Thursday, June 21, 2018

You Do Need A Pilot To Know Which Way The Plane Goes-And An Air Marshal To Boot -Liam Neeson’s “Non-Stop”-(2014)-A Film Review


You Do Need A Pilot To Know Which Way The Plane Goes-And An Air Marshal To Boot -Liam Neeson’s “Non-Stop”-(2014)-A Film Review



DVD Review

By Sandy Salmon


Non-Stop, starring Liam Neeson, Julianne Moore, 2014

This is the first film review I have done in a while since I have been more than happy to let the younger writers get their feet wet in the cutthroat dog eat dog world of contemporary film reviewing where everybody who has seen a film and has access to the Internet has become a film critic-at least in his or her own mind and maybe that of their companions. I laugh every time I think about what another old-time film critic Sam Lowell mentioned a while back about the old days when film reviewers if they didn’t just fob the review off on a younger protégé like I have done a few times of late with my own associate Alden Riley grabbed the copy that the fawning publicity departments at the studios put out to the press, dusted off the copy, cut the top off  and put their names there and submitted the damn thing. And nobody was the wiser. Sometimes when I see what the so-called democratic and universal Internet hath wrought I too long for those old days. *  


The reason I grabbed this film, Liam Neeson’s Non-Stop though is because it deals at least tangentially with the aftermath of 9/11 something which at the personal, social and historic level has changed the way we do the business of living in the world just like December 7, 1941 and November 22, 1963 were other such turning points which negated that fresher, newer world we thought we had going for us. Since I am not giving much away about the plot this story line involves the personal vendetta a guy had against the Federal Air Marshals program for not stopping the horrors of 9/11 a result which included the death of his father in the rumble of the World Trade Center. While this plot is fictious there is enough around in the odd-ball world of conspiracy theorists who have built up a cottage industry proclaiming the inevitable new generation of wild boy false flags that had attached to the earlier Pearl Harbor and Jack Kennedy assassination events. 

Of all the people you would not want to be guarding the security of an airplane on an international flight from New York to London one alcoholic, cigarette-smoking lost soul American Federal Air Marshal Bill Marks, the role well-regarded actor Liam Neeson plays, would be a prime candidate. Especially if trouble was brewing. Needless to say, the trouble comes almost the minute the plane was airborne (and before Bill has had his next drink on the quiet). Some techno-wizard had hacked his cellphone and presented Bill with this professional dilemma. Get, get any way possible, 150 million smackers, dollars not a bad number if you are going to essentially hijack a plane and face the death penalty if you fail or somebody will die every twenty minutes. Guess what-the bodies start falling down like clockwork. For a while Bill was befuddled, can’t figure out who or what is doing the dance of death. All he knew was that everybody was a suspect, everybody had to be checked.       
       
Naturally in a suspense film there have to be a number of false flags, false leads before the real perpetrator or perpetrators are rounded up and neutralized. Now Bill was old-school, an old beat-up, beat-down New York City cop before somebody gave him the lifeline of an air marshal job (despite his fear of flying-oh well) and so he roughed up everybody at 30,000 feet like he was back on the mean streets of the city. Said rough ups producing some deaths which in true false flag fashion are marked against Bill. See the “perp” had figured Bill out for a serious fall guy given his less than stellar profile and had set the poor bastard up to take the fall. To do actions which when the deal goes down will make him look like the guilty party. Bill even puts fellow passenger and eventual love interest Jen, played by Julianne Moore, on the grill. But not to worry Bill once the finger points his way. He gets religion and doubles down on the perps once they up the ante with the old bomb in the suitcase routine, a gag that has been around since about Icarus’s time but which Bill, the pilot, or rather co-pilot since the pilot fell down as part of the dastardly scheme, modern technology and what the hell old fashion grit foiled without too much trouble. Pretty good for a used-up cop fall guy who saved the day against a serious if misplaced grievance. I told you 9/11 made things a lot tenser, made the world less livable in a number of ways. Even in fictional films centered on the topic.

[* I mentioned above some of the pitfalls of  modern day citizen film reviewers and if you Google this film you will find a full array of reviews by those less interested in the suspense of the film than presenting very own theories about Bill in relationship to 9/11 including his having been in the pay variously of the Taliban, Osama bin Laden, the usual CIA deep state gag and the Bush Family Estate. Remember this is a fictional film please, but also remember that there are some very lonely heart folk out there sniffing cyber-ether or something.]   
   

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

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






Zack James’ comment June, 2017:

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

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

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

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


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





DVD REVIEW

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

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

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

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

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

BEER
from: Love is A Mad Dog From Hell


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

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

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

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

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

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


drunk and writing poems
at 3 a.m.

what counts now
is one more
tight pussy

before the light
tilts out

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

some people tell me that I'm
famous.

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

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

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

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

ANOTHER BED
from: Love is a Mad Dog from Hell


another bed
another women

more curtains
another bathroom
another kitchen

other eyes
other hair
other
feet and toes.

everybodys looking.
the eternal search.

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

after she leaves you get up and use her
bathroom,

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

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

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

colors, doors, phone numbers.

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

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

SHE SAID
from: War All the Time


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

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

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

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

you should always
dry your razor

sometimes
I think
you hate
my cat.

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

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

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

that's
dumb

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

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

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

let's go
to a
movie.

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

THE ALIENS
from The Last Night Of The Earth Poems


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

you may not believe
it
but such people do
exist.

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

and I am
here.

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


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

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

he just shoved me down
again.

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

then I went down and knocked on his
door.

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

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

I stood there and watched
him.

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

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


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

I had a bootle of port
left.

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

said, how about a drink,
Rebel?

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

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


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

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

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

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

"you really think so?"

"sure."

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

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

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


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

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

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

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

White face turns vaudeville upside down

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

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

Who speaks for the Scottsboro nine?

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

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

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

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

Anti-communist politics too

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

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

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

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

From Mensa to Clinton

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

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

Wednesday, June 20, 2018

The 50th Anniversary Of The Summer Of Love-Before The Gonzo Wave Receded- The Life and Work Of Hunter Thompson- A Second Look

The 50th Anniversary Of The Summer Of Love-Before The Gonzo Wave Receded- The Life and Work Of Hunter Thompson- A Second Look




Zack James’ comment June, 2017:
Sometimes you just have to follow the bouncing ball like in those old time sing along cartoons they used to have back in say the 1950s,the time I remember them from, on Saturday afternoon matinees at the old now long gone Stand Theater in my growing up town of North Adamsville. Follow me for a minute here I won’t be long. Earlier this spring my oldest brother, Alex, took attended a conference in San Francisco which he has done periodically for years. While there he noticed an advertisement on a bus for something called the Summer of Love Experience at the de Young Museum in Golden Gate Park. That ad immediately caught his attention he had been out there that year and had participated in those events at the urging of his friend Peter Paul Markin who was something of a holy goof (a Jack Kerouac term of art), a low rent prophet, and a street criminal all in one. When Alex got back to the East after having attended the exhibition he got in contact with me to help him, and the still standing corner boys who also had gone out West at Markin’s urging to put together a tribute booklet honoring Markin and the whole experience.
After completing that project, or maybe while completing it I kept on thinking about the late Hunter S. Thompson who at one time was the driving force behind gonzo journalism and had before his suicide about a decade ago been something of a muse to me. At first my thoughts were about how Thompson would have taken the exhibition at the de Young since a lot of what he wrote about in the 1960s and 1970s was where the various counter-cultural trends were, or were not, going. But then as the current national political situation in America in the Trump Age has turned to crap, to craziness and straight out weirdness I began to think about how Thompson would have handled the 24/7/365 craziness these days since he had been an unremitting searing critic of another President of the United States who also had low-life instincts, one Richard Milhous Nixon.
The intertwining of the two stands came to head recently over the fired FBI director James Comey hearings where he essentially said that the emperor had no clothes. So I have been inserting various Thompson-like comments in an occasional series I am running in various on-line publications-Even The President Of The United States Sometimes Must Have To Stand Naked-Tales From The White House Bunker. And will continue to overlap the two-Summer of Love and Age of Trump for as long as it seems relevant. So there you are caught up. Ifs not then I have included hopefully for the last time the latest cross-over Thompson idea.           
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Zack James comment, Summer of 2017                

Maybe it says something about the times we live in, or maybe in this instance happenstance or, hell maybe something in the water but certain things sort of dovetail every now and again. I initially started this commentary segment after having written a longest piece for my brother and his friends as part of a small tribute booklet they were putting together about my and their takes on the Summer of Love, 1967. That event that my brother, Alex, had been knee deep in had always interested me from afar since I was way too young to have appreciated what was happening in San Francisco in those Wild West days. What got him motivated to do the booklet had been an exhibit at the de Young Art Museum in Golden Gate Park where they were celebrating the 50th anniversary of the events of that summer with a look at the music, fashion, photography and exquisite poster art which was created then just as vivid advertising for concerts and “happenings” but which now is legitimate artful expression.
That project subsequently got me started thinking about the late Hunter Thompson, Doctor Gonzo, the driving force behind a new way of looking at and presenting journalism which was really much closer to the nub of what real reporting was about. Initially I was interested in some of Thompson’s reportage on what was what in San Francisco as he touched the elbows of those times having spent a fair amount of time working on his seminal book on the Hell’s Angels while all hell was breaking out in Frisco town. Delved into with all hands and legs the high points and the low, the ebb which he located somewhere between the Chicago Democratic Convention fiasco of the summer of 1968 and the hellish Rollins Stones Altamont concert of 1969.     
Here is what is important today though, about how the dots get connected out of seemingly random occurrences. Hunter Thompson also made his mark as a searing no holds barred mano y mano reporter of the rise and fall, of the worthy demise of one Richard Milhous Nixon at one time President of the United States and a common low-life criminal of ill-repute. Needless to say today, the summer of 2107, in the age of one Donald Trump, another President of the United States and common low-life criminal begs the obvious question of what the sorely missed Doctor Gonzo would have made of the whole process of the self-destruction of another American presidency, or a damn good run at self-destruction. So today and maybe occasionally in the future there will be some intertwining of commentary about events fifty years ago and today. Below to catch readers up to speed is the most recent “homage” to Hunter Thompson. And you too I hope will ask the pertinent question. Hunter where are you when we need, desperately need, you.       
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Zack James comment, Summer of 2017 

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

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


DVD REVIEW

Buy The Ticket, Take The Ride, Indeed

Buy The Ticket, Take The Ride: The Life And Times Of Doctor Hunter Thompson, Hunter Thompson and various commentators, 2007

Since Doctor Hunter S. Thompson’s death by suicide and the extravaganza of the funereal flight of his ashes at Woody Creek in 2005 there has been a veritable avalanche of documentaries, books and other forms of tribute by his friends, like Ralph Steadman and Johnny Depp, his associates, like Jann Wanner and David Brinkley, and others. Whatever other intention each tribute may have they all have in common a desire to influence that crucial “first draft of history” in order to assure Thompson’s place in the pantheon of 20th century American letters. There is no question that Thompson belongs there and furthermore no question that his work will be read even by future digitally-centered 'cyberspace' generations (who will, I am sure, get a kick out of that old mojo wire of his as we did in our time on discovering something like an old antique crank-up telephone). What is at question is the extent that each tribute, including this 2007 documentary, adds or detracts from that commemoration.

As I have mentioned elsewhere in this space on the subject of albums of musical tributes to legendary folk, rock and blues stars not all such efforts are create equally. Nor, in the case of Thompson, do such tributes all cover the same ground (although on such a narrow subject as the hey day of Hunter Thompson’s best work there is bound to be, and is, overlap). In the very recent past I have reviewed another Thompson documentary tribute- “Gonzo: The Life And Work Of Dr. Hunter S. Thompson”- that concentrated on his rising career as a hip 1960’s journalist and political commentator. The center of that piece was Thompson’s journalistic efforts in the period from the mid-1960’s, including the personally decisive 1968 Chicago Democratic Convention, to the rise of Jimmy Carter’s presidential candidacy in the mid-1970’s.

The current film tends to concentrate more on Thompson’s emergence as an icon at a later period and on the effect that two films about him- “Where The Buffalo Roam” and “Fear And Loathing In Las Vegas” contributed to that status. Moreover, unlike “Gonzo” that was filled with commentary by more political types, like former presidential candidates George McGovern and Gary Hart, or on the evolution of his journalism by the likes of his "Rolling Stone” boss Jann Wanner and the writer Tom Wolfe (of “Electric Kool-Aid Acid Test” fame) this work features more Hollywood film-types like Thompson friends Sean Penn, Johnny Depp and John Cusack. I, thus, give the edge to “Gonzo” as the more important and informative film because, in the final analysis Thompson’s legacy for future generations will be those many, many printed words that keep us going on many a hard night out on the edge.

Finally, I would make this comment that I have made in “Gonzo” and in reviews of some of Hunter’s books.

“Generally the most the trenchant social criticism, commentary and analysis complete with a prescriptive social program ripe for implementation has been done by thinkers and writers who work outside the realm of bourgeois society, notably socialists and other progressive thinkers. Bourgeois society rarely allows itself, in self defense, to be skewered by trenchant criticism from within. This is particularly true when it comes from a known dope fiend, gun freak and all-around lifestyle addict like the late, lamented Dr. Hunter S. Thompson. Nevertheless, although he was far from any thought of a socialist solution and would reject such a designation we could travel part of the way with him. We saw him as a kindred spirit. He was not one of us- but he was one of us. All honor to him for pushing the envelope of journalism in new directions and for his pinpricks at the hypocrisy of bourgeois society. Such men are dangerous.”

Hunter, I hope that you find the Brown Buffalo wherever you are. Damn, the 2008 campaign, despite the hoopla, was boring without your knife even if at the end it was not as sharp as in the old days. Watch this DVD. And then “buy the ticket, take the ride” and read his books.

In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Jeremy Hammond -Free All The Whistle-Blowers

In Honor Of Our Class-War Prisoners- Free All The Class-War Prisoners!-Jeremy Hammond -Free All The Whistle-Blowers  





 

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

 

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

Make June Class-War Prisoners Freedom Month 

Markin comment (reposted from 2010)


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

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

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

HAMMOND, JEREMY

Anarchist-computer hacker POLITICAL PRISONER

I Finally, Finally Fear For The American Republic-"Stop tearing children from their parents"

To  a 
Alfred —

Immigrant toddlers and children are being separated from their parents and sent to detention centers in an effort to deter more migration. This “zero tolerance” immigration policy is not working and more importantly it’s undeniably cruel. It has to stop.

As a lawyer, advocate and father who works to ensure protections and access to lawyers for unaccompanied immigrant children, I’ve heard stories of children taken from their parents with almost no time to say goodbye. That’s why I started this petition – will you add your name?

My organization, Kids In Need Of Defense, worked with a brother and sister who had made the dangerous journey from Central America with their mother, and were separated from her at the border. The kids cried telling us how they begged to stay with their mother; we later found out she had been quickly deported back to Central America.

There is no law that compels the separation of children from their parents, and the Department of Homeland Security can and should stop destroying families immediately.

Watching what these children go through – brutally, and unnecessarily inflicted on them by our government – is a kind of agony I’ve never experienced. We cannot sit by and watch it continue.

Sign our petition demanding that the administration immediately halt policies that embrace this cruel and unnecessary practice.

Thank you for taking action,

Cory Smith
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