In The Time Of Their Time-With Peter Bogdanovich’s The Last Picture Show In Mind

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Smokestack Lightning, Indeed- With Bluesman Howlin’ Wolf In Mind

 Smokestack Lightning, Indeed- With Bluesman Howlin’ Wolf In Mind

By Lance Lawrence  

[As of December 1, 2017 under the new regime of Greg Green, formerly of the on-line American Film Gazette website, brought in to shake things up a bit after a vote of no confidence in the previous site administrator Peter Markin was taken among all the writers at the request of some of the younger writers abetted by one key older writer, Sam Lowell, the habit of assigning writers solely to specific topics like film, books, political commentary, and culture is over. Also over is the designation of writers in this space, young or old, by job title like senior or associate. After a short-lived experiment by Green designating everybody as “writer” seemingly in emulation of the French Revolution’s “citizen” or the Bolshevik Revolution’s “comrade” all posts will be “signed” with given names only. The Editorial Board]

[Although I am a much younger writer I today stand in agreement with Bart Webber and Si Lannon, older writers who I admire and whom I have learned a lot from about how to keep it short and sweet but in any case short on these on-line sites. Originally I had agreed with both men as far as Phil Larkin’s, what did, Si call them, yes, rantings about heads rolling, about purges and would have what seems like something out of Stalin’s Russia from what I have read about that regime were  dubious at best. Now I am not so sure as I have heard other younger writers rather gleefully speaking around the shop water cooler about moving certain unnamed writers out to pasture-finally in the words of one of them.

In any case the gripe the former two writers appropriateness of this disclaimer above or whatever it purports to be by the "victorious" new regime headed by Greg Green and his so- called Editorial Board is what I support. As Bart first mentioned, I think, if nothing else this disclaimer has once again pointed told one and all, interested or not, that he, they have been “demoted.”  That I too as Si pointed out while I chafed as an Associate Book Critic and didn’t like it am now just another Everyman. Although this is the first time I have had the disclaimer above my article I plead once should be enough, more than enough.

In the interest of transparency I was among the leaders, among the most vociferous leaders, of what has now started to come down in the shop as urban legend “Young Turks” who fought tooth and nail both while Alan Jackson (aka Peter Paul Markin as blog moniker for reasons never made clear, at least to me) was in charge and essentially stopping young writer developing their talents and when we decided that Allan had to go, had to “retire.” (I am sure Phil Larkin will take those innocent quotation marks as definite proof that Allan was purged although maybe I should reevaluate everything he has said in a new light.) But I agree with Bart and Si’s sentiment that those on the “losing” end in the fierce no-holds barred internal struggle had taken their "beating" and have moved on as far as I can tell. That fact should signal the end of this embarrassing and rather provocative disclaimers. Done. Lance Lawrence}    

Sometimes a picture really can be worth a thousand words, a thousand words and more as in the case Howlin’ Wolf doing his Midnight creep in the photograph above taken from an album of his work but nowadays with the advances in computer technology and someone’s desire to share also to be seen on sites such as YouTube where you can get a real flavor of what that mad man was about when he got his blues wanting habits on. In fact I am a little hesitate to use a bunch of words describing Howlin’ Wolf in high gear since maybe I would leave out that drop of perspiration dripping from his overworked forehead and that salted drop might be the very thing that drove him that night or describing his oneness with his harmonica because that might cause some karmic funk. So, no, I am not really going to go on and on about his midnight creep but when the big man got into high gear, when he went to a place where he sweaty profusely, a little ragged in voice and eyes all shot to hell he roared for his version of the high white note. Funny, a lot of people, myself for a while included, used to think that the high white note business was strictly a jazz thing, maybe somebody like the “Prez” Lester Young or Duke’s Johnny Hodges after hours, after the paying customers had had their fill, or what they thought was all those men had in them, shutting the doors tight, putting up the tables leaving the chairs for whoever came by around dawn, grabbing a few guys from around the town as they finished their gigs and make the search, make a serious bid to blow the world to kingdom come. Some nights they were on fire at blew that big note out in to some heavy air and who knows where it landed, most nights though it was just “nice try.” One night I was out in Frisco when “Saps” McCoy blew a big sexy sax right out the door of Chez Benny’s over in North Beach when North Beach was just turning away from be-bop “beat” and that high white, I swear, blew out to the bay and who knows maybe all the way to the Japan seas. But see if I had, or anybody had, thought about it for a minute jazz and the blues are cousins, cousins no question so of course Howlin’ Wolf blew out that high white note more than once, plenty including a couple of shows I caught him at when he was not in his prime.         

The photograph (and now video) that I was thinking of is one where he is practically eating the harmonica as he performs How Many More Years (and now like I say thanks to some thoughtful archivist you can go on to YouTube and see him doing his devouring act in real time and in motion, wow, and also berating father Son House for showing up drunk). Yes, the Wolf could blast out the blues and on this one you get a real appreciation for how serious he was as a performer and as blues representative of the highest order.

Howlin’ Wolf like his near contemporary and rival Muddy Waters, like a whole generation of black bluesmen who learned their trade at the feet of old-time country blues masters like Charley Patton, the aforementioned Son House who had his own personal fight with the devil, Robert Johnson who allegedly sold his soul to the devil out on Highway 61 so he could get his own version of that high white note, and the like down in Mississippi or other southern places in the first half of the twentieth century. They as part and parcel of that great black migration (even as exceptional musicians they would do stints in the sweated Northern factories before hitting Maxwell Street) took the road north, or rather the river north, an amazing number from the Delta and an even more amazing number from around Clarksville in Mississippi right by that Highway 61 and headed first maybe to Memphis and then on to sweet home Chicago.  

They went where the jobs were, went where the ugliness of Mister James Crow telling them sit here not there, walk here but not there, drink the water here not there, don’t look at our women under any conditions and on and on did not haunt their every move (although they would find not racial Garden of Eden in the North, last hired, first fired, squeezed in cold water flats too many to a room, harassed, but they at least has some breathing space, some room to create a little something they could call their won and not Mister’s), went where the big black migration was heading after World War I. Went also to explore a new way of presenting the blues to an urban audience in need of a faster beat, in need of getting away from the Saturday juke joint acoustic country sound with some old timey guys ripping up three chord ditties to go with that jug of Jack Flash’s homemade whiskey (or so he called it).

So they, guys like Howlin’ Wolf, Muddy Waters, Magic Slim, Johnny Shines, and James Cotton prospered by doing what Elvis did for rock and rock and Bob Dylan did for folk and pulled the hammer down on the old electric guitar and made big, big sounds that reached all the way back of the room to the Red Hat and Tip Top clubs and made the max daddies and max mamas jump, make some moves. And here is where all kinds of thing got intersected, as part of all the trends in post-World War II music up to the 1960s anyway from R&B, rock and roll, electric blues and folk the edges of the music hit all the way to then small white audiences too and they howled for the blues, which spoke to some sense of their own alienation. Hell, the Beatles and more particularly lived to hear Muddy and the Wolf. The Stones even went to Mecca, to Chess Records to be at one with Muddy. And they also took lessons from Howlin’ Wolf himself on the right way to play Little Red Rooster which they had covered and made famous in the early 1960s (or infamous depending on your point of view since many radio stations including some Boston stations had banned it from the air originally).Yes, Howlin’ Wolf and that big bad harmonica and that big bad voice that howled in the night did that for a new generation, pretty good right.  

A HANDBOOK FOR REVOLUTIONARY PRACTICE IN THE AGE OF IMPERIALISM

On The Anniversary Of The Russian Revolution Of 1905-

By Frank Jackman

For the attentive reader of this unabashedly left-wing publication which moreover not only takes history seriously but commemorates some historical nodal points worthy of attention today I have drawn attention this month of January to the 100^th anniversary of the assassinations of key nascent German Communist Party leaders Rosa Luxemburg, the rose of the revolution, and Karl Liebknecht the heart of the left-wing German workers movement. In that commentary I noted that history in the conditional, especially when things turned out badly as they did in Germany with the failure of the Communists to take power within a few years of the Armistice and aid the struggling isolated and devastated Russian revolution, is tricky business. There were certainly opportunities closed off by the decimation of the heads of the early German Communist Party that were never made up. That failure helps in its own way to pave the road to the Nazi takeover and all that meant for Europe and the world later. I also cautioned against stretching such conditionals out too far without retreating to an idea that the rise of the Nazis was inevitable. Give it some thought though.
History in the conditional applies as well to events that would in the future turn out well, well at the beginning in any case, and that leads to the role played by what many parties including Vladimir Lenin and Leon Trotsky referred to as the “dress rehearsal” for the October Revolution in Russia in 1917. That was the Revolution of 1905 which although it was shattered and many of the leading participants either killed, exiled or banished still provided some hope that things would turn on that proverbial historical dime in the end. The key organization structure set up in 1905, the Workers Soviets, councils, which in embryo provided the outline for the workers government everybody from Marx and to his left argued for to bring socialist order to each country, to the world in the end almost automatically was reestablished in the early days of 1917. Who knows in conditions of war and governmental turmoil what would have happened if that organizational form had not already been tested in an earlier revolutionary episode. Again, let’s not get too wide afield on history in the conditional on this end either. Think about those episodes though as we commemorate that 1905 revolution. 


   





BOOK REVIEW

‘LEFT-WING’ COMMUNISM-AN INFANTILE DISORDER, V.I. LENIN, UNIVERSITY PRESS OF THE PACIFIC, CALIFORNIA, 2001

An underlying premise of the Lenin-led Bolshevik Revolution in Russian in 1917 was that success there would be the first episode in a world-wide socialist revolution. While a specific timetable was not placed on the order of the day the early Bolshevik leaders, principally Lenin and Trotsky, both assumed that those events would occur in the immediate post-World War I period, or shortly thereafter. Alas, such was not the case, although not from lack of trying on the part of an internationalist-minded section of the Bolshevik leadership.

Another underlying premise, developed by the Leninists as part of their opposition to the imperialist First World War, was the need for a new revolutionary labor international to replace the compromised and moribund Socialist International (also known as the Second International) which had turned out to be useless as an instrument for revolution or even of opposition to the European war. The Bolsheviks took that step after seizing power and established the Communist International (also known as the Comintern or Third International) in 1919. As part of the process of arming that international with a revolutionary strategy (and practice) Lenin produced this polemic to address certain confusions, some willfully, that had arisen in the European left and also attempted to instill some of the hard-learned lessons of the Russian revolutionary experience in them.


The Russian Revolution and after it the Comintern in the early heroic days, for the most part, drew the best and most militant layers of the working class and radical intellectuals to their defense. However, that is not the same as drawing experienced Bolsheviks to that defense. Many militants were anti-parliamentarian or anti-electoral in principle after the sorry experiences with the European social democracy. Others wanted to emulate the old heroic days of the Bolshevik underground party or create a minority, exclusive conspiratorial party. Still others wanted to abandon the reformist bureaucratically-led trade unions to their then current leaderships, and so on. Lenin’s polemic, and it nothing but a flat-out polemic against all kinds of misconceptions of the Bolshevik experience, cut across these erroneous ideas like a knife. His literary style may not appeal to today’s audience but the political message still has considerable application today. At the time that it was written no less a figure than James P. Cannon, a central leader of the American Communist Party, credited the pamphlet with straightening out that badly confused movement (Indeed, it seems every possible political problem Lenin argued against in that pamphlet had some following in the American Party-in triplicate!). That alone makes it worth a look at.

I would like to highlight one point made by Lenin that has currency for leftists today, particularly American leftists. At the time it was written many (most) of the communist organizations adhering to the Comintern were little more than propaganda groups (including the American Party). Lenin suggested one of the ways to break out of that isolation was a tactic of critical support to the still large and influential social democratic organizations at election time. In his apt expression- to support those organizations "like a rope supports a hanging man".

However, as part of my political experiences in America around election time I have run into any number of ‘socialists’ and ‘communists’ who have turned Lenin’s concept on its head. How? By arguing that militants needed to ‘critically support’ the Democratic Party (who else, right?) as an application of the Leninist criterion for critical support. No, a thousand times no. Lenin’s specific example was the reformist British Labor Party, a party at that time (and to a lesser extent today) solidly based on the trade unions- organizations of the working class and no other. The Democratic Party in America was then , is now and will always be a capitalist party. Yes, the labor bureaucrats and ordinary workers support it, finance it, drool over it but in no way is it a labor party. That is the class difference which even sincere militants have broken their teeth on for at least the last seventy years. And that, dear reader, is another reason why it worthwhile to take a peek at this book.