets
wet and dirty,
why is that?

when you let my
bathwater run
you never
clean the
tub first.

why don't you
put your toothbrush
back
in the rack?

you should always
dry your razor

sometimes
I think
you hate
my cat.

Martha says
you were
downstairs
sitting with her
and you
had your
pants off.

you shouldn't wear
those
$100 shoes in
the garden

and you don't keep
track
of what you
plant out there

that's
dumb

you must always
set the cat's bowl back
in
the same place.

don't
bake fish
in a frying
pan...

I never saw
anybody
harder on the
brakes of their
car
than you.

let's go
to a
movie.

listen what's
wrong with you?
you act
depressed.

THE ALIENS
from The Last Night Of The Earth Poems


you may not believe it
but there are people
who go through life with
very little
friction of distress.
they dress well, sleep well.
they are contented with
their family
life.
they are undisturbed
and often feel
very good.
and when they die
it is an easy death, usually in their
sleep.

you may not believe
it
but such people do
exist.

but i am not one of
them.
oh no, I am not one of them,
I am not even near
to being
one of
them.
but they
are there

and I am
here.

BAD TIMES AT THE 3RD AND VERMONT HOTEL
from: You Get So Alone At Times that It Just Makes Sense


Alabam was a sneak and a theif and he came to my
room when I was drunk and
each time I got up he would shove me back
down.

you prick, I tole him, you know I can take you!

he just shoved me down
again.

I finally caught him a good one, right over the
temple
and he backed off and
left.
it was a couple of days later
I got even: I fucked his
girl.

then I went down and knocked on his
door.

well, Alabam, I fucked your women and now I'm going to
kick you all the way to
hell!

the poor guy started crying, he put his hands over his
face and just cried

I stood there and watched
him.

then i left him there, i went back to
my room.

we were all alkies and none of us had jobs, all we had
was each other.


even then, my so-called women was in some bar or
somewhere, i hadn't seen her in a couple of
days.

I had a bootle of port
left.

i uncorked it and took it down to Alabam's
room.

said, how about a drink,
Rebel?

he looked up, stood up, went for two glasses.

THOSE GIRLS WE FOLLOWED HOME
from: You Get So Alone At Times that It Just MAkes Sense


in junior high the two prettiest girls were
Irene and Louise,
they were sisters;
Irene was a year older, a little taller
but it was difficult to choose between
them;
they were not only pretty but they were
astonishingly beautiful
so beautiful
that the boys stayed away from them;
they were terrified of Irene and
Louise
who weren't aloof at all;
even friendlier than most
but
who seemed to dress a bit
differently than the other girls;
they always wore high heels'
silk stockings,
blouses,
skirts,
new outfits
each day;
and'
one afternoon
my buddy, Baldy, and i followed them
home from school;
you see, we were kind of
the bad guys on the grounds
so it was
more or less
expected,
and
it was soomething:
walking along ten or twelve feet behind them;
we didnt say anything
we just followed
watching
their voultuous swaying,
the balance of the
haunches.

we liked it so much that we
followed them home from school
every
day.

when they'd go into their house
we'd stand outside on the sidewalk
smoking cigarettes and talking.

"someday". I told Baldy.
"they are going to invite us inside their
house and they are going to
fuck us."

"you really think so?"

"sure."

now
50 years later
I can tell you
they never did
-never mind all the stories we
told the guys;
yes, it's a dream that
keepds you going
then and
now.

“Even The President Of The United States Sometimes Must Have To Stand Naked”- Tales From The Bunker-Hunter Thompson Where Are You When We Need You

“Even The President Of The United States Sometimes Must Have To Stand Naked”- Tales From The Bunker-Hunter Thompson Where Are  You When We Need You

























It's All Right Ma (I'm Only Bleeding)






Lyrics



Darkness at the break of noon
Shadows even the silver spoon
The handmade blade, the child's balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying
Pointed threats, they bluff with scorn
Suicide remarks are torn
From the fool's gold mouthpiece
The hollow horn plays wasted words
Proves to warn that he's not busy being born
Is busy dying
Temptation's page flies out the door
You follow, find yourself at war
Watch waterfalls of pity roar
You feel to moan but unlike before
You discover that you'd just be
One more person crying
So don't fear if you hear
A foreign sound to your ear
It's alright ma, I'm only sighing
As some warn victory, some downfall
Private reasons great or small
Can be seen in the eyes of those that call
To make all that should be killed to crawl
While others say don't hate nothing at all
Except hatred
Disillusioned words like bullets bark
As human gods aim for their mark
Made everything from toy guns that spark
To flesh-colored Christs that glow in the dark
It's easy to see without looking too far
That not much is really sacred
While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
Goodness hides behind its gates
But even the president of the United States
Sometimes must have to stand naked
An' though the rules of the road have been lodged
It's only people's games that you got to dodge
And it's alright ma, I can make it
Advertising signs that con you
Into thinking you're the one
That can do what's never been done
That can win what's never been won
Meantime life outside goes on
All around you
You lose yourself, you reappear
You suddenly find you got nothing to fear
Alone you stand with nobody near
When a trembling distant voice, unclear
Startles your sleeping ears to hear
That somebody thinks they really found you
A question in your nerves is lit
Yet you know there is no answer fit to satisfy
Insure you not to quit
To keep it in your mind and not forget
That it is not he or she or them or it
That you belong to
Although the masters make the rules
For the wise men and the fools
I got nothing ma, to live up to
For them that must obey authority
That they do not respect in any degree
Who despise their jobs, their destinies
Speak jealously of them that are free
Do what they do just to be nothing more than something they invest in
While some on principles baptized
To strict party platform ties
Social clubs in drag disguise
Outsiders they can freely criticize
Tell nothing except who to idolize
And then say "God bless him"
While one who sings with his tongue on fire
Gargles in the rat race choir
Bent out of shape from society's pliers
Cares not to come up any higher
But rather get you down in the hole that he's in
But I mean no harm nor put fault
On anyone that lives in a vault
But it's alright ma, if I can't please him
Old lady judges watch people in pairs
Limited in sex, they dare
To push fake morals, insult and stare
While money doesn't talk, it swears
Obscenity, who really cares
Propaganda, all is phony
While them that defend what they cannot see
With a killer's pride, security
It blows the minds most bitterly
For them that think death's honesty
Won't fall upon them naturally
Life sometimes must get lonely
My eyes collide head-on with stuffed graveyards
False gods, I scuff
At pettiness which plays so rough
Walk upside-down inside handcuffs
Kick my legs to crash it off
Say okay, I have had enough
What else can you show me?
And if my thought-dreams could be seen
They'd probably put my head in a guillotine
But it's alright ma, it's life, and life only

Songwriters: Bob Dylan
It's Alright, Ma lyrics © Bob Dylan Music Co.
Released1965
GenreFolk-rock




Zack James’ comment June, 2017:

Maybe it says something about the times we live in, or maybe in this instance happenstance or, hell maybe something in the water but certain things sort of dovetail every now and again. I initially started this commentary segment after having written a longest piece for my brother and his friends as part of a small tribute booklet they were putting together about my and their takes on the Summer of Love, 1967. That event that my brother, Alex, had been knee deep in had always interested me from afar since I was way too young to have appreciated what was happening in San Francisco in those Wild West days. What got him motivated to do the booklet had been an exhibit at the de Young Art Museum in Golden Gate Park where they were celebrating the 50th anniversary of the events of that summer with a look at the music, fashion, photography and exquisite poster art which was created then just as vivid advertising for concerts and “happenings” but which now is legitimate artful expression.

That project subsequently got me started thinking about the late Hunter Thompson, Doctor Gonzo, the driving force behind a new way of looking at and presenting journalism which was really much closer to the nub of what real reporting was about. Initially I was interested in some of Thompson’s reportage on what was what in San Francisco as he touched the elbows of those times having spent a fair amount of time working on his seminal book on the Hell’s Angels while all hell was breaking out in Frisco town. Delved into with all hands and legs the high points and the low, the ebb which he located somewhere between the Chicago Democratic Convention fiasco of the summer of 1968 and the hellish Rollins Stones Altamont concert of 1969.     

Here is what is important today though, about how the dots get connected out of seemingly random occurrences. Hunter Thompson also made his mark as a searing no holds barred mano y mano reporter of the rise and fall, of the worthy demise of one Richard Milhous Nixon at one time President of the United States and a common low-life criminal of ill-repute. Needless to say today, the summer of 2107, in the age of one Donald Trump, another President of the United States and common low-life criminal begs the obvious question of what the sorely missed Doctor Gonzo would have made of the whole process of the self-destruction of another American presidency, or a damn good run at self-destruction. So today and maybe occasionally in the future there will be some intertwining of commentary about events fifty years ago and today. Below to catch readers up to speed is the most recent “homage” to Hunter Thompson. And you too I hope will ask the pertinent question. Hunter where are you when we need, desperately need, you.       
*******
Zack James comment, Summer of 2017 

You know it is in a way too bad that “Doctor Gonzo”-Hunter S Thompson, the late legendary journalist who broke the back, hell broke the neck, legs, arms of so-called objective journalism in a drug-blazed frenzy back in the 1970s when he “walked with the king”’ is not with us in these times. (Walking with the king not about walking with any king or Doctor King but being so high on drugs, your choice, that commin clay experiences fall by the way side. In the times of this 50th anniversary commemoration of the Summer of Love, 1967 which he worked the edges of while he was doing research (live and in your face research by the way) on the notorious West Coast-based Hell’s Angels. His “hook” through Ken Kesey and the Merry Pranksters down in Kesey’s place in La Honda where many an “acid test” took place, where many walked with the king, if you prefer, and where for a time the Angels, Hunter in tow, were welcomed. He had been there in the high tide, when it looked like we had the night-takers on the run and later as well when he saw the ebb tide of the 1960s coming a year or so later although that did not stop him from developing the quintessential “gonzo” journalism fine-tuned with plenty of dope for which he would become famous before the end, before he took his aging life and left Johnny Depp and company to fling his ashes over this good green planet. He would have “dug” the exhibition, maybe smoked a joint for old times’ sake (oh no, no that is not done in proper society, in high art society these days) at the de Young Museum at the Golden Gate Park highlighting the events of the period showing until August 20th of this year.   


Better yet he would have had this Trump thug bizarre weirdness wrapped up and bleeding from all pores just like he regaled us with the tales from the White House bunker back in the days when Trump’s kindred one Richard Milhous Nixon, President of the United States and common criminal was running the same low rent trip before he was run out of town by his own like some rabid rat. He would have gone crazy seeing all the crew deserting the sinking U.S.S. Trump with guys like fired FBI Director Comey going to Capitol Hill and saying out loud the emperor has no clothes and would not know the truth if it grabbed him by the throat. Every day would be a feast day. But perhaps the road to truth these days, in the days of “alternate facts” and assorted other bullshit would have been bumpier than in those more “civilized” times when simple burglaries and silly tape-recorders ruled the roost. Hunter did not make the Nixon “hit list” (to his everlasting regret for which he could hardly hold his head up in public) but these days he surely would find himself in the top echelon. Maybe too though with these thugs who like their forbears would stop at nothing he might have found himself in some back alley bleeding from all pores. Hunter Thompson wherever you are –help. Selah. Enough said-for now  

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Gary Watson

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Gary Watson



http://www.thejerichomovement.com/prisoners.html



A link above to more information about the class-war prisoner honored in this entry.

Make June Class-War Prisoners Freedom Month

Markin comment (reposted from 2010)


In “surfing” the National Jericho Movement Website recently in order to find out more, if possible, about class- war prisoner and 1960s radical, Marilyn Buck, whom I had read about in a The Rag Blog post I linked to the Jericho list of class war prisoners. I found Marilyn Buck listed there but also others, some of whose cases, like that of the “voice of the voiceless” Pennsylvania death row prisoner, Mumia Abu-Jamal, are well-known and others who seemingly have languished in obscurity. All of the cases, at least from the information that I could glean from the site, seemed compelling. And all seemed worthy of far more publicity and of a more public fight for their freedom.

That last notion set me to the task at hand. Readers of this space know that I am a longtime supporter of the Partisan Defense Committee, a class struggle, non-sectarian legal and social defense organization which supports class war prisoners as part of the process of advancing the international working class’ struggle for socialism. In that spirit I am honoring the class war prisoners on the National Jericho Movement list this June as the start of what I hope will be an on-going attempt by all serious leftist militants to do their duty- fighting for freedom for these brothers and sisters. We will fight out our political differences and disagreements as a separate matter. What matters here and now is the old Wobblie (IWW) slogan - An injury to one is an injury to all.

Note: This list, right now, is composed of class-war prisoners held in American detention. If others are likewise incarcerated that are not listed here feel free to leave information on their cases in the comment section. Likewise any cases, internationally, that come to your attention. I am sure there are many, many such cases out there. Make this June, and every June, a Class-War Prisoners Freedom Month- Free All Class-War Prisoners Now!


In The Age Of A Cold Civil War-Immigrant Or Citizen- Know Your Rights From The ACLU-Short Course

In The Age Of A Cold Civil War-Immigrant Or Citizen- Know Your Rights From The ACLU-Short Course 

Comment

          In the age of Trump no matter how many generations you and yours have been here in America the beginning of wisdom is to know your rights such as they are and who to contact if they “come in the morning” for you and yours.






   

From The Political Prisoner Archives- Politics, music, drama alive on death row in "Scottsboro Boys"

From The Political Prisoner Archives- Politics, music, drama alive on death row in "Scottsboro Boys" Build The Committee For International Labor Defense


Politics, music, drama alive on death row in "Scottsboro Boys"
Posted: 25 Aug 2016 04:01 PM PDT
Rapper Vic Mensa's latest release There's A Lot Going On (a response to Marvin Gaye's What's Going On?) features as cover art an image of Mensa with a target tattooing his torso, front and back. Mensa's answer to Gaye's question is clear: African Americans are being murdered across the U.S., as if wearing targets, especially for police, as evidenced by the killings of Laquan McDonald, Sandra Bland, Michael Brown, Tamir Rice, Eric Garner, Trayvon Martin, Oscar Grant, Amadou Diallo, and on and on.

Being Black in America means living on death row. Indeed, the famous rap label title Death Row Records signifies rap artists' giving voice in their songs to the African American experience, which in part entails highlighting the fatal risks attached to having black skin in America.

Chicago's Raven Theatre's current but soon-to-be-gone political musical production Direct from Death Row The Scottsboro Boys (An Evening of Vaudeville and Sorrow), directed by Michael Menendian, written by Mark Stein with music and lyrics by Harley White Jr., is a must-see show that underscores this theme, powerfully dramatizing in historical perspective-in social, political, and cultural terms-the recursive violence and deadly threat African Americans endure both as a matter of everyday living in the United States and at the hands of a racist U.S. justice system.

Creatively documenting while also analyzing the historical case involving nine African American teenagers falsely accused of raping two white women on a train in Alabama in 1931, this production, featuring an all-African American cast, charts these teenagers' experiences of enduring multiple unfair trials riddled with blatant racist prejudice, of living years in prison on death row, and of becoming lightning rods in larger political struggles such that their individual lives at times became secondary to the political causes their experiences emblematized.
Portraying interventions by the American Communist Party (CPUSA) and the NAACP both to legally represent the Scottsboro boys and draw attention to and mobilize people around their political agendas, the play invites us to think about the possibilities and pitfalls of political representation -of how political organizations represent the lives and interests of others and of how they need to develop political movements that address larger social issues while remaining attentive to the human lives suffering under the injustices.

White face turns vaudeville upside down

The most striking dimension of this political musical is the use of white face. The cast, when portraying white characters (and even when portraying NAACP head Walter White), wear white masks, reversing the power dynamic involved in the racist cultural practice of the minstrel show. Popular in the vaudeville tradition, which this show draws on, the minstrel show often featured white performers wearing black face and presenting racist caricatures of African Americans and their culture.

With the white masks, the play explores issues of representation, cultural and otherwise, in conditioning our political understanding of others, and also takes control of those representational practices it critiques, using them for its own purposes. The African American characters take on the roles of, speaking for, white authority figures from the racist Southern judges and attorneys to elite African American political authorities such as NAACP's White to a Northern Jewish lawyer such as Sam Leibowitz (whom the CPUSA hires to represent the nine young men in an appeal) to CPUSA lawyer Brodsky. All these characters are portrayed as having their own ideological or personal interests to uphold, none of which, arguably, fully align with the boys' immediate human concerns. Representing these interests in white face, the Black characters reveal this lack of alignment, highlighting the distances that develop between ideologies and human lives.

Who speaks for the Scottsboro nine?

For example, actor Breon Arzell, who plays Scottsboro boy Willie Roberson, also wonderfully plays Brodsky, the lawyer from the International Labor Defense, an arm of the CPUSA, wearing a white mask. In contrast to the typical dynamic in our political and cultural spheres where white people in positions of cultural and political authority represent African Americans and their interests, in Direct from Death Row the dynamic is reversed as the Scottsboro boys speak for white authorities with the effect of not so much caricaturing them but rather decoding in blunt terms the unspoken or coded realities and interests behind their rhetoric and dog-whistle expressions. The question arises, as the NAACP and CPUSA vie for the role of providing exclusive legal representation for the Scottsboro boys, as to whether these groups are fully engaged in representing the interests of the teenagers or have flocked to the case in order to promote their political agendas.

In one of the most remarkable scenes, representative of the drama's creativity and brilliance, Brodsky performs, while singing and dancing, an extended magic trick, an exercise in political deftness as he makes links of scarves alternately grow and disappear, folding them into his closed palms or those of the Scottsboro boys and then pulling them out the other end, finally producing one large piece of fabric that, when unraveled, reveals a Soviet flag with the Communist-associated image of the hammer and sickle. As he dances, he is spouting what we might take to be traditional communist rhetoric about the need for "mass action," about the shared interests of Black and white workers under the exploitative system of capitalism, about the class struggle and so forth.

When done, Brodsky asks the boys if they understand. They nod and smile, and then as he turns away shrug their shoulders sharing puzzled looks, indicating that they don't comprehend the larger ideological orbit into which they are being thrust. As the scene ends, Brodsky unfurls a comically long scroll of a contract for the boys to sign, suggesting a certain sneakiness on Brodsky's part that suggests the CPUSA's interest in the case just may have a self-serving dimension-or, perhaps more fairly, the CPUSA's interest exceeds that of the boys and their interest in the boys lies first and foremost in their value in furthering a larger political cause, not in simply freeing them.
Later, a similar contract-signing and song and dance scene with NAACP leader Walter White, who, despite being African American, also appears in white face (although his mask might have been beiger than the others), suggesting the NAACP's more conservative ideological stances, at the time, particularly in terms of class ideology, and even its complicity with or internalization of racist cultural norms (White does say at one point in the play that the NAACP was slow to take interest in the case because it figured the boys were guilty, indicating their own prejudicial beliefs in Black criminality, particularly around the rape of white women). These scenes suggest that the case has different ideological meanings for these groups and thus different political uses for each.

The production recognizes the important roles of the CPUSA and the NAACP in aiding the boys and addressing issues of our racist justice system. As Brodsky notes, without the CPUSA there wouldn't have been a Scottsboro boys, only nine dead Black youth. White's character highlights the NAACP's role in in hoeing the long legal road-as opposed to the CPUSA's more dramatic mass action tactics-yielding important Supreme Court decisions from the trials: Powell vs. Alabama, ruling the teenagers did not receive proper legal counsel in the first trial and Norris vs. Alabama which ruled they were deprived of a jury of one's peers because of the lack of African American jurors.

Anti-communist politics too

As one who studies the CPUSA, appreciating its role in U.S. society, I was at times uncomfortable with the representation of the CPUSA, even when I saw some truth. I always worry that such representations will only fuel anti-communist ideology, which has been so disarming and damaging to efforts to achieve social justice in the U.S.

It is worth recognizing, in ways the play doesn't, that the CPUSA had a long history of and engagement in anti-racist struggle and had a substantial African American membership active around and leading the Scottsboro case, as well as other anti-racist struggles, including the renowned Councilman from Harlem, Ben Davis. Thus, it would be historically inaccurate to see the CPUSA as a largely white organization exploiting Black issues as opposed to understanding this organization as a vibrant and important vehicle through which Blacks in the United States sought justice.

In the end, Direct from Death Row is fair and profound in raising issues, making us reflect on the need to be vigilant that any movement sustains an attentiveness to the people whose lives it seeks to transform. It is easy for the cause to overwhelm our attention to individuals' lives.

Also, the play raises important questions about issues of representation in political and cultural spheres. Through the music, the play effectively interrogates a range of "American" cultural traditions and practices in terms of their complicity with racist ideology.

From Mensa to Clinton

The show also made me think about Michael Dyson's comments that Hillary Clinton might be more effective addressing racial issues than President Barack Obama. The play asks us to think in complex ways about who can represent Black interests, interrogating both the NAACP and the CPUSA.
In a grotesque political season, Direct from Death Row brings entertainment to politics in a way that, for all the pain and tragedy of the story, allows us to enjoy it aesthetically, energizing us to think critically and engage an unpleasant world from which we might naturally want to turn away.

Direct from Death Row The Scottsboro Boys (An Evening of Vaudeville and Sorrow) plays Aug. 26 and Aug. 27 at 7:30 p.m. at The Raven Theatre, 6157 N. Clark St, Chicago, Ill.

*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Joseph Bowen


*In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!- Joseph Bowen





http://www.thejerichomovement.com/prisoners.html



A link above to more information about the class-war prisoner honored in this entry.

Make June Class-War Prisoners Freedom Month

Markin comment (reposted from 2010)


In “surfing” the National Jericho Movement Website recently in order to find out more, if possible, about class- war prisoner and 1960s radical, Marilyn Buck, whom I had read about in a The Rag Blog post I linked to the Jericho list of class war prisoners. I found Marilyn Buck listed there but also others, some of whose cases, like that of the “voice of the voiceless” Pennsylvania death row prisoner, Mumia Abu-Jamal, are well-known and others who seemingly have languished in obscurity. All of the cases, at least from the information that I could glean from the site, seemed compelling. And all seemed worthy of far more publicity and of a more public fight for their freedom.

That last notion set me to the task at hand. Readers of this space know that I am a longtime supporter of the Partisan Defense Committee, a class struggle, non-sectarian legal and social defense organization which supports class war prisoners as part of the process of advancing the international working class’ struggle for socialism. In that spirit I am honoring the class war prisoners on the National Jericho Movement list this June as the start of what I hope will be an on-going attempt by all serious leftist militants to do their duty- fighting for freedom for these brothers and sisters. We will fight out our political differences and disagreements as a separate matter. What matters here and now is the old Wobblie (IWW) slogan - An injury to one is an injury to all.

Note: This list, right now, is composed of class-war prisoners held in American detention. If others are likewise incarcerated that are not listed here feel free to leave information on their cases in the comment section. Likewise any cases, internationally, that come to your attention. I am sure there are many, many such cases out there. Make this June, and every June, a Class-War Prisoners Freedom Month- Free All Class-War Prisoners Now!