Saturday, December 15, 2018

Once Again- When The Capitalist World Was Young-With Dutch And Flemish Paintings In Mind

Once Again- When The Capitalist World Was Young-With Dutch And Flemish Paintings In Mind

By Brad Fox, Jr.





They say that Allan Jackson, a guy who grew up in North Adamsville south of Boston and a guy who as the neighborhood guys he used to hang out with used to say was “from hunger”  which seems self-explanatory, was kind of weird about stuff like politics and art. Stuff that seemed weird to me anyway when it got explained to me by my father, same name as me and hence junior, one night when he decided that I needed one, a drink or two, and, two, to be straightened out about Allan. Straightened out meaning that he would do his royal highness imperative thing with me which he has done with me since I was a kid when he thought I had something, sometimes anything wrong.       

Dad’s authority for the straightening out was that he was one of the guys who knew Allan in those “from hunger” days back in the 1960s when the whole neighborhood, including the Fox family, was wedded to that same condition. He felt since he had already straightened me out ad infinitum on the Fox family “from hunger” story when I was about eight he could skip that and run Allan’s story. I have to tell you though that Bradley Fox, Senior pulled himself up from under by the bootstraps and went on to run a couple of small high tech specialty plants which were contracted to Raytheon to make materials for their various very lucrative defense contracts and while he sold off those businesses when he retired Raytheon is still working off the public teat with those lucrative, very lucrative defense contracts. I also have to tell you that except for a couple of months out in San Francisco in 1967 when the Summer of Love for his generation was in full bloom at a time when his whole crowd was guilt-tripped into going out West by a mad man guy they hung around with whom Dad always called Scribe he went straight-arrow from high school to college (two years), marriage, kids, a decent and “not from hunger” life passed on to his kids and then that fairly recent retirement.

That combination strong work ethic and straight arrow family man would characterize most of his hang-out youthful crowd with the big exception of Scribe. And Allan who followed him for a while anyway before Scribe got too weird, got catch up with a cocaine addiction and fell down, was helped falling down by two straight bullets in Mexico back in the 1970 in circumstances Dad would not talk about, won’t talk about even now since he says it hurts him too much to think about Scribe’s fate, a fate that except for a few happy turns might have befallen him. So the “Allan following Scribe” part consisted of essentially two things-a visceral hatred of current day capitalism partially derived through an old-fashioned now somewhat obsolete except for academics Marxism, you know, greedy capitalist (my father to a certain extent although he was not, is not,  greedy) versus downtrodden workers AND a love of painting from the early days of capitalism-when it was beginning to come full bloom in places like London, Amsterdam and Antwerp-painters like Rembrandt, Hals, Ruebens.    

Dad said it was hard to say when Scribe and therefore Allan got into radical politics since no way in high school when they all formed lasting bonds did those guys have such ideas. They would have been run out of town, would emphatically not have been hanging around Harry’s Variety Store with Dad and the other guys spouting “commie” rag stuff in those Cold War beat the Russians to a pulp days. What they all cared about, what they all talked about was cars, not having cars the fate of most of them during high school, girls, and either not having them of how to get into their pants, Dad’s expression not mine, booze, and how to get somebody old enough to “buy” for them, and endlessly rock and roll music, and how to use that hot rock and roll to get a girl into a car, get her softened up with booze and in the mood to do what he called “do the do” which I think is pretty self-explanatory as well. So maybe girls was all they really cared about in the end and the other stuff was just talk to talk. One way or another Scribe and his ardent follower, his “girl” some of the guys would say just to do a little “fag” baiting long before even guys like Dad got hip that being gay was okay, that they were not the devils incarnate, were as hyped to the chasing girls scene as all the others. 

Dad figured that what probably happened to turn them around was their getting drafted and sent to Vietnam (neither events at the same time but close together) and when they returned they were very different in ways Dad couldn’t explain but different mainly because neither man wanted to talk about the stuff they saw, did, or saw others do in what they would always call “Nam. So they started hanging around with college guys and gals, maybe others too, all young and bright-eyed over in Cambridge the other side of Boston. Started going to things called study groups and such. The long and short of it was before long they were longed-haired, bearded hippie-looking guys just like a million other guys around Boston at the time Dad said. Getting arrested for this and that, stuff called civil disobedience not robberies or mayhem or anything like it. Kept talking about class struggle, kicking the bosses’ asses, decaying capitalism, imperialism all the stuff you read about in a Government class and then let drop like a lead balloon after an exam. That lasted like I said until Scribe fell down and Allan went back to school on the G.I. Bill.    

The craving for Dutch and Flemish painting Dad said was easier to explain, at least he thought so. It seemed like this Allan was a holy goof, a wacko to me in our old neighborhood terms out in the leafy suburbs. Dad said, and this is the way Allan explained it to him so take it for what its worth since you know I think it is the uttering of a holy goof. According to this Marxist schematic even though now capitalism (now now or fifty years ago now it doesn’t matter since it is still around) has turned in on itself, has lost its energy, has become a brake on serious human progress that was not always the case. In the early days when it was giving feudalism the boot it was what they called “progressive,” meaning it was better than feudalism and so did things then that could be supported in historical terms by latter day radicals. Okay, Allan, whatever you say.

Here’s where I think it really gets weird, art, all the cultural expressions, get reflected in the emerging new system of organizing society so when Rembrandt say painted those prosperous dour-looking merchants, town burghers, and shop owners (and their wives, also dour, see above. usually in separate portraits showing that had enough real money to pay for two expensive paintings or else couldn’t stand being in the same room together for the long sittings) he was reflecting the bright light times of this new system that would wind up dominating the world. According to Dad Allan and another guy went, I think he said, to the Museum of Fine Arts in Boston Allan where he flipped out over these odd-ball portrait or domestic scene paintings in the 16th and 17th century Dutch-Flemish section. Said, and Dad quoted this, that was when capitalism was young and fresh and you could feel it in almost every painting. Also said while the stuff wouldn’t pass art muster today it was like catnip back then. Like I said a holy goof. And if you don’t believe me go, if you are near a major museum which would have such art, and check it out for yourself because young or old, Rembrandt or not, this stuff is old hat as far as I am concerned.      


Jean Ritchie - The Little Sparrow-The First Lady Of The Mountains-The First Lady Of The Hills And Hollows Wind-Swept Saturday Night Red Barn Dance-So Long, Jean Ritchie-A Belated RIP Zack James Earlier in the year (2018) I did an extended series on the role that my oldest brother, Alex, straight Alex not Alexander as you might expect, played on my early musical development growing up in the 1970s. He, as many of the older writers who either started this publication back in the mid-1970s or were grafted onto the staff by former site manager/editor Allan Jackson have done, cut his teeth on, or as he put it recently when commenting on the series, he was “present at the creation” of rock and roll, now called the classic age, the 1950s and early 1960s. The series was originally supposed to deal solely with that influence channeled through him. The was before a feeling of late that other unarticulated influences based on what Alex taught me had some say in the matter. When we were discussing that feeling one night, along with a general discussion about the various threads which contributed to the genre, Alex pulled me up short when he mentioned how “our father’s music, mountain music, hillbilly music,” had played a role in the development of rock and roll. Had also contributed to the emergence of the folk scene in the early 1960s which Alex had also taken a small part in through his best friend, Peter Paul Markin, who was crazy for the stuff and was always sneaking over to Harvard Square, sometimes with Alex in tow, on weekend nights. According to Alex, again via Markin, people, young people, some of them anyway, were looking for authentic music, roots music, traditional music. In this case music that came over from the British Isles maybe Europe and planted itself down in the hills and hollows of Appalachia especially. There was a convergence of “academic” interest by certain college types along with a desire to learn some new music by poring through the music down in the hills and hollows. Alex’s remarks, his placing my unarticulated feelings in a context connected to our father got me permission from the site manager, currently Greg Green, to extend that rock and roll series to see what fit in and what didn’t from mountain music. My scurrying around looking for material got me looking straight at the music of Jean Ritchie far from rock and roll but close, very close to our father’s roots music. Something in her voice, in her lyrics, in her mournful playing of the dulcimer “spoke” to me, connected me with my father and where he had come from not matter that we had been very distance from each other long before he passed away. I had heard her music before when I went through my own period of interest in folk music in the early 1980s at a time when I had had what Alex has called my “outlaw country moment” when guys like Willie Nelson and Townes Van Zandt and gals like Jessie Logan and Emmy Lou Harris got me interested in that genre. Along the way I explored a few other sub-groups like Tex-Mex, Western Swing with Bob Wills and Milton Brown and bluegrass with the likes of Earl Monroe and Kitty Diamond. Songs from the mountains too. So yes as Alex intuited I, we, had via some strange transplanting of DNA had turned out to be our father’s sons, had the hills and hollows, the Saturday red barn dance complete with fiddles and mandos, maybe a sweet dulcimer, hidden in some recesses of our brains ready to come out, come out too late for us to thank him, but come out nevertheless. Which finally brings us back to why I am writing this secular elegy to Jean Ritchie. Somehow, despite paying close attention to the passing of various authors, writers, film people and singers and song-writers in this space dedicated ‘keeping the torch burning” the passing of Jean Ritchie got short shrift at the time. I make slight amends here.




The First Lady Of The Mountains-The First Lady Of The Hills And Hollows Wind-Swept Saturday Night Red Barn Dance-So Long, Jean Ritchie-A Belated RIP


Zack James


Earlier in bthe year (2018) I did an extended series on the role that my oldest brother, Alex, straight Alex not Alexander as you might expect, played on my early
musical development growing up in the 1970s. He, as many of the older writers who either started this publication back in the mid-1970s or were grafted onto the staff by former site manager/editor Allan Jackson have done, cut his teeth
on, or as he put it recently when commenting on the series, he was “present at the creation” of rock and roll, now called the classic age, the 1950s and early 1960s. The series was originally supposed to deal solely with that influence
channeled through him. The was before a feeling of late that other unarticulated influences based on what Alex taught me had some say in the matter. When we were discussing that feeling one night, along with a general discussion about the various threads which contributed to the genre, Alex
pulled me up short when he mentioned how “our father’s music, mountain music, hillbilly music,” had played a role in the development of rock and roll. Had also contributed to the emergence of the folk scene in the early 1960s which
Alex had also taken a small part in through his best friend, Peter Paul Markin, who was crazy for the stuff and was always sneaking over to Harvard Square, sometimes
with Alex in tow, on weekend nights. 


According to Alex, again via Markin, people, young people, some of them anyway, were looking for authentic music, roots music, traditional music. In this case music that
came over from the British Isles maybe Europe and planted itself down in the hills and hollows of Appalachia especially. There was a convergence of  “academic” interest by certain college types along with a desire to learn some new music by poring through the music down in the hills and hollows. Alex’s remarks, his placing my unarticulated feelings in a context connected to our father got me permission from the site manager, currently Greg Green, to extend that
rock and roll series to see what fit in and what didn’t from mountain music. My scurrying around looking for material got me looking straight at the music of Jean Ritchie far from rock and roll but close, very close to our father’s roots
music.


Something in her voice, in her lyrics, in her mournful playing of the dulcimer “spoke” to me, connected me with my father and where he had come from not matter that we
had been very distance from each other long before he passed away. I had heard her music before when I went through my own period of interest in folk music in
the early 1980s at a time when I had had what Alex has called my “outlaw country moment” when guys like Willie Nelson and Townes Van Zandt and gals like Jessie Logan and Emmy Lou Harris got me interested in that genre. Along the way I explored a few other sub-groups like Tex-Mex, Western Swing with Bob Wills and Milton Brown and bluegrass with the likes of Earl Monroe and Kitty Diamond. Songs from the mountains too.

So yes as Alex intuited I, we, had via some strange transplanting of DNA had turned out to be our father’s sons, had the hills and hollows, the Saturday red barn dance complete with fiddles and mandos, maybe a sweet dulcimer,  hidden in some recesses of our brains ready to come out, come out too late for us to thank him, but come out nevertheless. Which finally brings us back to why I am writing this secular elegy to Jean Ritchie. Somehow, despite paying close attention to the passing of various authors, writers, film people and singers and song-writers in this space dedicated ‘keeping the torch burning” the passing of Jean Ritchie got short shrift at the time. I make slight amends here.








From The Archives Of “American Left History”-An Analysis And A Summing Up After His First Year By Site Manager Greg Green


From The Archives Of “American Left History”-An Analysis And A Summing Up After His First Year By Site Manager Greg Green

November 14, 2018 marked the first anniversary of my officially becoming site manager at this publication and in acknowledgement of that tight touch first year I started going back to the archives here from the time this publication went to totally on-line existence due to financial considerations in 2006. (Previously from its inception in 1974 it had been hard copy for many years and then in the early 2000s was both hard copy and on-line before turning solely to on-line publication.) This first year has been hard starting with the residue of the “water-cooler fist fight” started by some of the younger writers who balked at the incessant coverage of the 1960s, highlighted in 2017 by the 50th anniversary commemorations of the Summer of Love, 1967 ordered by previous site manager Allan Jackson. 

They had not even been born, had had to consult in many cases parents and the older writers here when Allan assigned them say a review of the Jefferson Airplane rock band which dominated the San Francisco scene at the height of the 1960s. That balking led to a decisive vote of “no confidence” requested by the “youth cabal” in the Jackson regime and replacement by me. You can read all about the various “takes” on the situation in these very archives from the fall of 2017 on if you can stand it. If you want to know if Allan was “purged,” “sent into exile,” variously ran a whorehouse in San Francisco with old flame Madame LaRue or shacked up with a drag queen named Miss Judy Garland or sold out to the Mormons to get a press agent job with the Mitt Romney for Senate campaign after he left here it is all there. I, having been brought in by Allan from American Film Gazette to run the day to day operations as he concentrated on “the big picture” stayed on the sidelines, didn’t have a vote in any case since I was only on “probation.”        

A lot of the rocky road I faced was of my own making early on since to make my mark, and to look toward the future I came up with what even I now see as a silly idea of trying to reach a younger demographic (than the 1960s devotees who have sustained this publication since its founding). I went on a crash program of having writers, young and old, do reviews of Marvel/DC cinematic comic book characters, graphic novels, hip-hop, techno music and such. The blow-back came fast and furious by young and old writers alike and so the Editorial Board that had been put in place in the wake of Allan’s departure called a halt to that direction. A lot of the reasons why I am presenting the archival material along with this piece is both to see where we can go from here that makes sense to the Ed Board and through that body the cohort of writers who grace this publication and which deals with the reality of a fading demographic as the “Generation of ’68” passes on. Additionally, like every publication hard copy or on-line, we receive much material we can’t or won’t use although that too falls into the archives so here is a chance to give that material a “second life.”    
**********
When one, me, glanced through the archives I was struck almost immediately that the ghost of Peter Paul Markin hovers over this publication and won’t give up, at least it appears until the older writers who knew him, who caught the fresh breeze he had early on in 1960s predicted was on its way and acted with him on it pass on. At least one, Sam Lowell, who had known Markin from elementary school days  (they always call him the Scribe among themselves , a corner boy nickname, moniker they gave him for always writing something down on the tattered notepad he carried in his out of fashion plaid shirts along with some wizened pencil but I will stick with Markin to avoid confusion ) has been working his ass off since the founding to link Markin to the purpose of this publication-the preservation of the memories of the political, social, economic and cultural movements that animated their times, that “Generation of’ 68” that caught Allan Jackson short when he tried to single-handedly revive the times out of some serious hubris, earlier and later movements which linked into that time.

A lot of “water cooler” talk, first heard by me from Laura Perkins, Sam’s long-time companion and a recent and welcome addition to the writers’ stable here, was that the whole idea of a then hard copy publication had been hatched in one last desperate effort to save Markin’s sagging life by letting him write reviews, music, film, books, cultural events which they would “piggyback” onto. Stuff they all were in varying degrees good at. It was not to be, as looking at a small memorial book in Markin’s honor put together by younger writer Zack James in the summer of 2017 at the urging of his oldest brother Alex, another close Markin friend, after he had come back from viewing a Summer of Love, 1967 exhibition at the de Young Museum out in San Francisco graphically illustrated. There, almost to a man, and it was a man’s recollections memoir, Markin’s corner boys from the growing up Acre section of North Adamsville and a few others like Josh Breslin met along the way, comment on Markin’s deterioration, his increasing addition to cocaine when that became the drug of the month among the “hip” in the mid-1970s. Sam commented that Markin, and to a certain extent the other Acre corner boys as well including himself, never got over their military experiences in Vietnam and maybe a bigger push his from hunger “wanting” habits from growing up dirt poor down in the mud of society. I won’t go into the details, such as they are since everybody who has tried was warned off so the details are to say the least sketchy, of Markin’s end except he now is down in some potters’ field plot in Sonora, Mexico after having been murdered in some dirty dusty back road over what is still presumed to have been a busted drug deal Markin was trying to put together to get on “easy street” once he saw what was good about the 1960s fading before his very eyes.         

I have not gone through the hard copy archives and I am not sure I will get a chance to since they are located in New York City and I am not sure when I will be able to spent at least a week looking through them, dusting off old year volumes and other materials so I will let it rip in no particular order but what comes to mind about what has been written, political clearing house advertised, and commemorated in this space as I have ventured to gather what the heck has gone on here for the past decade plus of the on-line work. The overarching comment though is that patchwork quilt or not it has stayed pretty close to what it had in the masthead stated it intended to do-without much, or too much bloodshed.    

You can tell, number-wise and number of pages that 2006 was a year when the financial crunch which necessitated the complete switch-over to on-line publication really was a wrenching process. The pieces are too-heavily weighted toward book, film, music reviews and an overlay of political commentary when Frank Jackman had to take a part-time job working at National Commentary. I can disclose here that many of the writers, guys like Si Lannon, Seth Garth, Fritz Taylor, even Josh Breslin were “moonlighting” when I ran things over at American Film Gazette which despite its’ name reviewed all kind of things including consumer products (not my decision but that was that). Or they were submitting the reviews they wrote here for free (no money in any case) and then submitting them over to me for cold hard cash. I was going to say they were double-dipping but that would imply they were being paid here for their work which generally was hit or miss. I did not know the financial situation here although I was glad to have the reviews whatever was happening here. Paid my cash and got my due.

I am not exactly sure when the shift toward lots of personal pieces about the 1960s and reviews of earlier books, films music connected with those times became a serious trend under the former head, Allan Jackson, but you can see by browsing the archives that 2006 is definite trend-setter. Not only that but once again by virtue of “water-cooler” gossip shifting slightly that way grabbed a spike in readership and more revenue. So Allan, who later, who in 2017 would be skewered for his 24/7/365 nostalgia blanket coverage, made a good decision then to move away from reviews of more contemporary cultural events. Interestingly he got into a “pissing” contest when he had Si Lannon, sorry Si if I am mistaken, do a series of 1960s folksingers who were “not Bob Dylan,” did not go on to what has become a never-ending concert tour schedule and career but moved elsewhere or kept their ambitions low when the so-called folk minute passed by and it did not look like they could survive on the thin gruel left. I heard that there was almost an insurrection with say Seth Garth wondering why his old sidekick folksinger/songwriter Erick Saint Jean was not highlighted (meaning what didn’t he get that assignment to explain why Erick went on to a successful art career rather than grind out the dimes and donuts coffeehouse circuit rapidly fading away in the acid rock night). Half these guys, according to Sam, hated folk music when, guess who, Markin is right, started going to Harvard Square on the low to get the hell out of his horrible homelife and really only accidently gravitated to the coffeehouse when guys and gals he would meet late at night at the Hayes-Bickford told him that was where the action was. Not the H-B itself though which was for winos and con men, maybe a hang-out for a while after the coffeehouses closed down and you still were trying to figure out what was what with some girl you wanted to take down to the Charles River to see what was really what.

From what I can gather Markin was a guy who was all in or forget it so once he had some dough, some dough when the guy caddied for some swanks at some country club to get dough to meet the cover charge, grab some coffee, grab a date’s bill and throw some money in the basket for the performer whose life depended on those proceeds then tried to get everybody in. Seth Garth to this day cannot stand the Dylan voice, cannot stand the silly lyrics about lost loves and doing bodily harm if some dish did not reciprocate your devotion and you dunked her in say the Ohio River. Be that as it may I noticed a definite spike in sales and ad revenue when that series ran since Allan must have highlighted every guy who could handle three chords and some basic melody-guys like Lemon Lewis and Ben Amos, guys who about three people have heard of. He had though as Sam loves to say a “hook” no question as even people who never heard the singers took interest in where they landed, if they landed. Maybe this says it better than anything else Allan decided to run the distaff side, okay, woman of folk playing off of the anointed queen, anointed at least in the tabloids, Joan Baez.       

It is hard to say what will drive the nuts and bolts of a publication but I think I can see something like a clear line when Allan decided to do “nostalgia” and let the writers he had at the time who were all, I think all, veterans of the 1960s or like beautiful Zack James were influenced by older brother Alex who was knee-down into that period which created some stability for the publication in the post-2006 period. That Bob Dylan-Joan Baez spike got the ball rolling even further back to the time of classic rock and roll and all that meant to the veteran writers who sucked up the air with their recollections and received plenty of attention (and a couple of awards) for their work. How much of it was to gather in their regrets about Markin and how much was natural going back to the music you grew up with which never really leaves you is hard to say but the spike in interest of the old Acre section of North Adamsville where most of the action takes place is interesting.


It must have been exciting, separate, hard-scrabble, cagey in those days when each guy, and it was all guys in those days, the girls, young women were kind of appendages, important appendages but appendages nevertheless reflecting not only that coming of age awkwardness but a kind of unwritten law established by Markin who was trying even then, even in high school to emulate the “beats” the guys who came up the line just before them and who were popular figures like Jack Kerouac and Allan Ginsberg even as the “beats” were in retreat. (Seth Garth told me that Markin never mentioned those guys when they were out in the corner boy night but he was reading their stuff, including pretty openly gay Ginsberg which would have closed the door if he had mentioned that to the boyos.) These guys from nowhere had a certain routine, a certain laundry- list of things they talked about, adventures they got into (including the always veiled mention of certain burglaries to get dough which was one way they did it). Rock and roll, music, music that spoke to that generation perhaps more than any earlier one and certainly more than in my own generation one generation removed from the classic days of the genre.

No question these guys lived and died for the music, hanging out not by chance at a pizza parlor where the owner had installed a jukebox with all the latest hits to draw the kids in-and he did. Taking the boys in because if boys were hanging around then girls, the ones with money, the ones who came in and played the machine would come by too. Nice move but also the source of many interesting stories about how the guys would con the girls to play music they, the guys wanted to hear. Conned them, the girls out of other stuff too if you believe half of what memories they have decided to share knowing from my own experiences in a very different environment that lying was a matter of honor on the question of sexual conquests. The funniest part is that for all his leadership, so-called, his intelligence about what was going on in school, with girls with, guys who had girlfriends, more importantly, girls with boyfriends, invaluable intelligence no question and would make any such person if he or she had existed in my crowd a leader, never really had dates with Acre or North Adamsville girls when he was a corner boy. He would find companionship in Harvard Square or some such place but not at home.         

As anybody with eyes can see, even with the temporary disaster of the “dumbing down” action I initiated and blew off when the deal went down this past year has been heavy with political material, some additional art material and a big push on commemorating 100th anniversary the last year of the horrendous World War I and the armistice which put everything on hold as it turned out. Since I agree that we are essentially in the middle of a cold civil war which may very likely turn hot before our eyes we will be amping up our political coverage anchored by award-winning Frank Jackman interspersed with additional art and poetry reviews to augment the films, music and book reviews the reader is already familiar with and will hopefully appreciate with our stable of younger writers taking the lead.      

Veterans For Peace Stands In Solidarity with Central American Asylum Seekers by Gerry Condon

Veterans For Peace Stands In Solidarity with Central American Asylum Seekers by Gerry Condon

Members of San Diego Veterans For Peace marched to the border with Tijuana, Mexico on Sunday, November 25, as part of a San Diego coalition expressing solidarity with and support for thousands of Central American asylum seekers.
VFP members were on both sides of the border and joined in with a march of asylum seekers on the Mexican side. So we had a good look at the crisis which was contrived by the Trump administration to make it look like there was indeed an "invasion" of "criminals" and "terrorists."
A perfectly peaceful march turned into chaos when the legal entry point to where the asylum seekers were headed was closed off by Mexican authorities, presumably at the request of Homeland Security. When some marchers then surged toward the border wall, Customs and Border Protection (CPB) officers wasted no time in firing multiple CS (tear gas) canisters across the border into Mexico, causing great chaos as mothers fled with their choking children. As if on cue, U.S. authorities then totally shut down the busiest border crossing in North America, an exercise they had been practicing during the week. Soon Marine helicopters were landing on the railroad tracks next to the border, and Marines, apparently armed, were dis-engorging along the border fence. At the same time, 300 Army soldiers with shields and clubs stood menacingly behind CPB officers.
In the meantime, rains and a shortage of food and shelter for the asylum seekers in Tijuana are turning an already difficult into a serious humanitarian crisis. As many as one-third of the 6,000 or so asylum seekers are suffering from respiratory and other illnesses. Mexico's federal government has provided no aid, and the mayor of Tijuana says that the city can provide little further assistance.
NGO's on both sides of the border are doing what they can to help, but so far their efforts are insufficient. The Unified U.S. Deported Veterans chapter of Veterans For Peace has also been helping asylum seekers who are camped out at the border, only about a half-block from their office. The Deported Veterans have experience with this, as they have helped previous caravans of asylum seekers as well. They are supplying food, water, blankets, and now seek to provide much needed tarps. San Diego VFP is helping out with this. Ultimately, they would like to provide backpacks filled with essential items.
Most needed are dollars, which can be used to purchase essential items in Mexico.
You can donate directly through a special link on the VFP website. Just indicate that your donation is for the asylum seekers.

Statement from a Yellow Vests group in France Payday men's network

Payday men's network<payday@paydaynet.org>
To   
As you know there has been widespread street protests all over France in the last few weeks. It started against an increase in the tax on petrol while the rich had had a tax cut. The protests have grown and broadened their demands, and many sectors including students, ambulance workers, campaigners against police murders and others have joined.
We share with you this impressive statement from the Yellow Vests in Commercy, a small town in France’s north east, which describes where the movement is at.
See also links to two earlier reports by Ben Martin of Payday men’s network.
  The French take to the barricades Morning Star, 28 November 2018
  Revolution in France – Update on Payday facebook page, 8 December 2018


Published in lundi matin website on 6 December 2018 and translated by us.

Call from the Yellow Vests of Commercy
to set up popular assemblies
"We will not be ruled. We will not be divided and bought off."
NO TO RIP OFF! LONG LIFE DIRECT DEMOCRACY!
NO NEED FOR REGIONAL 'REPRESENTATIVES'!
For nearly two weeks the movement of yellow vests has brought hundreds of thousands of people in the streets all over France, often for the first time. The price of fuel was the drop of diesel that set the plain on fire. The suffering, the enough-is-enough, and the injustice have never been so widespread. Now, all across the country, hundreds of local groups are organizing themselves in their own different ways.
Here in Commercy, in the Meuse, we have been operating from the beginning with daily popular assemblies, where each person participates equally. We organized to block entrances to the city and service stations, and filtering road blocks. In the process, we built a cabin in the central square. We meet there every day to organize ourselves, decide next actions, interact with people, and welcome those who join the movement. We also organize "solidarity soups" to live beautiful moments together and get to know each other. In equality.
But now the government, and some parts of the movement, propose to appoint representatives for each region! That is to say a few people who would become the only "interlocutors" to public authorities and summarize our diversity.
But we do not want "representatives" who would end up talking for us!
What's the point? At Commercy a punctual delegation met the sub-prefect, in big cities others met directly with the Prefect: they ALREADY have conveyed our anger and our demands. They ALREADY know that we are determined to finish off with this hated president, this detestable government, and the rotten system they embody!
And that's what scares the government! Because he knows that if they begin to give in on taxes and fuels, they will also have to back down on pensions, the unemployed, the status of civil servants, and all the rest! They also knows VERY WELL that they risk intensifying a GENERALIZED MOVEMENT AGAINST THE SYSTEM!
It is not to better understand our anger and our demands that the government wants "representatives": it is to supervise and bury us! As with the union leadership, they look for intermediaries, people with whom they could negotiate. On whom they can put pressure to appease the eruption. People that they can then buy off and press to divide the movement to bury it.
But that's without counting on the strength and intelligence of our movement. It's without counting that we are thinking, organizing, developing our actions that scare them so much and amplifying the movement!
And above all, there is a very important thing: everywhere the movement of the yellow vests demand in various forms, something that is well beyond the purchasing power! This thing is power to the people, by the people, for the people. It is a new system where "those who are nothing" as they say with contempt, regain power over all those who stuff themselves, over those who rule, and over the money powers. It's equality. It's justice. It's freedom. That's what we want! And it starts from the grassroots!
If we appoint "representatives" and "spokespersons", it will eventually make us passive. Worse: we will quickly reproduce the system and act from top down like the scoundrels who rule us. These so-called "representatives of the people" who are filling their pockets, who make laws that rot our lives and serve the interests of the ultra-rich!
Let’s not put our finger in the gear of representation and hijacking. This is not the time to hand over our voice to a handful of people, even if they seem honest. They must listen to all of us or to no one!
From Commercy, we therefore call for the creation throughout France of popular committees, which function in regular general assemblies. Places where speech is liberated, where one dares to express oneself, to train oneself, to help one another. If there must be delegates, it is at the level of each local yellow vests people's committee, closer to the voice of the people. With imperative, revocable, and rotating mandates. With transparency. With trust.
We also call for the hundreds of groups of yellow vests to have a cabin as in Commercy, or a "people's house" as in Saint-Nazaire, in short, a place of rallying and organization! And that they coordinate themselves, at the local and departmental level, in equality!
This is how we will win, because that, up there, they are not used to manage it! And it scares them a lot.
We will not let ourselves be ruled. We will not let ourselves be divided and bought off.
No to self-proclaimed representatives and spokespersons! Let's take back the power over our lives! Long live the yellow vests in their diversity!
LONG LIVE PEOPLE POWER, BY THE PEOPLE, FOR THE PEOPLE!
If you agree with the basics of this appeal where you are, in your local group of yellow vests, or other, contact us at giletsjaunescommercy@gmail.com and let’s coordinate ourselves on the basis of popular and egalitarian assemblies!


From The Archives -TONIGHT: The USA Involvement In Creating Violence In Central America Chrissi Jackson | The Truth Telling Project

Chrissi Jackson | The Truth Telling Project<thetruthtellingproject@gmail.com>
TONIGHT!
Tens of thousands of immigrants imprisoned and awaiting deportation. Military troops instead of humanitarian aid. The denial of asylum to thousands of people fleeing rampant violence in their homelands. Join us as we discuss how the United States participation in creating the violent atmosphere people are fleeing.

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https://zoom.us/meeting/register/dd87f6751982dd5c7510d14dfea9e911 

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The Truth Telling Team
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