On The 80th Anniversary Of The Founding Of The Leon Trotsky- Fourth International-We Need A Socialist International More Than Ever

On The 80^th Anniversary Of The Founding Of The Leon Trotsky- Fourth International-We Need A Socialist International More Than Ever 

By Harry Sims

Usually I am a behind the scenes guy dishing out anniversary dates and other facts and figures to site manager Greg Green and/or the recently created Editorial Board but I felt compelled to write a little something about the anniversary, the 80^th anniversary this month of September, of the Fourth International that will be forever linked to the name of the great Russian Bolshevik revolutionary Leon Trotsky. In accordance with the seemingly obligatory notice of transparency that accompanies anything today greater that what you had for breakfast at one time I was close to those who were carrying on the wilted tradition of the Fourth International after Trotsky was assassinated by a Stalinist agent down in Mexico in the summer of 1940. Aside from that though, as the headline to this introduction telegraphs, we are still in need of an international that will lead the way forward for humankind’s hopefully more equitable future. Such progress as we are now painfully aware does not happen automatically but must be planned and led by people committed to such aims. The same is true for those who want to revive the night of the long knives that was the hallmark of the 20^th century and now the first couple of decades of the 21^st century. So the die is cast.

Here is a short primer for those legions who do not have the foggiest notion of a what an International, Fourth or otherwise, is or was. These institutions are associated with various historical epochs of the socialist movement in all its struggles-victories and defeats. The first short-lived International was associated directly with the personages of the socialist revolutionaries Karl Marx and Friedrich Engels, the founders of the Marxist wing of socialism back in the middle of the 19^th century. The two important events beyond the fact of creating the first international devoted to the struggle for socialism were the support for the Northern side led by Abraham Lincoln in the American Civil War and the stalwart defense of the Paris Commune, the first workers republic, of 1871 which was drowned in blood by Thiers and his mercenaries. The Second International before it became a “mail drop,” before it dropped the ball in not opposing World War I on any side, an event we are commemorating the 100^th anniversary of the Armistice this year as well, was the first mass organization of international socialism toward the end of the 19^th century. With the rapid rise of industrialization under late capitalism working people swarmed to this organization to defend them. In 1914 with the aforementioned failure to oppose the bloody war which decimated the flower of the working classes of all European nations its historic important as a serious force for social change much less socialism was finished even if the shell lingered, still lingers on today.

The Third International, Communist International, Comintern, and the Fourth share not only the personage of Leon Trotsky but purported to have the same aims at various points up to World War II. The Comintern was created as a direct result of the Russian Bolshevik Revolution of October 1917 by leaders Vladimir Lenin and Trotsky among others for the direct purpose of leading the world socialist revolution. When that task was abandoned in practice under the Stalin regime in Russia Trotsky in exile and with not enough resources called for and established the Fourth International we are commemorating.

Traces of that Fourth International like the Second still exist but unlike the first three Internationals it was essentially still-born in a time of defeats, serious defeats for the working classes especially with the rise of Hitler in Germany. So why beside nostalgia for an old International associated with the name of an honest revolutionary do I write this short piece today. Like I said the headline has telegraphed what is needed, what I think is needed today-another International, a fifth International if you like to lead the fight against the one-sided class struggle that is being waged by the international capitalist classes. While Trotsky’s organization for many reasons including the decimation of its cadre in Europe during World War II never got off the ground some of its programmatic points in the key document that came out of the conference which established the organization-the Transitional Program- read like they could have been written today.

Beyond the program though cadre, new cadre are needed to continue the forlorn fight against the greedy vultures who control the means of production and finance and that is where Leon Trotsky’s desperate and usually lonely fight to bring the 4^th International to the light of day can still serve as a model going forward. He, Trotsky, a man who has led the Russian Revolution of 1905, has subsequently been exiled and escaped the Czarist prisons when that revolution was crushed, had been central to the seizure of power in the October Revolution in Russia in 1917, had been Commissar of War during the bloody civil war against the counter-revolutionary Whites and their international imperialist allies, and had led the fight to save the revolution when the dark hand of Stalin and his henchmen pulled the hammer down stated unequivocally at the time in 1938 that establishing a new international to fight the dark clouds coming over Europe was the most important task he had done in his life. In our own epoch we are looking for such men and women to continue the task. They will have to read about and look at these 1938 documents and that very uneven struggle along the way.

Workers Vanguard No. 1139	7 September 2018

TROTSKY

LENIN

Reforge the Fourth International!

(Quote of the Week)

Eighty years ago, on 3 September 1938, the Fourth International was established under the leadership of Leon Trotsky. In opposition to the reformism of the social-democratic Second International and the Stalinized Communist International (Comintern), its founding document, excerpted below, provided the framework for building a new world party of socialist revolution. It is the task of the International Communist League to reforge the Fourth International, which was destroyed by a revisionist current under Michel Pablo in the early 1950s that renounced the need to build Trotskyist parties.

It is necessary to help the masses in the process of the daily struggle to find the bridge between present demands and the socialist program of the revolution. This bridge should include a system of transitional demands, stemming from today’s conditions and from today’s consciousness of wide layers of the working class and unalterably leading to one final conclusion: the conquest of power by the proletariat.

Classical Social Democracy, functioning in an epoch of progressive capitalism, divided its program into two parts independent of each other: the minimum program, which limited itself to reforms within the framework of bourgeois society, and the maximum program, which promised substitution of socialism for capitalism in the indefinite future. Between the minimum and the maximum program no bridge existed. And indeed Social Democracy has no need of such a bridge, since the word socialism is used only for holiday speechifying. The Comintern has set out to follow the path of Social Democracy in an epoch of decaying capitalism: when, in general, there can be no discussion of systematic social reforms and the raising of the masses’ living standards; when every serious demand of the proletariat and even every serious demand of the petty bourgeoisie inevitably reaches beyond the limits of capitalist property relations and of the bourgeois state.

The strategical task of the Fourth International lies not in reforming capitalism but in its overthrow. Its political aim is the conquest of power by the proletariat for the purpose of expropriating the bourgeoisie.

—Leon Trotsky, “The Death Agony of Capitalism and the Tasks of the Fourth International,” commonly known as the Transitional Program (1938)

She Came Out Of The Karoo-The Music Of Tony Bird-A Review

She Came Out Of The Karoo-The Music Of Tony Bird-A Review

CD Review

By Zack James

Sorry Africa, Tony Bird, 1986

During the 1980s Seth Garth had been taking on more and more purely political assignments for the New Times Gazette, a successor newspaper to the old alternative The Eye for which he had gotten his first jumps in journalism as the film and music critic. It wasn’t that he had lost interest in covering the happenings in the world of independent cinema and the edges of popular music but that in that period there were political trends around the struggles for liberation in Central and South America and Southern Africa that for the first time since the slowdown of the Vietnam War back in the early 1970s required attention. And so Benny Gold, his editor from back in The Eye days who had moved on with the Gazette assigned him more and more of those political assignments with the idea that he would weave those in with some off-beat cultural pieces.    

One night he had been in the Open Space, a new music club in the Village [Greenwich Village]that had previous been a coffeehouse, a popular one, the Unicorn, to hear a new guy out of Africa who Seth was told had an interesting beat, had combined the sounds of Mother Africa with more popular Western music. This was the kind of off-beat combination that he was sure Benny Gold would go for. As the MC for the evening announced the performer, Tony Bird, he was surprised that out came on the stage a young white man backed up by an all black group of sidemen. Seth had known that there were some, not enough, white youth who were supporting the various black liberation struggles in Southern Africa, particularly in South Africa but he was not prepared for a white musician to surface who supported those struggles although he should have known that fact going in.    

Tony Bird let everybody in the place know where he was coming from when he started singing a very heartfelt and upbeat song, Sorry Africa, taking on the burden on his shoulders of expressing sorrow at the way the white man, the way his people had treated the ones they had conquered one way or another. Very moving. 

What had gotten to Seth that night though and he was as surprised at this as he was that Tony Bird was a white African man was a song that he finished up with, She Came From The Karoo. The Karoo being the outback in the country he came from. What was strange about the song was that except that the locale was Africa it could have been a song of love and lost in America. More to the point was the vision that Seth had of the woman Tony was speaking of, a woman who came out of the mist with a red sundress on and effected all around her with her bright Botticelli smile and demeanor. Seth thought that little idea, the idea that a woman could spark such imagination out in the bush was the hook that he would use in his article. That and that Tony Bird, a black liberation  struggle fighter in his own right had no apology to give to Africa.     

Riding With The King-The Music Of B.B. King

Riding With The King-The Music Of B.B. King

CD Review

By Zack James

Riding With The King, B.B. King, Eric Clapton

“You never know where music, the muse of music if that is the right way to say it, if it is not redundant” Seth Garth said to his old friend Bartlett Webber one night when they were discussing various musical trends and commitments over a few drinks at Friday’s in downtown Boston. Seth had just been commenting on the hard fact that the guys and gals who were holding up the blues traditions of that quintessentially black musical form were mostly then younger whites who had gotten their baptisms of fire back in the early 1960s maybe the 1970s when as part of the British invasion of rock groups (the Beatles and Stones mostly) who worshiped at the feet of the old bluesmen and as part of the folk revival of the early 1960s when the young were looking for roots music and hit upon some old time country blues singers they got hooked on this genre.(That worship at the feet was no mere expression since as august a group as the Rolling Stones made their way to Chicago, made their way to legendary blues label Chess Records, made their way to meet Muddy Waters and Howlin’ Wolf.) 

Seth went on, “You know with very few exceptions, maybe in the old days guys like Taj Majal and more recently Keb ‘Mo young blacks were running away from their “blues is dues” contributions, except the hip-hop artists who were savoring those blues as backdrop to their new language experiences.” Bart nodded his head not so much because he was as knowledgeable as Seth about musical trends, he wasn’t, but because ever since Seth had turned him on to various non-rock and roll forms of music such as these blues and folk music he had deferred to him on such subjects.        

That deference to Seth had not been happenstance since for early in his journalistic career starting with the American Folk Gazette when he was still in college he had been a music critic most frequently and profitably before it folded long ago when the ebb tide of the 1960s faded the prestigious The Eye. Moreover although Bart was a true aficionado Seth would be the one to lead the way forward musically ever since the old days back in Riverdale when Seth had been the guy who turned the crowd they hung around with to that folk music that was coming over the horizon. He would take the lead here as well ever since both men had attended a concert at the Garden by Big Bill Bloom, the legendary folksinger from the 1960s. Both men had agreed to walk out of the performance before the encore as a protest to the hard fact that Big Bill could no longer sing, was practically talking the lyrics through. That experience got Seth onto the trail of an idea. He wanted to check out all the singers still standing from back in the day who were still performing and rate them on the question of whether they still had “it.”  As it turned out some did like David Bromberg and his band who burned up the joint one night downtown. The late Etta James didn’t, didn’t have it. And so the quest.      

That quest was now centered more particularly on the fading fast few blues masters still around. That is where Seth began to see that break in the black blues tradition as two generations or more removed from Southern country life or hard inner city industrial madness which had brought a couple of generations north in search of a better life and the music needed to pick up the pace as well bringing forth the whole electric blues scene that hummed cities like Chicago and Detroit in the early 1950s. That brought them to this-B.B. King and Eric Clapton CD. Clapton, one of those British invasion guys who was crazy for the blues (and classic rock, now classic rock, with the likes of Chuck Berry who Clapton to this day swears he does not know how Berry did what he did with a guitar as hard as he looked to find out what the master was doing) and the King were going to perform together at the Garden in a week or so.

At the concert Seth and Bart had been apprehensive when they saw ancient B.B. and his latest version of Lucille being escorted to a seat on center stage with Eric Clapton to the side. Not to worry though the work they did was a great success. Seth mentioned to Bart though that he was not sure where the new generation would get their blues from since they would never go away, the blues, the causes for the blues, whiskey. Women, work, and a wad of dough just like rock and roll once guys like Eric passed away. This CD was their work to insure the future whatever may come-okay.        

Films To While The Class Struggle By- With Serge Eisenstein’s "Strike" (1925) In Mind

Films To While The Class Struggle By- With Serge Eisenstein’s "Strike" (1925) In Mind

DVD Review  

By Frank Jackman

Strike, starring a cast of hundreds of working people and others, directed by Serge Eisenstein, 1925

No question, no question at all that some political films whether they were intended as propaganda for a certain viewpoint as with the film under review, Russian mad man filmmaker Serge Eisenstein’s 1925 Strike, or because as the story line developed everybody was compelled to think through the implications of the cover-up and preclude to figure out the coup in a film like Costa-Garvas’ Z. Here is the beauty of Eisenstein’s work whether with Strike or an effort like Potemkin, the one with the famous baby carriage scene on the Odessa Steps. The medium is the message to steal a phrase from an old-time social media commentator (okay, okay I will give the attribution-Marshall McLuhan).   The whole thing is done, powerfully done, with nothing but absolutely stunning cinematography, a few signboards (in Russian with English subtitles), and some very interesting and varied mood music which if I am not mistaken included some jazz theme stuff from Duke Ellington, and if not him then definitely some jazz riffs along with that inevitable classic music that one would have expected from a Russian filmmaker who grabbed what he could from the Russian Five.        

Now the question of who a film is directed at is usually pretty much just to lure in general audiences, maybe if it is cartoonish then kids but usually general audiences. Eisenstein in this film though is directing his efforts to working people in order for them to draw some important lessons about the class struggle. Of course Eisenstein was working shortly after the October Revolution of 1917 in his own country and so he probably was more or less committed to this type of film in the interests of the Soviet government and of the world revolution that was still formally what the Bolsheviks and their international allies, through the Communist International, were all about. (I might add though that a later film about Ivan the Terrible had the same fine cinematic qualities and that was not particularly directed at the world’s working classes but to ancient Russian patriotic fervor.) That drawing of lessons about what happened during the strike is what drives the force of the film.

Here is how this one played out in all its glory and infamy. The workers at a Russian factory of unknown location and for that matter of unknown production had been beaten down by the greedy capitalists and stockholders, had had no say in what they made and how much dough they made. (The scenes with the greedy capitalists are a treasure, something out of any leftist’s caricature of the old time robber barons complete with fat bellies, cigars and top hats). Like any situation where tensions are strung out to the limit it did not take a lot to produce a reason for a strike for a better shake in this wicked old world. Here it was an honest workman’s being accused of a theft which he couldn’t defend himself against and so in shame he committed suicide. After have previously spent several weeks talking about taking an action to better their conditions the leaders of the underground “strike committee” decided to have everybody “down tools.” (The scene of this action with a rolling shutdown as section after section left their benches was breathtaking.)      

Of course in turn of the century (20^th century) Russia (and elsewhere) the capitalists were as vicious as one would expect of a new class of exploiters dealing here with people, men and women, just off the farm and so in no mood to grant such things as an eight-hour day (a struggle that we in America are very familiar with from the Haymarket Martyrs whose chief demand a few decades before the time of this film was for that same eight hour day) and a big wage increase. So the committee of capitalists and their hangers-on gave a blanket “no.” Said the hell with you to the strikers.

The aftermath of this refusal is where the real lessons of this film are to drawn. Needless to say the capitalists were willing, more than willing to starve the workers into submission (the scenes of some workers pawning off their worldly possession for food for the kids, for themselves are quite moving).But not only were they willing to starve the mass of workers back to the factory but did everything in their power to break the strike by other means. First and foremost to send spies out to stir up trouble in order to get the class unity broken, then tried to get some weak-links to betray the movement from within, and if that didn’t work then try might and main to round up by any way possible the leaders of the strike in order to behead the movement. In the end though they were not above using their “Pharaohs,” their mounted cops and troops to suppress the whole thing. In the final scene after the cops and troops have done their murderous assaults on unarmed strikers the corpses spread out widely on the massacre field tell anybody who wasn’t sure about the role of the cops and troops all they need to know about the way the strike was defeated. 

From what I could gather from the last signboard (one which mentioned the Lena gold strike which was I believe was suppressed in 1912) the time period of this strike was between the 1905 revolution that went down in flames and the victorious revolution in 1917. The implications of the failure of the strike, of the need to take the state power, were thus through Eisenstein’s big lenses there for all to see. Hey, even if you don’t draw any political conclusions from this film just watch to see what they mean when they say a picture sometimes is worth a thousand words. Eisenstein has a thousand such pictures that will fascinate and repel you.  

The Hour Of The Wolf-With Mad Monk Bluesman Howlin’ Wolf In Mind

The Hour Of The Wolf-With Mad Monk Bluesman Howlin’ Wolf In Mind 

CD Review

By Zack James

Howlin’ Wolf, The Hour Of The Wolf,  

Jack Callahan made his old high school corner boy from in front of Jimmy Jack’s Diner in growing up town Riverdale west of Boston Seth Garth laugh one night when they were tossing down a couple of high shelf scotches, with water chasers after having just seen one James Montgomery, the famous blues harmonica player who had learned his trade at the feet of Little Walter and Junior Dean, perform at the Shell and prove once and for all that he still had “it.” That “it” not just some far-fetched idea that Seth had as an old-time music critic when he had first started out in journalism, started first when he was still in college throwing small pieces into the American Folk Gazette before he got his big break with The Eye in the days when guys like Trick Stearn and Bones Bennett made names for themselves and dragged the newspaper along with them before the big ebb tide of the 1970s washed away the glad tidings of the 1960s that everybody had pinned their hopes on.

No this “it” had some spunk, some substance to its core and Jack had gone along with Seth on this one. See one night Jack and Seth had gone to a Big Bill Bloom concert at the Garden and had come away angry, angry that they had spent their good money on expensive tickets when Big Bill could no longer carry a tune, Back in the day that had not mattered as much because the power of his lyrics carried the day. But that night he was not producing new lyrics, hadn’t done so in ages and was living off old time nostalgia from the AARP-worthy demographic that still followed him essentially uncritically. And the fools had clapped their hands off giving him yet another false life. Jesus. Seth had written a scathing article in the prestigious American Folk Review about the event and had hell rain down on him from the editor. (Old biddy editors he had called them. After that blast Seth resolved to check out as many of the old time folk and blues singers who were still standing to see if they still had “it” and let people know what was what (he did not bother to check out the old time rock and rollers that had started the great jail break-out of the 1950s since all that were left except Jerry Lee were one hit wonders who didn’t make the cut).       

So James Montgomery got his thumbs up. Funny some guys, guys like David Bromberg still had it, Jim Kweskin too but before he passed away Utah Phillips was doddering and the late Etta James was in different planet. Sad.

Now that you know the score, know what the old corner boys were up to we can get back to what Jack said that made Seth laugh. Simple. He just said, “You know as good as James is Howlin’ Wolf would have had him for lunch and had time for a nap.” And of course Seth had to agree. Agree for no other reason that he and Jack had been present in a little side room in Newport, at the big Folk Festival back in 1965 when the Wolf practically blew the walls of Jericho down when he played How Many More Years practically devouring the harmonica. Now the Wolf always claimed that he was not a drinking man (had taken the legendary country blues guys, guys like Son House, his “father,” to task for showing up drunk and giving the race a bad name) and wasn’t a dope fiend (his term one time when Seth interviewed him after he had come back from London after playing on an album with the Stones and Seth had joked that he probably had been stoned all the time and the Wolf looked at him with evil eyes like don’t go there sonny boy). But Seth was convinced that that whiff he smelled was not from some other workshop, the one with the white kids as Howlin’ Wolf put it. (Jim Kweskin and his jug band as it turned out which was entirely possible as well). But no way that a living breathing man, a big burly hunk of a man could put that much energy, that much air, that much bloody sweat (wringing out his handkerchief drawing torrents when he was done) without some “help.”     

So while Seth and Jack would never know for sure whether the Wolf man was high that famous Newport afternoon they knew one thing, one laugh making thing, the Wolf would have had James Montgomery for lunch. And James still had “it.”  So you can bet six two and even the Wolf had it at the end too. If you don’t believe Seth then listen to this CD and weep for your not having been there back in the day when the Wolf mopped up the blues floor, made his bones.   

On The Wild Side Of Life Minute-With Mister Jerry Jeff Walker’s Music In Mind

On The Wild Side Of Life Minute-With Mister Jerry Jeff Walker’s Music In Mind

CD Review

By Zack James   

Great Gonzos, Mister Jerry Jeff Walker,

The 1980s, the early 1980s, were a tough time to try and weather the financial doldrums of the alternative newspaper industry (much like today, in 2017, the whole print press and journal industry is going down with the ship in the digital age). That was the age of Ronald Reagan, a time when the night-takers took their revenge in big gobs, those bastards who almost got kicked in the ass for good back in the 1960s except we forget the first rule of a power struggle whether down on the corner boy block or in order to take state power-if you are going to take on the big guys you had better be ready to go all the way down and dirty or just back off. The blow-back for the past forty some years is graphic testament to that failure, to our defeat.  

As if to put paid to that night-taker “victory” those who would in earlier times have come through and supported such ventures as truth-teller alternative media took a dive, waved the white flag and fell into line (a straight and narrow line that even the latest polls have shown they never have backed away from, have passed on that “keeping their heads down” to their kids, hell, their grandkids, Jesus) the money dried up and the publication that Seth Garth had been the film critic for in good times and bad for over a decade The Eye had put him on short rations, had almost reduced him to the free-lancer status he had started out in the business doing. To alleviate their dilemma, maybe to draw one last breathe would have been a better way to put it Benny Gold the long time editor had begged Seth to take a long swig at the then emerging outlaw country music scene that was starting to bust out of Nashville, started getting up a head of steam in Texas, Austin, really and places like Colorado, Iowa and the like.   

Seth Garth, for those who don’t remember the name from when what he had to say about some song, album (tapes in those days really), or a performer carried weight via the distribution of The Eye on the coasts and with some strongholds in the center of the country too or were too young to know who he was could give, to use and expression from his corner boy days which he had really never given up, a rat’s ass about country music, the Nashville Grand Ole Opry stuff. Held his nose whenever anybody mentioned that George Jones had not shown up at a concert for the millionth time since he was in a drunken stupor out in Wyoming when he was supposed to be right there in Georgia or that Loretta Lynn, a coalminer’s daughter had the vapors or something and was a “no show” at one of her performances. Yeah Seth could give a rat’s ass about this incestuous country scene no question.

Moreover having just started the process of divorcing his third wife (three wives and a brood of kids, all young fueling up alimony, child support and future earnings college tuitions) he was in a sullen funk about starting all over like some rookie chasing ambulances and cop cars for a fucking story. Was trying, seriously trying, to decide whether he might link up with his old corner boy Johnny Blade who was now out of stir after doing a nickel for his last armed robbery and start pulling a few quick haul bank robberies. That larcenous heart of his that he had held in check for a number of years now was beginning to come to the fore. He after all was the guy back in the day who had perfected the “clip,” had designed the neighborhood midnight creep into Mayfair swell houses that kept the boys in clover through high school.

In the end though, at least for the public prints, Seth decided that he would give the outlaw country scene a quick run through to see if circulation would rise and The Eye would stop bleeding away financially. So he held his nose and headed to Austin (he refused to go to Nashville where some of the guys he was supposed to check out still had connections enough to draw work if the “outlaw” thing was running a little to the lean side). He first ran into a guy named Townes Van Zandt who was a true outlaw, could have given a fuck about Nashville and just wanted to write his lonesome life road lyrics, drown his sorrows in liquor and chase young honeys, the younger the better. But Townes with his downer lyrics, his lusts and his short-handed way of talking when he was not singing was not going to help Seth out of his miseries never mind a left-leaning newspaper in need of a big circulation jump.        

So he pushed on, had a nice interview with Willie Nelson but the guy was almost too big by then, hell, he was playing Northern venues to sell-out crowds, radio stations were ready to switch formats if they could get a hook from him. Same with Kris Kristofferson who was getting acting jobs as well as drinking the state of California dry. Then Big Bill Bloom who had made a career out of big bang folk lyrics that everybody in the 1960s was chewing on (or chewing on partially because while everybody knew maybe three verses of his stuff they could not go the distance on the whole song, half the time Seth couldn’t either and he wrote about the whole scene) called Seth to tell him that he had heard that The Eye was on the ropes (The Eye always gave Big Bill great build-up reviews although a couple of times Seth had nixed his work but Benny had nixed his nix) and that he was working the outlaw country racket. Did Seth know about a guy, Jerry Jeff Walker, who just then was out of jail but who was a great performer, wrote great lyrics and had a pal, a guy named Guy Clark, who wrote stuff for him too?            

Seth told Big Bill that he had never heard of the guy, was moreover worried about that “just out of jail” bit even if he was an outlaw but when Big Bill said he could make the connections Seth in desperation said he would go for it. And strangely enough they connected, connected when Seth was able to see that Jerry Jeff was just another larcenous corner boy except down Texas way and out West they called them good old boys instead of up North in growing up Riverdale. Seth was the guy who gave Jerry Jeff’s first concert out of jail a big play. Got him a connection to a big record producer and even got him his first gig north of the Mason-Dixon line. Got him into Harvard Square for crying out loud. The crowd almost all old folkies and raw college kids with dates went crazy for a real outlaw country singer. For a while, maybe a year, The Eye got by but the Reagan era was in deep throttle by then and once Jerry Jeff became old news everybody went back to keeping their heads down as the newspaper sank into its dreams. And Seth became once again a freaking free-lancer with no place to go but down.      

Bet, Bet Straight Up-With The Old North Adamsville Neighborhood Corner Boys In Mind

Bet, Bet Straight Up-With The Old North Adamsville Neighborhood Corner Boys In Mind

By Film Critic Emeritus Sam Lowell

[This little piece of fluff, this little boyhood remembrance had originally been written as my swan song as a film reviewer, as the film editor here. And to an extent that is /was true when I penned the stuff. That before the big internal struggle that roiled this publication for several months and which finally led to the purge and exile of Allan Jackson, long-time site manager and my oldest friend from high school days. “Purge” and “exile” no exaggeration although I don’t have time for the details here except that when the deal went down I voted with the rebel younger writers to give my old friend the boot under the idea that as with my own retirement it was time to “pass the torch.” I still think I was right and that although Allan and I have reconciled things probably better today under the new leadership. The part that is wrong though is that my swansong was premature. As part of the dust up the younger writers (and here I was neutral) insisted that new site manager Greg Green have an Editorial Board that he would run things by unlike the one-man rule of Allan Jackson. I was tagged for the chairmanship of the Board and so since I am still around I have decided on occasion as here that a few pithy words might come from my pen. S.L]

As everybody familiar with this space knows (or with the on-line version of the American Film Gazette )I have retired from the day to day grind of writing film reviews and have handed over that chore, at least temporary, to my in the not too distance future retiring old friend, colleague and competitor Sandy Salmon. I noted when I posted my retirement notice that I, like old time military men, would just fade away. I also noted that I would as the occasion warranted write a little something, a little commentary if the subject interested me. That is my purpose today.        

Recently Sandy Salmon reviewed a 1947 film, a murder mystery of sorts that had a long prior pedigree, Seven Keys To Baldpate, which had been based on a play by the same name back in the early 20^th century which in turn was based on a crime novel by the great crime writer Earl Derr Biggers (whose popular Charlie Chan series is perhaps much better known). Sandy did a good job of reviewing this film which hinged on the idea of a guy, a crime writer, making a bet with his publisher for five thousand cash that he could write a crackerjack mystery novel in twenty-four hours. As he attempted to do such out in the boondocks at an allegedly closed down inn with the only key to the place all hell broke loose, a couple of off-hand murders and such, by people who had collectively mysteriously come up with the six other keys of the title. One of those six people was a ringer, was the good-looking blonde with well-turned legs secretary to the guy who the crime writer made the bet with. No, not a sex lure like would be included in such a plotline now, at least not publicly, not in 1947 but to distract him anyway she could to make him miss his deadline. What the hell that ain’t fair, no way, especially when after the smoke cleared and the crime writer solved the whole mystery of why the other five people were there she flopped herself on his lap when he went to write that story to win the bet and dared him to ignore her. Needless to say the other guy won the bet        

Sandy mentioned at the start of his review that some guys will bet on anything, any proposition to pass the time. That got me to thinking after I had read the review about what the deal was in the old days in my growing up hometown of North Adamsville about forty miles west of Boston when me and my high school corner boys who hung around Sal’s Pizza Parlor would to while away the lonesome, girl-less, no dough, no serious dough to not be girl-less bet on all kinds of propositions for a couple of bucks, maximum five probably. Certainly not five thousand which as Sandy mentioned is nothing but walking around money now but then was a number which we could not get around, couldn’t believe existed, not in our neighborhood where rubbing nickels together was a tough enough battle.

Now a lot of the bets with guys like Sammy Young, Billy Riley, Jack Callahan the great school football player before Chrissie McNamara did her own flop down on his lap and dared him to move her which he had had absolutely no inclination to do, Sid Green, Pat Murphy and Ian Smith were on the outcome of various sports events. You know back in those days whether the hapless Red Sox would finish last in the American League (or how long a losing streak the team would go on once they started their inevitable losing), how many points would the golden age Celtics score (or allow). We also did our fair share of betting on football games, no so much the games themselves as each play, pass or run, stuff like that, which sounds exotic but except for one time when I got on a bad streak and lose twenty-two bucks which took me about six weeks of caddying for the Mayfair swells to pay was usually the difference of two or three dollars.         

Other bets were a bit racier. Like whether Sally, who was going out with Pat, would let him “touch” her, and you know what I mean and don’t ask how we verified such bets but just know that we did do so. Or whether such and such a girl, a hot girl usually, would take the bait and give one of us a date. Hell, sometimes when the girls came into Sal’s to have some pizza, Cokes and to play the great jukebox that he had over in the corner we would bet on what song a girl would play. There was a certain art to that proposition for instance if a girl had just broken up with her boyfriend there would likely be some slow sad song chosen. You get what I mean. Sometimes it would be whether the notoriously late local bus would arrive on time or not. So anything was up for betting purposes.          

         

That ringer secretary in the film though got me thinking about the strangest bet I ever made back then, maybe ever. One Friday night, another one of those girl-less ones, Jack Callahan, this is before fetching Chrissie McNamara snagged him, bet me on how high Sal would toss the pizza dough when he was kneading and stretching it to make his great pizza pies. Jack’s idea for calling the bet, mine too for taking it, was that one of us but not both could have enough kale for a date with Laura Lawrence on Saturday night. We were both interested in her and she liked us both well enough although Jack as the football hero probably had the edge aside from the money factor. So the bet was on. Oh, I forgot to tell you that if one of the corner boys made a proposition the other guy (or guys depending on the nature of the bet) had to take the bet, or lose and pay up anyway. So naturally I said “bet.”      

The time of the bet was probably about seven o’clock so we had to wait a bit for Sal to start making more pizzas for the crowd that would be coming in around eight or so for their slice and soda before heading to some date or to the local lovers’ lane. Sal did eventually get going, maybe a half an hour later. The idea for who would win any individual bet on the toss was whether Sal flipped the dough above or below the Coke sign directly behind him. I got to call the first bet. Low. I won and the race was on taking my shots at high or low. I did pretty well for a while, was up maybe seven or eight dollars which would be enough to take Laura out, maybe a movie and something to eat. I figured I was in. Then my luck began to change, change dramatically and before long I was down about ten bucks before Sal stopped tossing the goddam stuff.

Jack smiled a knowing smile, knowing that he was going to escort Laura around and maybe get to “touch” her and you know what I mean by that and I don’t have to spell it out. Here’s where everything about that film review by Sandy comes into play. Sal was the ringer. Remember Jack was a football hero and Sal loved football, loved Jack’s prowess on the field and Jack had told him the situation earlier in the day before I showed up there. They had planned to let me win early to draw me in and had set up a silent signal about which position I had taken. How about that. Don’t you think now that I am thinking about it and getting burned up all over again that the next time I go over to Jack and Chrissie’s house in Hingham that I should ask for that ten bucks back-with interest. Yeah, Sandy had it right some guys will bet on anything.