Friday, September 16, 2016

Strange Fruit, Indeed-Fritz Lang’s Fury (1936)-A Film Review

Strange Fruit, Indeed-Fritz Lang’s Fury (1936)-A Film Review




DVD Review

By Sam Lowell

Fury, starring Spencer Tracy, Sylvia Sidney, directed by the legendary director Fritz Lang, M-G-M, 1936

Sure plenty of black and white romance, romantic comedy and detective classics came out of the 1930s but given the hard-pressed times, the Great Depression times, there were many social commentary dramas as well ranging from exposing prison conditions to the plight of migrant workers to the plight of abandoned inner city kids. And in the mix M-G-M through the good offices of Joseph Mankiewicz came this very raw rough and ready look at lynch law “justice” in the film under review famed director Fritz Lang’s Fury. This look, the look of small town lynch law “justice” against a convenient stranger, not the look of what was really happening in America, the systematic lynching of mostly black men, the “strange fruit” of the headline as Billie Holiday sang it, but a very evocative look at mob mentality nevertheless.            

The story line is pretty simple. An average 1930s Joe, Joe Wilson, played by a frenetic Spencer Tracy, had cobbled his pennies together after a long struggle in order to go meet and marry his sweetie, an average Katherine, Katherine Grant, played by Sylvia Sidney, living at some distance from him. Along the way Joe was stopped as a “person of interest” by a small town deputy sheriff. The town had been at the time in an uproar over the kidnapping of a child. Joe was made to fit the bill for the heinous crime on the basis of very airy evidence, stuff that wouldn’t hold up in any court outside the town’s jurisdiction. It never got that far, Joe was never meant to get that fair trial in order to sort out the evidence because the town people became subject to a collective psychosis, mob rule. Burned down the jail in their frenzy assuming that their average Joe was killed in the flames.   

Of course the unlawful actions in this case got the D.A. in a frenzy seeking real justice by the book by indicting as many of the perpetrators as possible, eventually rounding up 22 of the suspected felons. Problem: problem in small town or big is that nobody wanted to “snitch” on their fellows. Still the D.A. was ready to lower the boom once he got newsreel footage and could identify the parties to the mayhem.      

Everything looked like curtains for the 22 but then their diligent defense attorney pointed out that the state had no proof that Joe had been killed. Bingo. This is where the film gets a little odd. See Joe had actually survived the fire, was pulling the strings, had decided along with his irate brothers from Chi town in tow to get revenge on the small town mob and would have had the frame all set except, well, except his sweetie Katherine found out he was not dead. She tried, tried and tried really, to get him to go out into the open and prevent another injustice (or at least not have the 22 up on murder charges whatever other crimes they actually did commit). Interesting film if the plotline made the subject under discussion, lynching and mob rule, a little awry.        

*****Important Mumia Abu Jamal Update-Free Mumia

*****Important  Mumia Abu Jamal Update-Free Mumia

 

Click below to link to the Partisan Defense Committee Web site.

http://www.partisandefense.org/



Commentary

The legendary social commentator and stand up comic Lenny Bruce, no stranger to the American ‘justice’ system himself, once reportedly said that in the Halls of Justice the only justice is in the halls. The truth of that statement came home on Thursday March 27, 2008 as a panel of the federal Third Circuit Court of Appeals voted two to one to uphold Mumia’s conviction.

The only question left is that of resentencing- the death penalty or, perhaps worst, life in prison without parole. I have not yet read the decision but we are now a long way away from the possibility of a retrial-the narrow legal basis for even appealing in the legal system in the first place. Know this- in the end it will be in the streets and factories through the efforts of the international labor movement and other progressive forces that Mumia will be freed. That is the only way, have no illusions otherwise, whatever the next legal steps might be.

*****

Some facts about the case from the PDC (2006):


Mumia Is an Innocent Man
Free Mumia Abu-Jamal!
Abolish the Racist Death Penalty
 
Mumia Abu-Jamal has been on death row for nearly 24 years, falsely convicted of killing Philadelphia police officer Daniel Faulkner. Mumia Abu-Jamal is innocent and mountains of evidence show this, including the confession of another man, Arnold Beverly, to the murder. All the elements of the capitalist “justice” system colluded in framing up this former Black Panther and MOVE supporter because he is an eloquent and defiant spokesman for the oppressed. The fight to free Mumia has now reached a critical juncture. Last December, the federal appeals court put Mumia’s case on a “fast track” for decision, marking the last stages of the legal proceedings. Both Mumia and prosecutors are appealing decisions made in 2001 by U.S. District Court judge William Yohn, who overturned the death sentence but upheld every aspect of Mumia’s frame-up conviction. The state is as determined as ever to execute Mumia and has appealed. He has been barred by the courts from presenting evidence that he is innocent. But the district attorney filed legal papers in the federal appeals court in April, opening its case with a venomous, lying statement to portray Mumia as a cop-killer who must be executed. In a short time, even as soon as six months, the court could decide what is next for Mumia: death, life in prison or more legal proceedings.
Mumia was locked up on death row in 1982 based on lying testimony extorted by the cops without a shred of physical evidence. The judge at his trial, Albert Sabo—known as the “King of Death Row”—was overheard by a court stenographer saying, “I’m going to help ’em fry the n----r.” Rigging the jury to exclude black people, the prosecution incited jurors with the grotesque lie that Mumia’s membership in the Panthers as a teenager proved he was committed to kill a cop “all the way back then.” The 1982 conviction was secured with arguments that the jury could disregard any doubts about Mumia’s guilt because he would have “appeal after appeal.” In nearly two decades of appeals, each and every court has rejected the reams of documented evidence of the blatant frame-up of Mumia. For over four years, Pennsylvania state as well as federal courts have refused to even consider the sworn confession of Arnold Beverly that he, not Mumia, shot and killed Faulkner.
The execution of Stanley Tookie Williams by the state of California in December casts an ominous shadow. The legal lynching of Williams, which provoked an outcry nationally and internationally, signaled the determination of the U.S. capitalist rulers to fortify their machinery of death in the face of growing reticence in the population over how the death penalty is applied. Mumia Abu-Jamal, America’s foremost political prisoner, is the executioners’ number one target. California governor Arnold Schwarzenegger made this clear when, in denying clemency for Williams, he cited the fact that Williams’ 1998 book, Life in Prison, was dedicated to—among others—Mumia Abu-Jamal.
Mumia’s case demonstrates what the racist death penalty is all about. It is the lynch rope made legal, the ultimate weapon in the government’s arsenal of repression aimed at the working class and oppressed. A legacy of chattel slavery, the death penalty is maintained in a society where the segregation of the majority of the black population is used as a wedge to divide the laboring masses and perpetuate the rapacious rule of capital. The murderous brutality of the racist capitalist system was displayed for all to see when thousands of people, overwhelmingly black and poor, were left to die in New Orleans after Hurricane Katrina.
Mumia’s appeal takes place in the context of the government’s assertion of its “right” to disappear, torture or even assassinate its perceived opponents, and to wiretap and spy on anyone and everyone. In the name of the “war on terror,” rights won through tumultuous class and social battles are being put through the shredder by the Bush administration with the support of the Democratic Party. The purpose is to terrorize and silence any who would stand in the way of the capitalist rulers’ relentless drive for profits and their imperialist adventures, like the colonial occupation of Iraq.
As Mumia’s case moves through the final stages of legal
proceedings, the fight for his freedom is urgently posed. The Partisan Defense Committee—a class-struggle legal and social defense organization associated with the Spartacist League/U.S.—stands for pursuing every legal avenue in Mumia’s behalf while putting no faith in the “justice” of the capitalist courts. Through publicity and action, we have struggled to mobilize the broadest social forces, centered on the labor movement, to demand Mumia’s freedom and the abolition of the racist death penalty. As Mumia faced execution in August 1995, a mass outpouring of protest nationally and internationally—from civil liberties organizations and such heads of state as South Africa’s Nelson Mandela to trade unions representing millions of workers—succeeded in staying the executioner’s hand.
Today we face greater odds. But if undertaken through a mobilization based on the social power of the working class, the fight for Mumia’s freedom would be a giant step forward in the defense of all of us against the increasingly depraved and vicious rulers of this country.
 
Anatomy of a Frame-Up
In the eyes of the capitalist state, from the time Mumia was a 15-year-old spokesman for the Black Panther Party in Philadelphia in 1969, he was a dead man on leave. Then-FBI Director J. Edgar Hoover pronounced: “The Negro youth and moderate[s] must be made to understand that if they succumb to revolutionary teachings, they will be dead revolutionaries.” This policy was carried out under both the Democratic administration of Lyndon Johnson and his Attorney General, Ramsey Clark, and the Republican Nixon administration. Under the FBI’s “counter-intelligence” program known as COINTELPRO, 38 Panthers were murdered and hundreds of others framed up and railroaded to prison.
The 900 pages of FBI files the PDC was able to obtain on Mumia’s behalf, even though highly expurgated, make clear that the FBI and cops used any “dirty trick” in their mission to get him. His every move was tracked and his name put on the FBI’s Security Index, the 1960s version of a “terrorist” hit list. Even with the demise of the Panthers, the state did not call off its vendetta against Mumia. As a journalist known as the “voice of the voiceless,” Mumia’s impassioned defense of black rights continued to enrage them. The Philly cops particularly seethed over his sympathetic coverage of the MOVE organization, which was subjected to an onslaught of state terror.
Mumia was targeted for death because of his political beliefs, because of what he wrote, because of what he said. And in the early morning hours of 9 December 1981 at the corner of 13th and Locust Streets in Philadelphia, the cops finally saw their chance. Mumia was driving a cab through the area that night. He heard gunshots. He saw people running, saw his own brother and got out of his cab to help him. Moments later, Mumia was critically wounded by a bullet through the chest. Nearby lay a wounded police officer, Daniel Faulkner. The cops found their long-awaited opportunity and seized on it to frame up Mumia as a “cop killer.”
The prosecution’s case rested on three legs, all based on lies: the testimony of “eyewitnesses” coerced through favors and terror; a “confession” purportedly made by Mumia the night of the shooting that was such a blatant hoax that it didn’t surface until months later; and nonexistent ballistics “evidence.” In 2001, this frame-up was completely blown to pieces with Arnold Beverly’s confession that he was the man who shot Faulkner. In a sworn affidavit printed in the PDC pamphlet Mumia Abu-Jamal Is an Innocent Man!, Beverly stated:
 
“I was hired, along with another guy, and paid to shoot and kill Faulkner. I had heard that Faulkner was a problem for the mob and corrupt policemen because he interfered with the graft and payoffs made to allow illegal activity including prostitution, gambling, drugs without prosecution in the center city area.
 
“Faulkner was shot in the back and then in the face before Jamal came on the scene. Jamal had nothing to do with the shooting.”
Beverly stated that the second shooter also fled the scene. This is supported by a sworn affidavit by Mumia’s brother, Billy Cook, who testified that his friend Kenneth Freeman was a passenger in Cook’s VW at 13th and Locust that night. Freeman later admitted to Cook that he was part of the plan to kill Faulkner and had participated in the shooting and then fled the scene. This is further corroborated by the testimony of a witness at the scene, William Singletary, who said he saw a passenger get out of Cook’s VW, shoot Faulkner and then flee the scene.
At least half a dozen witnesses who were on the scene the night of the shooting saw, from several different vantage points, one or more black men flee. Police radio “flashes” right after the shooting reported that the shooters had fled the scene with Faulkner’s gun. Five witnesses, including two cops, describe someone at the scene wearing a green army jacket, which both Beverly and Freeman were wearing that night. Neither Mumia nor Cook wore a green army jacket: Mumia wore a red ski jacket with wide vertical blue stripes and Cook had a blue jacket with brass buttons.
Beverly said that Mumia was shot by a cop at the scene. This is confirmed by no less an authority than the state Medical Examiner’s office, whose record written the same morning as the shooting quotes a homicide officer saying that Mumia was shot by “arriving police reinforcements,” not by Faulkner. Other witnesses have corroborated Beverly’s testimony that undercover and uniformed police were in the vicinity at the time of the shooting, which Beverly assumed meant that they were in on the plan to kill Faulkner. One witness, Marcus Cannon, saw two undercover cops on the street across from the shooting. William Singletary also saw “white shirts” (police supervisors) at the scene right after the shots were fired.
The prosecution dismisses the idea that the cops would kill one of their own as an outlandish invention. Leaving aside that Beverly passed two lie detector tests, his account fits with the fact that at the time of Faulkner’s killing in 1981, there were at least three ongoing federal investigations into police corruption in Philadelphia, including police connections with the mob. Police working as FBI informants were victims of hits in the early 1980s. A former federal prosecutor acknowledged that the Feds had a police informant whose brother was a cop, just as Faulkner had a brother who was a cop.
A sworn affidavit by Donald Hersing, a former informant in an FBI investigation into police corruption, confirms that at the time of Faulkner’s shooting the word was out that the Feds had an informant in the police force. The commanding officer of the Central Police Division, where the murder of Faulkner took place, the chief of the police Homicide Division and the ranking officer at the scene of Faulkner’s killing, Alfonzo Giordano, were all under investigation at the time on federal corruption charges. These cops were literally the chain of command in the frame-up of Mumia Abu-Jamal.
Giordano had been the right-hand man for Philadelphia’s notoriously racist police chief and later mayor, Frank Rizzo. From 1966 to 1970, Giordano was in charge of the cop “Stakeout” squad, which led the police raid on the Black Panthers’ headquarters in 1970. He was also the supervisor of the 15-month police siege of MOVE’s Powelton Village house in 1977-78, which resulted in nine MOVE members being sent to prison on frame-up charges of killing a cop. Giordano knew exactly who Mumia was. The senior officer on the scene, he had both motive and opportunity to frame up Mumia for the killing of Faulkner.
Giordano originated the claim that Mumia’s gun—the putative murder weapon—was lying beside him on the street. But according to police radio records, the cops were still looking for the gun some 14 minutes after hordes of police had arrived on the scene. Giordano arranged the identification of Mumia by cab driver Robert Chobert, who became a witness for the prosecution. Giordano was the central witness for the prosecution at Mumia’s pretrial hearing. But he was never called as a witness at Mumia’s trial. Shortly before the trial, he was assigned to a desk job. One working day after Mumia was convicted, Giordano resigned from the force. In 1986, Giordano copped a plea on federal charges based on his receiving tens of thousands of dollars in illegal payoffs from 1979 to 1980. He didn’t spend a day in jail.
 
Prosecution’s Web of Lies
The prosecution’s story is that two people were on the corner of 13th and Locust where Faulkner was shot: Mumia’s brother Billy Cook and Faulkner. They claim that Mumia ran across the street when he saw his brother being beaten by Faulkner. According to police and prosecutors, Mumia shot the cop in the back, the cop shot back at Mumia and then Mumia stood over the fallen cop and shot him “execution style” several times in the head. Even a close examination of the cops’ and prosecution’s own evidence gives the lie to this scenario. A look at the “three legs” of the prosecution’s case provides not only stark confirmation of Mumia’s innocence but clear corroboration of Beverly’s testimony.
The Prosecution’s Witnesses: Even with police and prosecution threats and favors at the time of the 1982 trial, no witness testified to seeing Mumia actually shoot Faulkner. Only one, Cynthia White, the prosecution’s star witness, testified that she thought she saw a gun in Mumia’s hand when he crossed the street. A prostitute working in the area, White claimed to have witnessed the events from the southeast corner of 13th and Locust. Yet the other two prosecution witnesses, as well as two defense witnesses who knew White, all denied she was at the scene during the shooting! Other prostitutes testified in subsequent court hearings that White alternately got police favors or was threatened by police in order to extract her testimony.
As for Robert Chobert, at first he told police that the shooter “ran away.” After further interrogation, he changed his story, claiming that Mumia stood over Faulkner while the shots were fired and that no one ran away. A cab driver using a suspended license while on probation for felony arson, Chobert was given favors by the prosecution in exchange for his testimony. He later admitted that he never saw the shooting. The third state witness was Michael Scanlan. He initially identified Mumia as the VW driver but then claimed that the shooter ran across Locust Street, which Beverly admits that he did. He also admitted that he did not know if Mumia was the man he saw.
Ballistics and Forensics: The prosecution claimed that ballistics evidence was “consistent” with Mumia’s gun being the murder weapon even while admitting that the “consistency” applied to millions of handguns. There is no evidence that Mumia’s gun was even fired that night. There was every opportunity to test Mumia’s hands, or the gun, for evidence that it had been recently fired. But according to police no such tests, which are standard operating procedure, were ever done! The Stakeout officer who claimed he picked up Mumia’s gun did not turn it over for more than two hours, providing more than ample time to have it tampered with.
The Medical Examiner’s report states that Faulkner was shot with a .44 calibre bullet, yet Mumia’s gun was a .38 calibre. Although the crime lab claimed that the main bullet fragment removed from Faulkner’s head was too damaged to test, the defense team’s ballistics expert denied this. A second bullet fragment removed from the head wound simply disappeared without a trace.
Evidence at the scene—bullet fragments, blood stains, the absence of divots in the sidewalk—refutes the prosecution claim that Faulkner was shot repeatedly while lying on the ground. The bullet patterns are far more consistent with multiple shooters, as Beverly testifies. A copper bullet jacket found at the scene was inconsistent with either Faulkner’s or Mumia’s guns, suggesting that a different gun was fired. Similarly, type O blood was found at the scene, but Faulkner, Mumia and Cook were all type A, suggesting that another person was present and injured. The angle of Mumia’s own wounds is impossible if he was shot while standing over Faulkner as the prosecution claimed. However, Mumia’s wounds are consistent with Beverly’s testimony that Mumia was shot by a cop at the scene.
The “Confession”: The frame-up’s final leg was the claim that Mumia, lying in a pool of blood at the hospital where he was taken for treatment, shouted out that he had shot the cop. Yet the police officer assigned to guard Mumia there reported that same day that Mumia “made no comments.” In reality, he was so badly wounded, with a bullet hole through one lung, and had been so badly beaten by police on the street and at the hospital, that he could not have “shouted” anything. The “confession” was manufactured by the prosecution at a roundtable meeting with cops two months after the shooting.
Priscilla Durham, a security guard, was the only hospital employee who backed up the cops’ “confession” lie. In 2003 Durham’s stepbrother Kenneth Pate swore that Durham said she was pressured by the cops to say Mumia confessed. Pate also said Durham heard Mumia say, “Get off me, get off me, they’re trying to kill me.”
Mumia Abu-Jamal has always categorically maintained his innocence. As he declared in a 2001 affidavit: “I did not shoot Police Officer Daniel Faulkner. I had nothing to do with the killing of Officer Faulkner. I am innocent…. I never confessed to anything because I had nothing to confess to.”
Mobilize Now to Free Mumia!
The case of Mumia Abu-Jamal is an object lesson in the class nature of the capitalist state. Its justice system is class- and race-biased to the core. The cops and courts who framed up this innocent man, the living tomb of the prison system in which he is jailed, the executioner who stands ready to kill—all are instruments of organized violence used to preserve the rule of the capitalist class through the forcible suppression of the working class and oppressed. Smashing this racist frame-up machine will require a socialist revolution that overturns the capitalist system. Demands for a “new trial” which have been raised by liberals, self-proclaimed socialist organizations, black nationalists and others have fed illusions that there can be justice in the capitalist courts. Those illusions demobilized a movement of millions around the world in Mumia’s defense.
The time is now to rekindle mass protest—nationally and internationally—on behalf of Mumia. Mumia’s freedom will not be won through reliance on the rigged “justice” system or on capitalist politicians, whether Democrat, Republican or Green. The power that can turn the tide is the power of millions—working people, anti-racist youth, death penalty abolitionists—united in struggle to demand the freedom of this innocent man. Crucial to this perspective is the mobilization of the labor movement, whose social power derives from its ability to shut down production. As we have stated since we first took up Mumia’s defense in the mid 1980s, what’s necessary are labor-centered united-front actions, generating effective protest across a spectrum of political beliefs while assuring all the right to have their own say.
The time is now to make Mumia’s case a rallying cry against the racist death penalty, against black oppression, against government repression. Raise your voice and organize now in your union, on your campus, in your community to demand: Free Mumia Abu-Jamal! Abolish the racist death penalty!
—Partisan Defense Committee, 27 May 2006
 
 


 


An Open Letter to Mumia Abu-Jamal Supporters-A Personal Commentary (April 2008)



The Partisan Defense Committee has passed "An Open Letter to All Supporters of Mumia‘s Freedom" to this writer. Those few who might not know of the torturous legal battles to free this innocent man can find further information at the above-mentioned Partisan Defense site. I make my own comments below.


Normally I pass information about the case of political prisoner Mumia abu-Jamal on without much comment because the case speaks for itself. The case has been front and center in international labor defense struggles for over two decades. However, in light of the adverse ruling by a majority of a federal Third Circuit Court of Appeal panel in March 2008 that affirmed Mumia’s 1982 conviction for first-degree murder of a police officer and left the only issue for decision that of resentencing to either reinstate his original death sentence or keep him imprisoned for life without parole I have some things to say about this fight.

Occasionally, in the heat of political battle some fights ensue around strategy that after the smoke has cleared, upon reflection, leave one with more sorrow than anger. Not so today. Today I am mad. Am I mad about the irrational decision by the majority of the Third Circuit panel in Mumia’s case? Yes, but when one has seen enough of these cases over a lifetime then one realizes that, as the late sardonic comic and social commentator Lenny Bruce was fond of saying, in the Hall of Justice the only justice is in the halls.

What has got me steamed is the obvious bankruptcy of the strategy, if one can use this term, of centering Mumia’s case on the question of a new trial in order to get the ‘masses’- meaning basically parliamentary liberal types interested in supporting the case. This by people who allegedly KNOW better. The bankruptcy of this strategy, its effects on Mumia’s case and the bewildered response of those who pedaled it as good coin is detailed in the above-mentioned Open Letter. Read it.

Today, in reaction to the Third Circuit court’s decision, everyone and their brother and sister are now calling for Mumia’s freedom. At a point where he is between a rock and a hard place. However, it did not have to be that way. Mumia was innocent in 1982 and he did not stop being innocent at any point along this long road. Freedom for Mumia was (and is) the correct slogan in the case. A long line of political criminal cases, starting in this country with that of the Haymarket Martyrs if not before, confirms that simple wisdom. Those who consciously pedaled this weak ‘new trial’ strategy as a get rich quick scheme now have seen the chickens come home to roost. And Mumia pays the price.

I would point out two factors that made a ‘retrial’ strategy in the case of an innocent man particularly Pollyanna-ish for those honest militants who really believed that Mumia’s case was merely a matter of the American justice system being abused and therefore some court would rectify this situation if enough legal resources were in place. First, it is illusory that somehow, as exemplified in this case, a higher court system would remedy this egregious wrong. Long ago I remember a lawyer, I believe that it might have been the late radical lawyer Conrad Lynn no stranger to political defense work, telling a group of us doing defense work for the Black Panthers, that all these judges belong to the same union. They do not upset each other’s work except under extreme duress.

Second, and this is where the ‘wisdom’ of the reformists about reaching the ‘masses’ by a stagest theory of defense work (fight for retrial first, then freedom) turns in on them. As witness the list of names of those who have signed the Partisan Defense Committee’s call for Mumia’s freedom, excepting professional liberals and their hangers –on, those interested in Mumia’s case (or any leftwing political defense case) will sign on just as easily for freedom as retrial. Thus, opportunism does not pay, even in the short haul. That said, Free Mumia- say it loud, say it proud.

*****When The Bourgeoisie Was In Full Flower- With The French Painter Caillebotte In Mind


*****When The Bourgeoisie Was In Full Flower- With The French Painter Caillebotte In Mind 



 

From The Pen Of Sam Lowell

Yeah, the Baron, Baron Haussmann if you need a name to go with the damage, the social damage done, had done a good job, a damn good job of breaking up beloved Paris with his squeaky clean street lines and wide boulevards. Yeah, changed the face of Paris, the Paris of squalid throw your leavings out the window and heaven help who is below, and heaven help what awful thing was thrown down to the trash-filled streets. The Paris of funny crooked cul de sac streets, which reflected the add-ons over centuries to make a great city from the piss-pot small town back in the Middle Ages when the university was the center of attraction and the good bourgeois in embryo were trying to hold off the barbarians, the wayward no account peasant drifters who snuck off the land, or tried to in order to sulk and menace in the shadows down by the Seine, the river of life and of intrigue.

The Paris of the small craftsman working his trade in some lonely workshop, maybe an indentured apprentice by his side if the craft was skilled enough to warrant such service, his “home” and hearth in the back rooms where the dutiful wife and undutiful screaming children scratched out their pitiful existence. Said craftsman working furiously always brow-beaten worrying about being edged out by Monsieur So and So with plenty of capital and fifty men in his employ underselling him by virtue of economy of scale (or just plain greed at having anybody even a single slave craftsman in his “invisible hand” market place). The Paris too of the jack-roller, the pick-pocket, the wharf rats, the tavern-dwellers, the drifters, the grifters, and the midnight sifters along the shallow shadows of that same beloved Seine     

He, Jean Villon, was called Jean-bon out of respect for his courage under fire in the hell-hole barricade days of 1848  when he and his neighbors, all working-men, held out to the last when the vicious petty-bourgeois who would have benefited most from victory deserted the barricades and he and his took to their fallen losses and jail cells with equanimity (he and his comrades ever after called ‘48ers and no further explanation was necessary, none what-so-ever in any street or boulevard in the town). And called Jean-bon as well for his general good humor when he was not talking politics or scheming the next plot that would bring on the newer world that he and his brethren were seeking. This morning he had had to laugh about the changes in the Rue Madeleine, the urine-laned street where he grew up, about the smell to high heaven of tanning chemicals, rough blacksmith coals, clothe dyes, slaughtered cattles and poultries. Laughed too that in those days, the days before the Baron got the itch (Baron dreams prodded on by ’89 dreams of san-culottes crowds demanding his head on a platter, or maybe just his head any way they could get it preferably via the people’s justice of the guillotine and more recent close calls in ‘48) none of the government’s men dared to enter those quarters even to look for the treasonous or seditious whoever was in power was always nervously pacing the floor about (it did not matter-king-premier-emperor-they all nervously paced their respective floors).

Yeah, back then nothing but crooked little streets leading to harmless little cafes, where he, workingman Villon held “court” with the riff-raff so-called of the old society. Calmly and cautiously quartered where no king’s men would bother to penetrate for they might not come back. Villon descended in some cousin-age degree never quite figured out back to the 15th century from the outlaw poet mad monk bastard saint Francois Villon who wrote longing "exile in his own country" verse with one hand and stole whatever was not nailed down with the other a fact which Jean never tired of pointing out when back in the day, back in ‘48 on the barricades when it counted comrades would wonder whether his revolutionary energies were flagging and he would drag out his pedigree to small-mouthed scoffs and tittles.

Yeah, the Baron was a slick one tearing down the old quarters to let the rising petty-bourgeois have their elegant apartments tucked away from the steamy stinking markets, the riff-raff cafes, the shadow men of the Seine. Let the bourgeoisie laugh in their clubs about how the riff-raff, meaning their working-men, those who slaved for them, those they had fired for being what some wag called “master-less men” for their habit of robbing said masters whenever the shadows fell, and robbing the once innocent peasant girls who followed in their train and cast their fate with the lot of their virtue, would get a belly-full of lead from the phalanx encircling infantry the next time they tried to pull up brick number one in order to build a barricade.

Although for a while when Thiers, that wizened troll who never uttered anything but treacherous remarks and never stopped for one minute to give the orders to  send whatever troops against the barricades which remained loyal to keep him in power. Rammed those troops against the brave Paris communards of blessed memory back in 1871 when the frightened bourgeoisie realized that the barricades could still be constructed when the working-men rose up in righteous anger at the betrayals put upon them. (Those communards like their earlier brethren of ’48 called communards and no further explanation was necessary, none what-so-ever in any street or boulevard in the town.)

But those days were long gone now. The Baron had won, had won his victory over the riff-raff and Jean-bon Villon knew it would be a long time before the blood of the communards dried. Dried and avenged.  

 

Now the picture before Villon as he walked along Rue Madeline a place foreign to his eyes this rainy Sunday morning is that of prosperous petty bourgeois walking under the shadows of their handsome umbrellas along the well-trodden brick-laid slippery street taking in the sullen airs of the day. Each pair, male and female from a rough look at the scene, in their own world heading perhaps to some café breakfast (under awnings this morning) maybe going to the gardens up the road. Villon, the old revolutionary, looking down and noticing that every spattered brick had been inlaid (although that never stopped them from tearing them up in the old days), noticed that  as one wag put it that now the streets were big enough for all of Paris without regard to class to walk and fete wherever they cared to. Here is the waggish joke though, except for some ragman with his cur of a dog his sort were nary to be seen on these wet streets and intersections. Yeah, the Baron did his work well.      
 
 
 

Thursday, September 15, 2016

Fight Deportations-Join Veterans For Peace At The US-Mexico Border In Nogales-October 7-10, 2016

Fight Deportations-Join Veterans For Peace At The US-Mexico  Border In Nogales-October 7-10, 2016


Fight Deportations-Join Us At The US-Mexico Border In Nogales-October 7-10, 2016

Fight Deportations-Join Us At The US-Mexico  Border In Nogales-October 7-10, 2016


 

Stop Continuing To Let The Military Sneak Into The High Schools-Down With JROTC And Military Recruiter Access


Stop Continuing To Let The Military Sneak Into The High Schools-Down With JROTC And Military Recruiter Access

 





 Frank Jackman comment:

 

One of the great struggles on college campuses during the height of the struggle against the Vietnam War back in the 1960s aside from trying to close down that war outright was the effort to get the various ROTC (Reserve Officer Training Corps, I think that is right way to say it) programs off campus. In a number of important campuses that effort was successful, although there has been back-sliding going on since the Vietnam War ended and like any successful anti-war or progressive action short of changing the way governments we could support do business is subject to constant attention or the bastards will sneak something in the back door.

        

To the extent that reintroduction of ROTC on college campuses has been thwarted, a very good anti-war action indeed which had made it just a smidgen harder to run ram shot over the world, that back door approach has been a two-pronged attack by the military branches to get their quota of recruits for their all-volunteer military services in the high schools. First to make very enticing offers to cash-strapped public school systems in order to introduce ROTC, junior version, particularly but not exclusively, urban high schools (for example almost all public high schools in Boston have some ROTC service branch in their buildings with instructors partially funded by the Defense Department and with union membership right and conditions a situation which should be opposed by teachers’ union members).

 

Secondly, thwarted at the college level for officer corps trainees they have just gone to younger and more impressible youth, since they have gained almost unlimited widespread access to high school student populations for their high pressure salesmen military recruiters to do their nasty work. Not only do the recruiters who are graded on quota system and are under pressure produce X number of recruits or they could wind doing sentry guard duty in Kabul or Bagdad get that access where they have sold many young potential military personnel many false bills of goods but in many spots anti-war veterans and other who would provide a different perspective have been banned or otherwise harassed in their efforts.  

 

Thus the tasks of the day-JROTC out of the high schools-military recruiters out as well! Let anti-war ex-soldiers, sailors, Marines and airpersons have their say.         

From The Gals And Guys Who Know The Face Of War Up Close And Personal-The Iraq And Afghan War Veterans


From The Gals And Guys Who Know The Face Of War Up Close And Personal-The Iraq And Afghan War Veterans

Frank Jackman comment:

In America there is an overweening respect for the military, for military officers mainly, the guys and gals who lead the bloody endless wars of this century. They look good on camera, all austere and all business as they lead the general population by the nose into the next ambush. But starting back in Vietnam, starting back in the war of my generation soldiers, sailors, air personnel, regular rank and file guys (almost all guys then) started balking at their fate. Started to talk back, to say stop the madness. And if they could do it when they were service-bound they certainly did after they got out. Formed an organization Vietnam Veterans Against the War (VVAW) that did a hell of a lot to bring the anti-war message home. See they had “street cred”,’ they had been in the hellholes and beyond, had come back to the “real world” a lot wiser than the kids who went in with dreams of glory and fistfuls of medals. The guys and gals who fought, and continue to fight don’t forget, the damn Iraq and Afghan wars have that same “street cred.” Listen up, please.

  
Once Again -Down At Duke’s Place-With Duke Ellington In Mind

 


 

From The Pen Of Bart Webber  


One night Sam Eaton was talking on his cellphone to his old friend from high school (Carver High, Class of 1967), Jack Callahan about how his grandson, Brandon, the oldest grandson of his daughter Janice from his first marriage (first of three all ending in divorce but that is merely a figure for the Census Bureau and not germane to what follows so enough) had beguiled him recently with his arcane knowledge of classical jazz (the jazz from the age of King Oliver say until the death of the big bad swings bands which died in the late 1940s for the most part giving way to cool ass be-bop and what followed).


Jack braced himself for the deluge, got very quiet and did not say word one, since lately the minute Sam mentioned, maybe even thought about mentioning the slightest thing connected with jazz he knew he was in for it, in for a harangue of unknown duration on the subject. Sam, recently more conscious that Jack, who hated jazz, hated it worse when as a child of rock and roll as Sam was, his father would endlessly play Count this, King that, Duke the other thing and not allow the family record player centered in the family living room to be sullied (his father’s word) by heathen stuff like Roll Over Beethoven or One Night With You, would go silent at the word “jazz” said not to worry he would only say a few words from his conversation with Brandon:        

No, Jack, my man, this will not be a screed about how back in the day, back in the 1950s the time of our complete absorption into rock and roll, when be-bop jazz was the cat’s meow, when cool was listening to the Monk trip up a note, consciously trip up a note to see if anybody caught it and then took that note to heaven and back, and worked it out from there or Dizzy burping then hitting the high white note all those guys were struggling against the limits of the instruments to get, high as hell on tea, you know what we called ganja, herb, stuff like that.


Frankly I was too young, you too but I knew how you felt since I couldn’t listen to rock in my house either as the 1940s Andrews Sisters/Perry Como/Frank Sinatra/Peggy Lee cabal were front and center in our living room and I was reduced to listening on my transistor radio, way too young to appreciate such work then and I only got the tail end, you know when Hollywood or the popular prints messed the whole be-bop jazz “beat” thing up and we got spoon-fed Maynard G. Krebs faux black and white television beatnik selling hair cream oil or something like that, and ten thousand guys hanging around the Village on Saturday night in full beret and whatever they could put together for a beard from the outreaches of Tenafly, New Jersey (sorry but Fort Lee was out) and another ten thousand gals, all in black from head to toe, maybe black underwear too so something to imagine at least from Norwalk, Connecticut milling around as well. Square, square cubed.



No, this will not be some screed going back further in the hard times of the Great Depression and the slogging through World War II when “it did not mean a thing, if you ain’t got that swing” when our parents, the parents of the kids who caught the end of be-bop “swang,” did dips and twirls to counts, dukes, earls, princes, marquises even leading big band splashes to wash that generation clean. Come on now that was our parents and I wasn’t even born so no way I can “screed” about that. And, no, no, big time no, this will not be about some solitary figure in some dank, dusty, smoke-filled café, the booze flowing, the dope in the back alleys inflaming the night while some guy, probably a sexy sax player, blows some eternal high white note out against some bay, maybe Frisco Bay, and I was hooked, hooked for life on the be-bop jazz scene.

No, it never even came close to starting out like that, never even dreamed such scenes. Unlike rock and roll, the classic kind that was produced in our 1950s growing up time and which we have had a life-long devotion to or folk music which I came of age, political and social age to, later in the early 1960s, jazz was a late, a very late acquisition to my understanding of the American songbook. Oh sure I would hear a phrase, a few bing, bang, bong notes blowing out the window, out the door, sitting in some bar over drinks with some hot date, maybe hear it as backdrop in some Harvard Square bookstore when I went looking for books (and, once somebody hipped me to the scene, looking for bright young women who also were in the bookstore looking for books, and bright young men were looking for them but that scene is best left for another time), or at some party when the host tired of playing old-time folk music had decided to kick out the jams and let the jazz boys wreak their havoc. But jazz was, and to a great extent still is, a side bar of my musical tastes.          

About a decade ago, a little more, I got seriously into jazz for a while. The reason: the centennial of the birth of Duke Ellington being celebrated when I was listening to some radio show which was commemorating that fact and I heard a few faint bars which required me to both turn up the volume and to listen to the rest of the one hour tribute. The show played a lot of Duke’s stuff from the early 1940s when he had Ben Webster, Harry Carney, and Johnny Hodges on board. The stuff blew me away and as is my wont when I get my enthusiasms up, when something blows me away, I grabbed everything by the Duke and his various groupings and marveled at how very good his work was, how his tonal poems reached deep, deep down and caught something in me that responded in kind. Especially when those sexy saxs, when Johnny or Cootie blew me away if they let it all hang out.

Funny though I thought at the time that I hadn’t picked up on this sound before, this reaching for the soul, for the essence of the matter, since there are very definitely elements of the blues in Brother Duke’s work. And I have been nothing but a stone blown blues freak since the early 1960s when I first heard Howlin’ Wolf hold forth practically eating that harmonica of his on Little Red Rooster and Smokestack Lightnin’. Moreover I had always been a Billie Holiday fan although I never drew the connection to the jazz in the background since it usually was muted to let her rip with that throaty sultry voice, the voice that chased the blues, my blues, away.

So, yes, count me among the guys who are searching for the guys who are searching for the great big cloud puff high white note, guys who have been searching for a long time as the notes waft out into the deep blue sea night. Check this out. Blowing that high white note out into the surly choppy Japan deep blue seas foaming and slashing out into the bay the one time I was sitting in fog-bound Frisco town, sitting around a North Beach bar, the High Hat maybe, back when Jimmy La Croix ran the place and a guy with a story, or a guy he knew could run a tab, for a while, and then settle up or let the hammer fall and you would wind up cadging swigs from flea-bitten raggedy- assed winos and sterno bums.

On Monday nights, a slow night in every venue you can name except maybe whorehouses and even then the business would  fall off only a little since guys had to see their wives or girlfriends or both sometime, Jimmy would hold what is now called an “open mic” but then, I forget, maybe talent search something like that but the same thing. The “Hat” as everybody called it was known far and wide by ex hep-cats, aging beats, and faded flower child ex-hippies who had not yet got back to the “real” world once those trends petered out but were still looking, as I was, looking for something and got a little solace from the bottle and a dark place to nurse the damn thing where you could be social or just hang out was the place around North Beach where young talent took to the boards. Played, played for the “basket” just like the folkies used to do back in the 1960s when that genre had its heyday, and probably get a few dollars from the mostly regular heavy drinker crowd that populate any gin mill on Monday, whether they have seen their loved ones or not.


Jimmy would have Max Jenny on drums and Milt Bogan on that big old bass that took up half the stage, if you remember those guys when West Coast jazz was big, to back-up the talent so this was serious stuff, at least Jimmy played it that way.
 
Most of the stuff early on that night was so-so some riffs stolen from more famous guys like Miles Davis, Dizzie, Coltrane, the cool ass jazz from the fifties that young bud talent imitates starting out, maybe gets stuck on those covers and wind up, addled by some sister habit, down by the trolley trains on Market Street hustling dollars from weary tourists waiting to get up the damn hill. So nothing that would keep a steady drinker, me, from steady drinking in those days when I lifted low-shelf whiskeys with abandon. Maybe half a dozen other guys spread out around bar to prove they were there strictly for the drinking and chain-smoking unfiltered cigarettes to fill up Jimmy’s ashtrays and give Red the bartender something to do between pouring shots (otherwise the guys hungry for women company would be bunched near the dance floor but they must have had it bad since Monday night the serious honeys were not at the “Hat” but home getting rested up for the long week ahead of fending guys off).
 
Then I turned around toward the stage, turned around for no particular reason, certainly not to pay attention to the talent, when this young guy, young black guy, barely out of his teens, maybe sixteen for all I know and snuck out of the house to play, Jimmy wasn’t taking ID cards in those days and if the kid wasn’t drinking then what did it matter, to get play to reach the stars if that is what he wanted, slim a reed, dressed kind of haphazardly with a shiny suit that he probably wore to church with grandmother, string tie, clean shirt, couldn’t see his feet so can’t comment on that, maybe a little from hunger, or had the hunger eating him up. Kind of an unusual sight for ‘90s Frisco outside of the missions. But figure this, figure his eyes, eyes that I know about from my own bouts with sister, with the just forming sad sack yellow eyes of high king hell dope-dom and it all fit.

The kid was ready though to blow a big sexy tenor sax, a sax as big as he was, certainly fatter, blew the hell out of one note after another once he got his bearings, then paused, paused to suck up the universe of the smoke filled air in the place (a whiff of ganja from the back somewhere from some guy Jimmy must have known since usually dope in the place was a no-no), and went over to the river Jordan for a minute, rested, came back with a big blow that would get at least to Hawaii, rested again, maybe just a little uncertain where to go like kids always are, copy some somebody and let it go at that for the Monday crowd or blast away, but even I sensed that he had something going, so blew up a big cloud puff riff alternating with pauses hard to do, went at it again this time to the corner of paradise.


Stopped then, I thought he was done, he looked to hell like he was done, done in eyes almost closed, and then onward, a big beautiful dah, dee, dah, dee, dah, dee, blow, a “max daddy” blow then even an old chattering wino in a booth stopped to wonder at, and that big high white note went ripping down Bay Street, I swear I could see it, on into the fog-bound bay and on its way, not stopping until Edo, hell maybe back to Mother Africa where it all started.  He had it, that it means only “it” and if he never blew again he had that “it” moment. He left out the back door and I never saw him at the “Hat” again so maybe he was down on Mission or maybe he went somewhere, got some steady work. All I know was that I was there when a guy blew that high white note, yeah, that high white note. So yeah count me too among Duke’s boys, down at Duke’s place where he eternally searched for that elusive high white note.

See I didn’t take too long, right.             
  

 

*The Fire Next Time- Bluegrass Variety- Carolina Chocolate Drops

Click On Title To Link To YouTube's Film Clip Of Carolina Chocolate Drop Doing "Cornbread And Butterbeans"

CD Review

Dona Got A Ramblin’ Mind, Carolina Chocolate Drops (Dom Flemons, Rhiannon Giddens, Justin Robinson and the spirit of fiddler Joe Thompson), MusicMaker, 2006.




Recently I posed a question in this space about who would continue the blues tradition today, now that most, if not all, of the famous old blues singers are dead or retired. One answer that I came up with was the talented Keb’ Mo’. There are others I am sure. I have also posed that same question here in regard to the folk music movement that now is seeing more than its fair share of old time performers pass from the scene, most recently the likes of Odetta and Utah Phillips. One answer that I came up with was the talented Woody Guthrie devotee Alastair Moock. Again, there are others I am sure. Here I pose the same question in regard to another important form of American music, bluegrass (or more generally, mountain music). As previously, the role of succession begs an important question now that many of the best of this genre have also passed or retired. Who would, if anyone, continue that old tradition?

That is where the artists under review, Carolina Chocolate Drops, come into the picture. When I think about Carolina, in this case North Carolina, I think of the famous black women virtuoso blues guitarists, Elizabeth Cotton and Etta Baker, whom I have previously reviewed in this space. More generally though I think of Ralph Stanley, Doc and Merle Watson and other white musicians from the mountains. I admit my error. That is not nearly inclusive enough. I have noted previously that in the 19th century the closeness of black and white variations of rural music were quite common and, in some cases, mutually shared. I then gave, as an example, the classic song “John Henry” done by both races in many variations. Thus, for these talented young black musicians to take up the struggle for continuity is a natural. And this CD proves the point. Enough said.

So what is good here? Obviously the classic “Sally Ann” that like “John Henry” has had a million incarnations. Hats off also to “Little Sadie” and “Black Annie”. However, if you only have time to listen to one give a listen to the title track “Dona Got A Ramblin’ Mind” then you will know why the old bluegrass tradition like the blues and folk ones are still in capable hands. Kudos, Drops.

*********************

Sally Ann

SALLY ANN [1]. AKA and see “Beano,” “Darneo,” "Dineo." Old‑Time, Breakdown. USA; West Virginia, Virginia, North Carolina. D Major. Standard tuning. AABB. One version of the tune was recorded for the Library of Congress by musicologist/folklorist Vance Randolph from Ozark Mountain fiddlers in the early 1940's. See also related tunes "Big Sweet Taters in Sandy Land," "Great Big Tater(s) in Sandy Land/Lot," "Sandy Land," "Sail Away Ladies" (Kentucky/Tennessee), "Wish(ed) I Had My Time Again" (Ky.). One version of the tune goes by the name "Dineo" in the Franklin/Floyd County area of southwestern Virginia, and it was recorded as “Darneo” by the Blue Ridge Highballers (Yazoo CD 2046). Among the many early recordings of the tune was a version by the Ashe County, North Carolina, string band Frank Blevins and His Tar Hell Rattlers, a name made up on the spot at the 1927 Columbia recording session in Atlanta for 16 year old fiddler Frank Blevins, his older brother and guitarist Ed Blevins and banjo player Fred Miller. The band’s playing was inspired by a few shots of corn liquor from a convenient jug. The Hill Billies, a Galax, Va., area band, recorded an influential version in 1925 (re-released on Document DOCD-8039). Fiddler Joe Birchfield (1911-2001) of Roan Mountain, Tennessee, played a version of “Sally Ann” in the key of C.

***

Cecil Sharp noted the following set of words from Mrs. Dellie Hughes of Crane River, Burnsville, North Carolina, in 1918:

***

O where are you going Sally Anne (x3)

I’m going to the wedding, Sally Anne.

***

O shake that little foot, Sally Anne (x3)

You’re a pretty good dancer, Sally Anne.

***

These are from another traditional source (from Mudcat):

***

Ever see a muskrat, Sally Ann,

Draggin' his thick tail through the sand,

Pickin' a banjo, kickin' up sand?

I'm gonna marry you, Sally Ann.

***

Chorus:

I'm gonna marry you, Sal gal,

I'm gonna marry you, Sally Ann.

I'm gonna marry you, Sal gal,

I'm gonna marry you, Sally Ann.

***

Make my livin' in sandy land,

Make my livin' in sandy land,

Make my livin' in sandy land,

Raise them taters, Sally Ann.

***

So, y'ever see a muskrat, Sally Ann,

Draggin' his thick tail through the sand,

Pickin' a banjo, kickin' up sand?

I'm gonna marry you, Sally Ann.

***

Source for notated version: John Ashby (Virginia) [Brody, Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 244. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 209. County 405, "The Hillbillies." County 727, John Ashby‑ "Old Virginia Fiddling." Document 8039, “The Hill Billies/Al Hopkins and His Buckle Busters: Compoete Recorded Works in Chronological Order, vol. 1” (reissue). Folkways FA2434, Norman Edmonds and the Old Timers ‑ "The 37th Old‑Time Fiddlers' Convention at Union Grove, North Carolina" (1961). Library of Congress (2741-B-1), 1939, J.W. 'Peg' Thatcher (Franklin County, Virginia). Musical Traditions MTCD321-2, Pug Allen (et al.) – “Far on the Mountain: vol’s. 1 & 2” (re-release, 2002). OKeh 40336 (78 RPM), The Hillbillies (1925). Old Hat Enterprises CD, “Music from the Lost Provinces” (1997). Revonah RS‑932, The West Orrtanna String Band ‑ "An Orrtanna Home Companion" (1978. Learned from Henry Reed via the Hollow Rock String Band). Rounder 0058, Clell Caudill‑ "Old Originals, vol. II" (1978). Rounder CD0262, Mike Seegar - "Fresh Old-Time String Band Music" (1988. Appears as "Pork Fat Makes My Chicken Tan," an unusual variation by the Horseflies and the Agents of Terra, Ithaca, N.Y., string bands in which the fiddle is tuned EDad). Yodel-Ay-Hee 020, Rafe Stefanini & Bob Herring - "Old Paint."