Showing posts with label white trash. Show all posts
Showing posts with label white trash. Show all posts

Friday, February 19, 2016

From The Archives- Alabama, Goddam- The Late Harper Lee's "To Kill A Mockingbird"- A 50th Anniversary Encore-

Click on the headline to link to a "YouTube" film clip of a section of the movie based on Harper Lee's novel, "To Kill A Mockingbird", as background for this entry. May this literary gem be read and watched for another fifty years.





DVD REVIEW

To Kill a Mockingbird, Gregory Peck, black and white, 1962


This film is an excellent black and white adaptation of Harper Lee’s book of the same name. The acting, particularly by Gregory Peck (and a cameo by a young Robert Duval), brings out all the pathos, bathos and grit of small town Southern life in the 1930’s. The story itself is an unusual combination, narrated by Peck’s film daughter Scout (and presumably Lee herself), of a coming of age story that we are fairly familiar with and the question of race and sex in the Deep South (and not only there) with which we were (at the time of the film’s debut in 1962) only vaguely familiar. That dramatic tension, muted as it was by the cinematic and social conventions of the time, nevertheless made a strong statement about the underlying tensions of this society at a time when the Southern black civil rights struggle movement was coming into focus in the national consciousness.

The name Atticus Finch (Peck’s role) as the liberal (for that southern locale) lawyer committed to the rule of law had a certain currency in the 1960’s as a symbol for those southern whites who saw that Jim Crow had to go. Here Finch is the appointed lawyer for a black man accused of raping a white women of low origin- the classic ‘white trash’ depicted in many a film and novel. Finch earnestly, no, passionately, in his understated manner, attempts to defend this man, a brave act in itself under the circumstances.

Needless to say an all white jury of that black man’s ‘peers’ nevertheless convicts him out of hand. In the end the black man tries to escape and is killed in the process. In an earlier scenario Finch is pressed into guard duty at the jailhouse in order to head off a posse of ‘white trash’ elements who are bend on doing ‘justice’ their way- hanging him from a lynching tree. On a mere false accusation of a white woman this black man is doomed whichever way he turns. Sound familiar?

The other part of the story concerns the reactions by Finch’s motherless son and tomboyish daughter to the realities of social life, Southern style. That part is in some ways, particularly when the children watch the trial from the “Negro” balcony section of the courtroom, the least successful of the film. What is entirely believable and gives some relief from the travesty that is unfolding are the pranks, pitfalls and antics of the kids. The tensions between brother and sister, the protective role of the older brother, the attempt by the sister to assert her own identity, the sense of adventure and mystery of what lies beyond the immediate household that is the hallmark of youth all get a work out here. But in the end it is the quiet dignity of solid old Atticus and the bewildered dignity of a doomed black man that hold this whole thing together. Bravo Peck. Kudos to Harper Lee.

Saturday, April 10, 2010

***From The Black Liberation Struggle Archives-The Murder Of Emmett Till- Once Again, "Mississippi Goddam", No, "Double Goddam"- A Film Review

Click on the title to link to a "Wikipedia" entry for Emmett Till, whose murder made him a young, catalytic figure in the black civil rights movement of the 1950s. As one of the interviewees in this documentary noted with Till's brutal murder, not only were black men under the gun, North and South, but black children as well.

DVD REVIEW

The Untold Story Of Emmett Louis Till, Titlemark Productions, 2005



Earlier this year, in February, as part of honoring various figures for Black History Month, I reviewed a 2003 PBS Productions film documentary on the case of young civil rights figure, Emmett Till. The comments that I made there can, for the most part, stand here as well in this 2005 shorter documentary that reflected the stir in the black and progressive community over the reopening of Till case by the United States Attorney-General’s office. It also reflects the passing of Emmett’s mother in 2003, without having seen justice done for her son after a life time of effort. As I point out at the bottom of this post, real justice for Emmett awaits a socialist society, a society fit for what would have been his children, grandchildren and great-grandchildren. For now though, as I point out in the headline, in the case of Emmett Till- “Mississippi Goddam, Double Goddam”.

******

“This film is a long overdue appreciation of the life the martyred civil rights figure, fourteen year old Chicago resident Emmett Till, down in deeply segregated Mississippi in 1955 at the hands of at least two white men while visiting relatives. Emmett’s crime- “eyeballing”, or whistling, or some such at a white woman while black. Sounds familiar from other, later contexts, right? (Like today blacks being stopped in white neighborhoods, on the roads by white police, etc.) For that childish indiscretion, however, Emmett paid with his young life. That these men, his later self-proclaimed killers were “white trash”, and considered as such by ‘gentile’ Southern society nevertheless insured that they would not suffer for their crimes. At least not under the Mississippi-style ‘justice’ of the times. They were white. And white was right. Case closed.

This documentary is also is a tribute, a much warranted tribute, to Emmett’s mother, the now deceased Mame Till, whose interview clips go a long way to understanding the nature of the case and her lifelong search for justice for her son- somewhere. As pointed out near the end of the film that event never really occurred in her lifetime or the lifetimes of Emmett’s killers. Along the way the film details the why of that statement; the murder is graphically laid out, the ‘justice’ system in Mississippi is laid bare. The reaction of blacks in Chicago at Emmett’s funeral and later at the verdict, as well as those in the South who were just starting to organize for their rights, had a galvanizing effect. As one of the journalist interviewees noted, Emmett’s case highlighted that blacks were under attack, knew they were in a life and death struggle, and had better start doing something about it. Moreover, this case provided the first solid evidence to the North, blacks and whites alike, that something was desperately wrong with the justice system in the Jim Crow South.

The beginnings of my personal awareness of the central role of the black liberation struggle in any fight for fundamental change in America did not stem from the Till tragedy but rather a little latter from the attempts to integrate the schools of Little Rock, Arkansas in 1957. This film and many of the interviewees (journalists, an ex-Governor of Mississippi, field hands who witnessed various aspects of Till’s abduction and/or the cover up of the murder, Southern white liberals, etc.) point to the Till case as the tip of the iceberg that exploded soon after in the famous Rosa Parks bus incident in Montgomery, Alabama. No matter where you trace the beginnings of the modern civil right movement from though, in Emmett Till’s case there is only conclusion- Nina Simone said it best in her song- “Mississippi Goddam”. ’’

Here are the lyrics to Nina Simone's poignant and appropriate "Mississippi Goddam"

Mississippi Goddam
(1963) Nina Simone

The name of this tune is Mississippi Goddam
And I mean every word of it

Alabama's gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi Goddam

Alabama's gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi Goddam

Can't you see it
Can't you feel it
It's all in the air
I can't stand the pressure much longer
Somebody say a prayer

Alabama's gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi Goddam

This is a show tune
But the show hasn't been written for it, yet

Hound dogs on my trail
School children sitting in jail
Black cat cross my path
I think every day's gonna be my last

Lord have mercy on this land of mine
We all gonna get it in due time
I don't belong here
I don't belong there
I've even stopped believing in prayer

Don't tell me
I tell you
Me and my people just about due
I've been there so I know
They keep on saying "Go slow!"

But that's just the trouble
"do it slow"
Washing the windows
"do it slow"
Picking the cotton
"do it slow"
You're just plain rotten
"do it slow"
You're too damn lazy
"do it slow"
The thinking's crazy
"do it slow"
Where am I going
What am I doing
I don't know
I don't know

Just try to do your very best
Stand up be counted with all the rest
For everybody knows about Mississippi Goddam

I made you thought I was kiddin' didn't we

Picket lines
School boy cots
They try to say it's a communist plot
All I want is equality
for my sister my brother my people and me

Yes you lied to me all these years
You told me to wash and clean my ears
And talk real fine just like a lady
And you'd stop calling me Sister Sadie

Oh but this whole country is full of lies
You're all gonna die and die like flies
I don't trust you any more
You keep on saying "Go slow!"
"Go slow!"

But that's just the trouble
"do it slow"
Desegregation
"do it slow"
Mass participation
"do it slow"
Reunification
"do it slow"
Do things gradually
"do it slow"
But bring more tragedy
"do it slow"
Why don't you see it
Why don't you feel it
I don't know
I don't know

You don't have to live next to me
Just give me my equality
Everybody knows about Mississippi
Everybody knows about Alabama
Everybody knows about Mississippi Goddam

That's it!

Saturday, February 06, 2010

The Murder Of Emmett Till- Once Again, "Mississippi Goddam"

Click on the title to link to a PBS Webpage on the documentary, "The Murder Of Emmett Till".

DVD REVIEW

February Is Black History Month

The Murder Of Emmett Till, PBS Productions, 2003

This PBS production is a long overdue appreciation of the life the martyred civil rights figure, fourteen year old Chicago resident Emmett Till, down in deeply segregated Mississippi in 1955 at the hands of at least two white men while visiting relatives. Emmett’s crime- “eyeballing”, or whistling, or some such at a white woman while black. Sounds familiar from other later contexts, right (like today blacks being stopped in white neighborhoods, on the roads by white police, etc.)? For that childish indiscretion, however, Emmett paid with his young life. That these men, his later self-proclaimed killers were “white trash”, and considered as such by ‘gentile’ Southern society nevertheless insured that they would not suffer for their crimes. At least not under the Mississippi-style ‘justice’ of the times. They were white. And white was right. Case closed.

This documentary is also is a tribute, a much warranted tribute, to Emmett’s mother, the now deceased Mame Till, whose interview clips go a long way to understanding the nature of the case and her lifelong search for justice for her son- somewhere. As pointed out near the end of the film that never really occurred in her lifetime or the lifetimes of Emmett’s killers. Along the way the film details the why of that statement; the murder is graphically laid out, the ‘justice’ system in Mississippi is laid bare. The reaction of blacks in Chicago at Emmett’s funeral and later at the verdict, as well as those in the South who were just starting to organize for their rights, had a galvanizing effect. As one of the journalist interviewees noted, Emmett’s case highlighted that blacks were under attack, knew they were in a life and death struggle and had better start doing something about it. Moreover, this case provided the first solid evidence to the North, blacks and whites alike, that something was desperately wrong with the justice system in the Jim Crow South.

The beginnings of my personal awareness of the central role of the black liberation struggle in any fight for fundamental change in America did not stem from the Till tragedy but rather a little latter from the attempts to integrate the schools of Little Rock, Arkansas in 1957. This film and many of the interviewees (journalists, an ex-Governor of Mississippi, field hands who witnessed various aspects of Till’s abduction and/or the cover up of the murder, Southern white liberals, etc.) point to the Till case as the tip of the iceberg that exploded soon after in the famous Rosa Parks bus incident in Montgomery, Alabama. No matter where you trace the beginnings of the modern civil right movement from though, in Emmett Till’s case there is only conclusion- Nina Simone said it best in her song- “Mississippi Goddam”.


Here are the lyrics to Nina Simone's poignant and appropriate "Mississippi Goddam"


Mississippi Goddam
(1963) Nina Simone


The name of this tune is Mississippi Goddam
And I mean every word of it

Alabama's gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi Goddam

Alabama's gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi Goddam

Can't you see it
Can't you feel it
It's all in the air
I can't stand the pressure much longer
Somebody say a prayer

Alabama's gotten me so upset
Tennessee made me lose my rest
And everybody knows about Mississippi Goddam

This is a show tune
But the show hasn't been written for it, yet

Hound dogs on my trail
School children sitting in jail
Black cat cross my path
I think every day's gonna be my last

Lord have mercy on this land of mine
We all gonna get it in due time
I don't belong here
I don't belong there
I've even stopped believing in prayer

Don't tell me
I tell you
Me and my people just about due
I've been there so I know
They keep on saying "Go slow!"

But that's just the trouble
"do it slow"
Washing the windows
"do it slow"
Picking the cotton
"do it slow"
You're just plain rotten
"do it slow"
You're too damn lazy
"do it slow"
The thinking's crazy
"do it slow"
Where am I going
What am I doing
I don't know
I don't know

Just try to do your very best
Stand up be counted with all the rest
For everybody knows about Mississippi Goddam

I made you thought I was kiddin' didn't we

Picket lines
School boy cots
They try to say it's a communist plot
All I want is equality
for my sister my brother my people and me

Yes you lied to me all these years
You told me to wash and clean my ears
And talk real fine just like a lady
And you'd stop calling me Sister Sadie

Oh but this whole country is full of lies
You're all gonna die and die like flies
I don't trust you any more
You keep on saying "Go slow!"
"Go slow!"

But that's just the trouble
"do it slow"
Desegregation
"do it slow"
Mass participation
"do it slow"
Reunification
"do it slow"
Do things gradually
"do it slow"
But bring more tragedy
"do it slow"
Why don't you see it
Why don't you feel it
I don't know
I don't know

You don't have to live next to me
Just give me my equality
Everybody knows about Mississippi
Everybody knows about Alabama
Everybody knows about Mississippi Goddam

That's it!

Tuesday, February 02, 2010

*Honor The Heroic North Carolina A&T Student Participants On The 50th Anniversary Of The Greensboro Sit-Ins

Click on the title to link to a "Wikipedia" entry for the "Greensboro February 1,1960 Woolworth's sit-in participants being honored today.

February Is Black History Month

Markin comment:

I was a little too young to be very conscious of Rosa Parks and the Montgomery bus boycotts and other events in the struggle against Jim Crow in the South in the late 1950s. I, however, was fully aware of the sit-ins in Greensboro in 1960 and other locales and supported actions here in the North against Woolworth's policies in the South. I do not believe that the Greensboro actions fully defined my commitment to the black liberation struggle at the time. I think the later cases of Medgar Evers, of James Meridith trying to desegregate Ole Miss, and Birmingham and the Bull Connor-led police reaction there were more decisive. However Greensboro was definitely the catalyst. Hats off to the sit-in participants.

Friday, September 26, 2008

Another Walk On The Wild Side with Nelson Algren

BOOK REVIEW

A Walk on the Wild Side, Nelson Algren, The Noonday Press, 1984


As I have mentioned in other reviews of Nelson Algren's work, such as The Man With The Golden Arm and The Neon Wilderness, I am personally very familiar with the social milieu that he is working. Growing up in a post-World War II built housing project this reviewer knew first hand the so-called `romance' of drugs, the gun, the ne'er do well hustler and the fallen sister. And I also learned the complex mechanisms one needed to develop in order to survive at that place where the urban working poor meet and mix with the lumpen proletariat- the con men, dopesters, grifters, drifters and gamblers who feed on the downtrodden. This is definitely not the mix that Damon Runyon celebrated in his Guys and Dolls-type stories. Far from it.

Nelson Algren has once again, through hanging around Chicago police stations (does anyone describe that milieu, cops and criminals, better?), other nefarious locales and the sheer ability to observe, gotten that sense of foreboding, despair and the just plain oblivion of America's mean streets down pat. In this, probably his best literary endeavor in that vein, Algren has gotten down to the core of existence for the would be world-beater hustler Dove Linkhorn a character who symbolizes a certain aspect of American life in his way, as say, Fitzgerald's Jay Gatsby or Hemingway's Robert Jordan do in theirs.

Several factors make this an exceptional work. Not the least is the beginning section’s description of the antecedents of the "white trash" phenomena, as exemplified by Dove, that as always been something of a hidden secret about the American experience. In short, what happens when the land runs out, or in Professor Frederick Jackson Turner's thesis-the frontier ends. Nobody has put this in literature better than Algren, even Steinbeck. Furthermore, he has moved the story line here back in time from his usual 1940's and 1950's to the 1930's when some cosmic shifts were occurring in American life.

Algren has also moved the geography from Chicago to New Orleans and integrated some of his short story characters and story lines found in his collection Neon Wilderness into this project. Changes in time, place and characters there may be but that raw struggle for survival for those down almost below the base of society is still the same. The only objection that I have is that the portrait of Linkhorn, as described here by Algren, gives me an impression that old Dove could never ever make it in his `chosen' world unlike, say, Frankie Machine who has that urban grit almost genetically build into him in order to survive. Frankly, I do not believe that Dove could have survived in my old housing project. Frankie Machine would have been the `king of the hill'. Read this valuable book about an America that, then and now, is hidden in the shadows.

Sunday, June 29, 2008

Alabama, God Damn- Harper Lee's "To Kill A Mocking Bird"

Click on the headline to link to a "Wikipedia" entry for Harper Lee's "To Kill A Mocking Bird" as background for this entry.

DVD REVIEW

To Kill a Mocking Bird, Gregory Peck, black and white, 1962


This film is an excellent black and white adaptation of Harper Lee’s book of the same name. The acting, particularly by Gregory Peck (and a cameo by a young Robert Duval), brings out all the pathos, bathos and grit of small town Southern life in the 1930’s. The story itself is an unusual combination, narrated by Peck’s film daughter Scout (and presumably Lee herself), of a coming of age story that we are fairly familiar with and the question of race and sex in the Deep South (and not only there) with which we were (at the time of the film’s debut in 1962) only vaguely familiar. That dramatic tension, muted as it was by the cinematic and social conventions of the time, nevertheless made a strong statement about the underlying tensions of this society at a time when the Southern black civil rights struggle movement was coming into focus in the national consciousness.

The name Atticus Finch (Peck’s role) as the liberal (for that southern locale) lawyer committed to the rule of law had a certain currency in the 1960’s as a symbol for those southern whites who saw that Jim Crow had to go. Here Finch is the appointed lawyer for a black man accused of raping a white women of low origin- the classic ‘white trash’ depicted in many a film and novel. Finch earnestly, no, passionately in his understated manner, attempts to defend this man, a brave act in itself under the circumstances.

Needless to say an all white jury of that black man’s ‘peers’ nevertheless convicts him out of hand. In the end the black man tries to escape and is killed in the process. In an earlier scenario Finch is pressed into guard duty at the jailhouse in order to head off a posse of ‘white trash’ elements who are bend on doing ‘justice’ their way- hanging him from a lynching tree. On a mere false accusation of a white woman this black man is doomed whichever way he turns. Sound familiar?

The other part of the story concerns the reactions by Finch’s motherless son and tomboyish daughter to the realities of social life, Southern style. That part is in some ways, particularly when the children watch the trial from the “Negro” balcony section of the courtroom, the least successful of the film. What is entirely believable and gives some relief from the travesty that is unfolding are the pranks, pitfalls and antics of the kids. The tensions between brother and sister, the protective role of the older brother, the attempt by the sister to assert her own identity, the sense of adventure and mystery of what lies beyond the immediate household that is the hallmark of youth all get a work out here. But in the end it is the quiet dignity of solid old Atticus and the bewildered dignity of a doomed black man that hold this whole thing together. Bravo Peck. Kudos to Harper Lee.