Click on the headline to link to a "SteveLendmanBlog" entry- "Brave Israeli Commandos Slaughter Aid Activists at Sea."
Markin comment:
As I have said previously today- Defend The Palestiian people!-By Any Means Necessary!
Monday, May 31, 2010
*From The "Green Left Global" Blog- Israel attacks Gaza aid fleet
Click on the headline to link to a "Green Left Global" blog entry on the latest Israeli atrocity against the Palestinian people.
Markin comment:
No one should be surprised by this latest Israeli atrocity against the Palestinian people and their supporters. This is an act of war even under bourgeois conventions. Defend the Palestinian People!-By Any Means Necessary! Down With The Blockade! End The Siege Of Gaza!
Markin comment:
No one should be surprised by this latest Israeli atrocity against the Palestinian people and their supporters. This is an act of war even under bourgeois conventions. Defend the Palestinian People!-By Any Means Necessary! Down With The Blockade! End The Siege Of Gaza!
*From The Boston Veterans For Peace Memorial Day Meeting
Click on the headline to link to a "Boston Indy Media" entry for a Veteran's For Peace commemoration on Memorial Day 2010.
*From The "Renegade Eye" Blog-Iran: On the character of the present lull and the tasks of the Marxists- A Guest Commentary
Click on the headline to link to a "Renegade Eye" entry- "Iran: On the character of the present lull and the tasks of the Marxists"- A Guest Commentary From The IMT.
Markin comment:
Very interesting to draw the analogy with Spain on the question of Trotsky's theory of Permanent Revolution. However, the two obvious weakness in the article are the lack of analysis of the relationship between the events today and those in 1979 by the left in Iran (and internationally) for and their responsibility for the "lull" (lack of revolutionary party and leadership). Nor do I see any serious criticism of the current movement's still rather heavy subservience to "moderate" Islamic fundamentalist forces. You have to make the break sometime. And that sometime is now if you want to coalesce a Marxist cadre. This Green (not the eco-green although the same proposition is true on both counts) and Red do not mix. As thousands of leftists in Iran have learned the hard way- with their lives.
Markin comment:
Very interesting to draw the analogy with Spain on the question of Trotsky's theory of Permanent Revolution. However, the two obvious weakness in the article are the lack of analysis of the relationship between the events today and those in 1979 by the left in Iran (and internationally) for and their responsibility for the "lull" (lack of revolutionary party and leadership). Nor do I see any serious criticism of the current movement's still rather heavy subservience to "moderate" Islamic fundamentalist forces. You have to make the break sometime. And that sometime is now if you want to coalesce a Marxist cadre. This Green (not the eco-green although the same proposition is true on both counts) and Red do not mix. As thousands of leftists in Iran have learned the hard way- with their lives.
*From The Boston UJP Website- Emergency Demo Against Israeli Atrocities At Sea
Click on the headline to link to a "UJP-Boston" entry for an emergency demo against the latest Israeli atrocities at sea.
Markin comment:
Defend The Palestinian People Now!
Markin comment:
Defend The Palestinian People Now!
Saturday, May 29, 2010
*From The Pages Of "Workers Vanguard"- On The Struggle For Our Communist Future In Greece
Click on the headline to link to a "Workers Vanguard" article on the recent situation in Greece and the program necessary to get to that communist future the Greeks (and we) so desperately need.
From The Pages Of "Workers Vanguard" -Remember The MOVE Massacre-Free The Move Prisoners
Click on the headline to link to well-known class war prisoner and death row inmate, Mumia Abu-Jamal, speaking on the anniversary of the MOVE massacre.
Workers Vanguard No. 959
21 May 2010
25 Years Ago: Racist Government Bombed Black Philadelphia
Remember the MOVE Massacre
May 13 marks the 25th anniversary of the 1985 MOVE massacre. Eleven people, including five children, were burned alive after police, acting on orders from black Democratic mayor Wilson Goode and in collusion with the Feds, dropped a powerful incendiary bomb on the Osage Avenue home of the largely black MOVE commune in West Philadelphia. The firebombing followed a 12-hour siege during which the cops unloaded over 10,000 rounds of ammunition into the house. Firefighters on site were held back, and cops shot at anyone who tried to escape the burning building. The inferno spread, destroying 61 houses and leaving hundreds homeless in the black neighborhood.
Then-president Ronald Reagan, the FBI, the Philly cops and Wilson Goode were all responsible for this hideous crime, a stark example of the racist terror that black people are subject to in capitalist America. None of the perpetrators ever faced charges, while Ramona Africa, the sole adult survivor, served every day of her seven-year prison sentence. Immediately after the massacre, and ever since, the Spartacist League and Partisan Defense Committee, a class-struggle, non-sectarian legal and social defense organization associated with the SL, have sought to sear this racist atrocity into the memory of the working class.
In July 1985, the SL held a public forum in New York City to honor the MOVE martyrs, at which family members and supporters spoke. We wrote in protest that the mass murder carried the bloody signature of the Reagan years and was intended “to send a message to black America and ‘radicals’ of every stripe. ‘Anti-terrorism’ means massive government terror against anyone who is out of step in Reagan’s America” (WV No. 379, 17 May 1985). Under both Democratic and Republican administrations, the onslaught against black people, synonymous with Reagan reaction, has continued unabated to this day.
From the moment that MOVE surfaced in the early 1970s in the racist hellhole of Philadelphia, denouncing “the system” and defending the right to armed self-defense, this back-to-nature group was subjected to police harassment, beatings and hundreds of arrests. On 8 August 1978, 600 cops unleashed a barrage of gunfire as they stormed MOVE’s Powelton Village compound. When MOVE members emerged from their home, the police dragged, kicked and stomped Delbert Africa nearly to death. Nine MOVE members were framed up and sentenced in 1981 to 30-100 years on charges of killing a cop who died in the police crossfire at Powelton Village—even though the judge stated that he didn’t have the “faintest idea” who killed the cop. Merle Africa died in her prison cell in 1998. The rest of the MOVE 9 are still in Pennsylvania’s dungeons (see page 2).
In an expression of solidarity with those imprisoned for standing up to racist capitalist repression, the PDC provided monthly stipends for Ramona Africa during her imprisonment as it has also done for the MOVE 9 and death row political prisoner Mumia Abu-Jamal, who became a MOVE supporter while reporting on the MOVE 9 trial.
Mumia, an innocent man framed up on false charges of killing police officer Daniel Faulkner, was sentenced to death in 1982 for his political views. His case is what the death penalty is all about—a legacy of chattel slavery, the lynch rope made legal. A former Black Panther leader as a teenager in the 1960s, Mumia became a prominent radical radio journalist known as “The Voice of the Voiceless” who reported on the racist Philly cops and courts. It was during the sham trial of the MOVE 9 that Mumia became sympathetic to the MOVE organization.
To avenge the MOVE martyrs, the working class must fight to smash this capitalist system, whose rulers inflict a special oppression on black people as a means to divide and attack the entire working class. We will not forget the MOVE massacre! Free the MOVE members, Mumia and all class-war prisoners! For black liberation through socialist revolution!
******
Workers Vanguard No. 959
21 May 2010
Free the MOVE Prisoners!
The following May 10 protest letter was sent by the Partisan Defense Committee to Pennsylvania Board of Probation and Parole chairman Catherine C. McVey.
The Partisan Defense Committee once again joins with those supporting the release of the eight surviving political prisoners who have been collectively known as the MOVE 9. These men and women were victims of racist police brutality. They are innocent of the crimes for which they were convicted and imprisoned for over three decades.
We are outraged by your continued refusal to allow these innocent prisoners to be paroled. As we said in our letter of 6 March 2008, “We are mindful that a common ruse for denying parole for those who have been falsely convicted is the claimed failure to show ‘remorse.’ Having committed no crime, the imprisoned MOVE members have no reason to demonstrate any so-called ‘remorse’.” And yet that is exactly the pretext you consistently have used to turn down the MOVE 9’s parole. In effect you are denying parole for anyone who maintains his or her innocence.
After a year-long siege, on August 8, 1978, an army of nearly 600 police surrounded the MOVE home to evict its defenseless residents. Three months before the attack, MOVE had allowed the police to search their home, resulting in the removal of what were inoperable weapons. The police turned on “deluge guns,” flooding the basement of the house, and then unleashed a furious fusillade so intense that one of their own officers, James Ramp, was killed in the police cross fire.
At least eight witnesses testified that no gunshots came from the MOVE house. Three firemen said they did not know where the gunshots came from and had seen no MOVE members with guns. When weapons supposedly found at the MOVE home were brought to court, none of them had any fingerprints of the defendants on them, and none of the MOVE prisoners were ever charged with illegal weapons possession. After the trial, when presiding judge Edwin Malmed was asked, “Who shot James Ramp?” he replied, “I haven’t the faintest idea.” The MOVE prisoners were convicted of among other charges, conspiracy, a catchall charge used especially to prosecute people for their shared political beliefs when prosecutors are unable to prove that a criminal act was committed.
The denial of parole for the MOVE 9 can only be seen as part and parcel of a decades-long vendetta against MOVE and its supporters. The most grotesque example of this took place 25 years ago in May 1985, when they watched in horror from their Pennsylvania prison cells as the Philadelphia police, in league with federal authorities, dropped a high-powered explosive bomb on MOVE’s Osage Avenue home. This caused the burning to death of eleven people, including five children, and left an entire black neighborhood in smoldering ruins.
It is an injustice that these men and women were ever incarcerated at all. They are innocent survivors of premeditated police assaults. We call once more for the immediate, unconditional release of Debbie Africa, Janine Africa, Janet Africa, Chuck Africa, Eddie Africa, Phil Africa, Delbert Africa and Mike Africa.
Workers Vanguard No. 959
21 May 2010
25 Years Ago: Racist Government Bombed Black Philadelphia
Remember the MOVE Massacre
May 13 marks the 25th anniversary of the 1985 MOVE massacre. Eleven people, including five children, were burned alive after police, acting on orders from black Democratic mayor Wilson Goode and in collusion with the Feds, dropped a powerful incendiary bomb on the Osage Avenue home of the largely black MOVE commune in West Philadelphia. The firebombing followed a 12-hour siege during which the cops unloaded over 10,000 rounds of ammunition into the house. Firefighters on site were held back, and cops shot at anyone who tried to escape the burning building. The inferno spread, destroying 61 houses and leaving hundreds homeless in the black neighborhood.
Then-president Ronald Reagan, the FBI, the Philly cops and Wilson Goode were all responsible for this hideous crime, a stark example of the racist terror that black people are subject to in capitalist America. None of the perpetrators ever faced charges, while Ramona Africa, the sole adult survivor, served every day of her seven-year prison sentence. Immediately after the massacre, and ever since, the Spartacist League and Partisan Defense Committee, a class-struggle, non-sectarian legal and social defense organization associated with the SL, have sought to sear this racist atrocity into the memory of the working class.
In July 1985, the SL held a public forum in New York City to honor the MOVE martyrs, at which family members and supporters spoke. We wrote in protest that the mass murder carried the bloody signature of the Reagan years and was intended “to send a message to black America and ‘radicals’ of every stripe. ‘Anti-terrorism’ means massive government terror against anyone who is out of step in Reagan’s America” (WV No. 379, 17 May 1985). Under both Democratic and Republican administrations, the onslaught against black people, synonymous with Reagan reaction, has continued unabated to this day.
From the moment that MOVE surfaced in the early 1970s in the racist hellhole of Philadelphia, denouncing “the system” and defending the right to armed self-defense, this back-to-nature group was subjected to police harassment, beatings and hundreds of arrests. On 8 August 1978, 600 cops unleashed a barrage of gunfire as they stormed MOVE’s Powelton Village compound. When MOVE members emerged from their home, the police dragged, kicked and stomped Delbert Africa nearly to death. Nine MOVE members were framed up and sentenced in 1981 to 30-100 years on charges of killing a cop who died in the police crossfire at Powelton Village—even though the judge stated that he didn’t have the “faintest idea” who killed the cop. Merle Africa died in her prison cell in 1998. The rest of the MOVE 9 are still in Pennsylvania’s dungeons (see page 2).
In an expression of solidarity with those imprisoned for standing up to racist capitalist repression, the PDC provided monthly stipends for Ramona Africa during her imprisonment as it has also done for the MOVE 9 and death row political prisoner Mumia Abu-Jamal, who became a MOVE supporter while reporting on the MOVE 9 trial.
Mumia, an innocent man framed up on false charges of killing police officer Daniel Faulkner, was sentenced to death in 1982 for his political views. His case is what the death penalty is all about—a legacy of chattel slavery, the lynch rope made legal. A former Black Panther leader as a teenager in the 1960s, Mumia became a prominent radical radio journalist known as “The Voice of the Voiceless” who reported on the racist Philly cops and courts. It was during the sham trial of the MOVE 9 that Mumia became sympathetic to the MOVE organization.
To avenge the MOVE martyrs, the working class must fight to smash this capitalist system, whose rulers inflict a special oppression on black people as a means to divide and attack the entire working class. We will not forget the MOVE massacre! Free the MOVE members, Mumia and all class-war prisoners! For black liberation through socialist revolution!
******
Workers Vanguard No. 959
21 May 2010
Free the MOVE Prisoners!
The following May 10 protest letter was sent by the Partisan Defense Committee to Pennsylvania Board of Probation and Parole chairman Catherine C. McVey.
The Partisan Defense Committee once again joins with those supporting the release of the eight surviving political prisoners who have been collectively known as the MOVE 9. These men and women were victims of racist police brutality. They are innocent of the crimes for which they were convicted and imprisoned for over three decades.
We are outraged by your continued refusal to allow these innocent prisoners to be paroled. As we said in our letter of 6 March 2008, “We are mindful that a common ruse for denying parole for those who have been falsely convicted is the claimed failure to show ‘remorse.’ Having committed no crime, the imprisoned MOVE members have no reason to demonstrate any so-called ‘remorse’.” And yet that is exactly the pretext you consistently have used to turn down the MOVE 9’s parole. In effect you are denying parole for anyone who maintains his or her innocence.
After a year-long siege, on August 8, 1978, an army of nearly 600 police surrounded the MOVE home to evict its defenseless residents. Three months before the attack, MOVE had allowed the police to search their home, resulting in the removal of what were inoperable weapons. The police turned on “deluge guns,” flooding the basement of the house, and then unleashed a furious fusillade so intense that one of their own officers, James Ramp, was killed in the police cross fire.
At least eight witnesses testified that no gunshots came from the MOVE house. Three firemen said they did not know where the gunshots came from and had seen no MOVE members with guns. When weapons supposedly found at the MOVE home were brought to court, none of them had any fingerprints of the defendants on them, and none of the MOVE prisoners were ever charged with illegal weapons possession. After the trial, when presiding judge Edwin Malmed was asked, “Who shot James Ramp?” he replied, “I haven’t the faintest idea.” The MOVE prisoners were convicted of among other charges, conspiracy, a catchall charge used especially to prosecute people for their shared political beliefs when prosecutors are unable to prove that a criminal act was committed.
The denial of parole for the MOVE 9 can only be seen as part and parcel of a decades-long vendetta against MOVE and its supporters. The most grotesque example of this took place 25 years ago in May 1985, when they watched in horror from their Pennsylvania prison cells as the Philadelphia police, in league with federal authorities, dropped a high-powered explosive bomb on MOVE’s Osage Avenue home. This caused the burning to death of eleven people, including five children, and left an entire black neighborhood in smoldering ruins.
It is an injustice that these men and women were ever incarcerated at all. They are innocent survivors of premeditated police assaults. We call once more for the immediate, unconditional release of Debbie Africa, Janine Africa, Janet Africa, Chuck Africa, Eddie Africa, Phil Africa, Delbert Africa and Mike Africa.
*The "Easy Rider" Is No More- Actor Dennis Hopper Passes On
Click on the headline to link to a "YouTube" film clip of scenes of Dennis Hopper in the road classic, "Easy Rider."
Dennis Hopper, creator of hit 'Easy Rider,' dies
By CHRISTOPHER WEBER, AP
LOS ANGELES — Dennis Hopper, the high-flying Hollywood wild man whose memorable and erratic career included an early turn in "Rebel Without a Cause," an improbable smash with "Easy Rider" and a classic character role in "Blue Velvet," has died. He was 74.
Hopper died Saturday at his home in the Los Angeles beach community of Venice, surrounded by family and friends, family friend Alex Hitz said. Hopper's manager announced in October 2009 that he had been diagnosed with prostate cancer.
The success of "Easy Rider," and the spectacular failure of his next film, "The Last Movie," fit the pattern for the talented but sometimes uncontrollable actor-director, who also had parts in such favorites as "Apocalypse Now" and "Hoosiers." He was a two-time Academy Award nominee, and in March 2010, was honored with a star on Hollywood's Walk of Fame.
After a promising start that included roles in two James Dean films, Hopper's acting career had languished as he developed a reputation for throwing tantrums and abusing alcohol and drugs. On the set of "True Grit," Hopper so angered John Wayne that the star reportedly chased Hopper with a loaded gun.
He married five times and led a dramatic life right to the end. In January 2010, Hopper filed to end his 14-year marriage to Victoria Hopper, who stated in court filings that the actor was seeking to cut her out of her inheritance, a claim Hopper denied.
"Much of Hollywood," wrote critic-historian David Thomson, "found Hopper a pain in the neck."
All was forgiven, at least for a moment, when he collaborated with another struggling actor, Peter Fonda, on a script about two pot-smoking, drug-dealing hippies on a motorcycle trip through the Southwest and South to take in the New Orleans Mardi Gras.
On the way, Hopper and Fonda befriend a drunken young lawyer (Jack Nicholson, whom Hopper had resisted casting, in a breakout role), but arouse the enmity of Southern rednecks and are murdered before they can return home.
"'Easy Rider' was never a motorcycle movie to me," Hopper said in 2009. "A lot of it was about politically what was going on in the country."
Fonda produced "Easy Rider" and Hopper directed it for a meager $380,000. It went on to gross $40 million worldwide, a substantial sum for its time. The film caught on despite tension between Hopper and Fonda and between Hopper and the original choice for Nicholson's part, Rip Torn, who quit after a bitter argument with the director.
The film was a hit at Cannes, netted a best-screenplay Oscar nomination for Hopper, Fonda and Terry Southern, and has since been listed on the American Film Institute's ranking of the top 100 American films. The establishment gave official blessing in 1998 when "Easy Rider" was included in the United States National Film Registry for being "culturally, historically, or aesthetically significant."
Its success prompted studio heads to schedule a new kind of movie: low cost, with inventive photography and themes about a young, restive baby boom generation. With Hopper hailed as a brilliant filmmaker, Universal Pictures lavished $850,000 on his next project, "The Last Movie."
The title was prescient. Hopper took a large cast and crew to a village in Peru to film the tale of a Peruvian tribe corrupted by a movie company. Trouble on the set developed almost immediately, as Peruvian authorities pestered the company, drug-induced orgies were reported and Hopper seemed out of control.
When he finally completed filming, he retired to his home in Taos, N.M., to piece together the film, a process that took almost a year, in part because he was using psychedelic drugs for editing inspiration.
When it was released, "The Last Movie" was such a crashing failure that it made Hopper unwanted in Hollywood for a decade. At the same time, his drug and alcohol use was increasing to the point where he was said to be consuming as much as a gallon of rum a day.
Shunned by the Hollywood studios, he found work in European films that were rarely seen in the United States. But, again, he made a remarkable comeback, starting with a memorable performance as a drugged-out journalist in Francis Ford Coppola's 1979 Vietnam War epic, "Apocalypse Now," a spectacularly long and troubled film to shoot. Hopper was drugged-out off camera, too, and his rambling chatter was worked into the final cut.
He went on to appear in several films in the early 1980s, including the well regarded "Rumblefish" and "The Osterman Weekend," as well as the campy "My Science Project" and "The Texas Chainsaw Massacre 2."
But alcohol and drugs continued to interfere with his work. Treatment at a detox clinic helped him stop drinking but he still used cocaine, and at one point he became so hallucinatory that he was committed to the psychiatric ward of a Los Angeles hospital.
Upon his release, Hopper joined Alcoholics Anonymous, quit drugs and launched yet another comeback. It began in 1986 when he played an alcoholic ex-basketball star in "Hoosiers," which brought him an Oscar nomination for best supporting actor.
His role as a wild druggie in "Blue Velvet," also in 1986, won him more acclaim, and years later the character wound up No. 36 on the AFI's list of top 50 movie villains.
He returned to directing, with "Colors," "The Hot Spot" and "Chasers."
From that point on, Hopper maintained a frantic work pace, appearing in many forgettable movies and a few memorable ones, including the 1994 hit "Speed," in which he played the maniacal plotter of a freeway disaster. In the 2000s, he was featured in the television series "Crash" and such films as "Elegy" and "Hell Ride."
"Work is fun to me," he told a reporter in 1991. "All those years of being an actor and a director and not being able to get a job — two weeks is too long to not know what my next job will be."
For years he lived in Los Angeles' bohemian beach community of Venice, in a house designed by acclaimed architect Frank Gehry.
In later years he picked up some income by becoming a pitchman for Ameriprise Financial, aiming ads at baby boomers looking ahead to retirement. His politics, like much of his life, were unpredictable. The old rebel contributed money to the Republican Party in recent years, but also voted for Democrat Barack Obama in 2008.
Dennis Lee Hopper was born in 1936, in Dodge City, Kan., and spent much of his youth on the nearby farm of his grandparents. He saw his first movie at 5 and became enthralled.
After moving to San Diego with his family, he played Shakespeare at the Old Globe Theater.
Scouted by the studios, Hopper was under contract to Columbia until he insulted the boss, Harry Cohn. From there he went to Warner Bros., where he made "Rebel Without a Cause" and "Giant" while in his late teens.
Later, he moved to New York to study at the Actors Studio, where Dean had learned his craft.
Hopper's first wife was Brooke Hayward, the daughter of actress Margaret Sullavan and agent Leland Hayward, and author of the best-selling memoir "Haywire." They had a daughter, Marin, before Hopper's drug-induced violence led to divorce after eight years.
His second marriage, to singer-actress Michelle Phillips of the Mamas and the Papas, lasted only eight days.
A union with actress Daria Halprin also ended in divorce after they had a daughter, Ruthana. Hopper and his fourth wife, dancer Katherine LaNasa, had a son, Henry, before divorcing.
He married his fifth wife, Victoria Duffy, who was 32 years his junior, in 1996, and they had a daughter, Galen Grier.
___
Associated Press Writer Bob Thomas contributed to this report.
Dennis Hopper, creator of hit 'Easy Rider,' dies
By CHRISTOPHER WEBER, AP
LOS ANGELES — Dennis Hopper, the high-flying Hollywood wild man whose memorable and erratic career included an early turn in "Rebel Without a Cause," an improbable smash with "Easy Rider" and a classic character role in "Blue Velvet," has died. He was 74.
Hopper died Saturday at his home in the Los Angeles beach community of Venice, surrounded by family and friends, family friend Alex Hitz said. Hopper's manager announced in October 2009 that he had been diagnosed with prostate cancer.
The success of "Easy Rider," and the spectacular failure of his next film, "The Last Movie," fit the pattern for the talented but sometimes uncontrollable actor-director, who also had parts in such favorites as "Apocalypse Now" and "Hoosiers." He was a two-time Academy Award nominee, and in March 2010, was honored with a star on Hollywood's Walk of Fame.
After a promising start that included roles in two James Dean films, Hopper's acting career had languished as he developed a reputation for throwing tantrums and abusing alcohol and drugs. On the set of "True Grit," Hopper so angered John Wayne that the star reportedly chased Hopper with a loaded gun.
He married five times and led a dramatic life right to the end. In January 2010, Hopper filed to end his 14-year marriage to Victoria Hopper, who stated in court filings that the actor was seeking to cut her out of her inheritance, a claim Hopper denied.
"Much of Hollywood," wrote critic-historian David Thomson, "found Hopper a pain in the neck."
All was forgiven, at least for a moment, when he collaborated with another struggling actor, Peter Fonda, on a script about two pot-smoking, drug-dealing hippies on a motorcycle trip through the Southwest and South to take in the New Orleans Mardi Gras.
On the way, Hopper and Fonda befriend a drunken young lawyer (Jack Nicholson, whom Hopper had resisted casting, in a breakout role), but arouse the enmity of Southern rednecks and are murdered before they can return home.
"'Easy Rider' was never a motorcycle movie to me," Hopper said in 2009. "A lot of it was about politically what was going on in the country."
Fonda produced "Easy Rider" and Hopper directed it for a meager $380,000. It went on to gross $40 million worldwide, a substantial sum for its time. The film caught on despite tension between Hopper and Fonda and between Hopper and the original choice for Nicholson's part, Rip Torn, who quit after a bitter argument with the director.
The film was a hit at Cannes, netted a best-screenplay Oscar nomination for Hopper, Fonda and Terry Southern, and has since been listed on the American Film Institute's ranking of the top 100 American films. The establishment gave official blessing in 1998 when "Easy Rider" was included in the United States National Film Registry for being "culturally, historically, or aesthetically significant."
Its success prompted studio heads to schedule a new kind of movie: low cost, with inventive photography and themes about a young, restive baby boom generation. With Hopper hailed as a brilliant filmmaker, Universal Pictures lavished $850,000 on his next project, "The Last Movie."
The title was prescient. Hopper took a large cast and crew to a village in Peru to film the tale of a Peruvian tribe corrupted by a movie company. Trouble on the set developed almost immediately, as Peruvian authorities pestered the company, drug-induced orgies were reported and Hopper seemed out of control.
When he finally completed filming, he retired to his home in Taos, N.M., to piece together the film, a process that took almost a year, in part because he was using psychedelic drugs for editing inspiration.
When it was released, "The Last Movie" was such a crashing failure that it made Hopper unwanted in Hollywood for a decade. At the same time, his drug and alcohol use was increasing to the point where he was said to be consuming as much as a gallon of rum a day.
Shunned by the Hollywood studios, he found work in European films that were rarely seen in the United States. But, again, he made a remarkable comeback, starting with a memorable performance as a drugged-out journalist in Francis Ford Coppola's 1979 Vietnam War epic, "Apocalypse Now," a spectacularly long and troubled film to shoot. Hopper was drugged-out off camera, too, and his rambling chatter was worked into the final cut.
He went on to appear in several films in the early 1980s, including the well regarded "Rumblefish" and "The Osterman Weekend," as well as the campy "My Science Project" and "The Texas Chainsaw Massacre 2."
But alcohol and drugs continued to interfere with his work. Treatment at a detox clinic helped him stop drinking but he still used cocaine, and at one point he became so hallucinatory that he was committed to the psychiatric ward of a Los Angeles hospital.
Upon his release, Hopper joined Alcoholics Anonymous, quit drugs and launched yet another comeback. It began in 1986 when he played an alcoholic ex-basketball star in "Hoosiers," which brought him an Oscar nomination for best supporting actor.
His role as a wild druggie in "Blue Velvet," also in 1986, won him more acclaim, and years later the character wound up No. 36 on the AFI's list of top 50 movie villains.
He returned to directing, with "Colors," "The Hot Spot" and "Chasers."
From that point on, Hopper maintained a frantic work pace, appearing in many forgettable movies and a few memorable ones, including the 1994 hit "Speed," in which he played the maniacal plotter of a freeway disaster. In the 2000s, he was featured in the television series "Crash" and such films as "Elegy" and "Hell Ride."
"Work is fun to me," he told a reporter in 1991. "All those years of being an actor and a director and not being able to get a job — two weeks is too long to not know what my next job will be."
For years he lived in Los Angeles' bohemian beach community of Venice, in a house designed by acclaimed architect Frank Gehry.
In later years he picked up some income by becoming a pitchman for Ameriprise Financial, aiming ads at baby boomers looking ahead to retirement. His politics, like much of his life, were unpredictable. The old rebel contributed money to the Republican Party in recent years, but also voted for Democrat Barack Obama in 2008.
Dennis Lee Hopper was born in 1936, in Dodge City, Kan., and spent much of his youth on the nearby farm of his grandparents. He saw his first movie at 5 and became enthralled.
After moving to San Diego with his family, he played Shakespeare at the Old Globe Theater.
Scouted by the studios, Hopper was under contract to Columbia until he insulted the boss, Harry Cohn. From there he went to Warner Bros., where he made "Rebel Without a Cause" and "Giant" while in his late teens.
Later, he moved to New York to study at the Actors Studio, where Dean had learned his craft.
Hopper's first wife was Brooke Hayward, the daughter of actress Margaret Sullavan and agent Leland Hayward, and author of the best-selling memoir "Haywire." They had a daughter, Marin, before Hopper's drug-induced violence led to divorce after eight years.
His second marriage, to singer-actress Michelle Phillips of the Mamas and the Papas, lasted only eight days.
A union with actress Daria Halprin also ended in divorce after they had a daughter, Ruthana. Hopper and his fourth wife, dancer Katherine LaNasa, had a son, Henry, before divorcing.
He married his fifth wife, Victoria Duffy, who was 32 years his junior, in 1996, and they had a daughter, Galen Grier.
___
Associated Press Writer Bob Thomas contributed to this report.
Friday, May 28, 2010
*From The Front Lines Of The Class Struggle- Victory To The Shaw's UFCW Workers
Click on the headline to link to an "Open Media" Website report on the Shaw's Strikers- "From The Front Lines Of The Class Struggle- Victory To The Shaw's UFCW Workers"
*From “The Rag Blog”- “Bob Feldman 68” Blog- A People’s History Of Afghanistan, Part Seven
Click on the headline to link to a “The Rag Blog” entry from the “Bob Feldman 68” blog on the history of Afghanistan
Markin comment:
This is a great series for those who are not familiar with the critical role of Afghanistan in world politics, if not directly then as part of the history of world imperialism. Thanks, Bob Feldman.
And, speaking of world imperialism, let us keep our eyes on the prize- Obama- Immediate, Unconditional Withdrawal Of All U.S./ Allied Troops And Mercenaries From Afghanistan!
Markin comment:
This is a great series for those who are not familiar with the critical role of Afghanistan in world politics, if not directly then as part of the history of world imperialism. Thanks, Bob Feldman.
And, speaking of world imperialism, let us keep our eyes on the prize- Obama- Immediate, Unconditional Withdrawal Of All U.S./ Allied Troops And Mercenaries From Afghanistan!
Searching For The Old American West In Song - The Music Of Tom Russell
Click on the headline to link to a "YouTube" film clip of Tom Russell performing "Tonight We Ride."
CD Review
Borderland, Tom Russell, Hightone Records, 2001
The last time that I reviewed a CD by the singer/songwriter Tom Russell was his album, about the Irish disapora- “The Man From God Knows Where”. Hey, wait a minute- how can you go from the Irish diaspora to searching for the Old American West like that? Well, that answer is easy- not all the Irish stayed in the Eastern cities after heading out of the old country over the past 150 years or so. Some, like members of other ethnic groups, headed west when things dried up or got too “hot” in the East.
That is the common design for Russell’s drive to find the key to the old West, and to sing of it, to sing of it like Walt Whitman did in his poetry that sang of America. Although the unabashed promise that Whitman sang of has turned somewhat rancid and wearisome in the last hundred years or so that is where the meat of Russell’s work lies.
Take the song “Touch Of Evil” (title and subject from the classic Orson Welles film), for example, Russell captures the mean streets of the borders, between countries, cultures, and personal circumstances and exposes their hard edges. In short, my kind of songwriter. “Hills Of Old Juarez” and “Where The Dream Begins” are other outstanding examples of that same idea. If you too are searching for the meaning of the Old West, the real Old West, in song and the New West, as well, listen up here.
Touch Of Evil
Tom Russell
G C G C/G
The night my baby left me I crossed the bridge to Juarez avenue
C G C
Like that movie "Touch of evil" I got the Orson Wells, Marlene Dietrich
G
blues
C G
Where Orson walks in to the whore house and
C G C/G
Marlene says "Man, you look like hel l"
G
And Orson's chewing on a chocolate bar
C/G
as the l ights go on in the old Blue Star hotel
C Bm
"Read my future" says old Orson, "down inside the tea leaves of your cup"
Am
And she says " You ain't got no future, Hank,
C D G
I believe your f uture's all used up"
C G
Why don't you touch me anymore? Why don't you touch me anymore?
D G G7
Why do you run away and hide? You know it hurts me deep inside
C G
Why do you close the bedroom door? This is a brutal little war
D C G
What good is all this fightin' for if you don't touch me any more?
G C/G
(Chords like 1st verse, until notice)
G C G C/G
They shot "A touch of evil" in a Venice, California colo ny
C G
And I grew near those dead canals
C G
where they filmed the longest pan shot ever made
C G C G C/G
Now I'm thinking a bout the movie, the bar I'm in, the bridge, the Rio Grande
G C/G
Now I'm t hinking about my baby and the borderline 'tween a woman and a man
C Bm
I was d runk as Orson Wells the night I crawled backwards out the door
Am C D G
I was screaming "Baby, baby how come you touch me any more?"
CHORUS:
G C/G x3
(Chords like 2nd verse)
G C G C/G
Oh, some one rolled the credits on twenty years of love turned dark and raw
C G C G
Not a technicolor l ove film, it's a brutal document, it's film noir
C G C G C/G
And it's all played out on a borderline and the actors are tragically miscast
G C/G
Like a Mexican bur lesk show where the characters are wearing comic masks
C Bm
Oh, it's love and love alone I cry to the barmen in this Juarez water hole
Am C D G
As we raise a glass to Orson and "A touch of evil" livin' our souls
CHORUS:
CD Review
Borderland, Tom Russell, Hightone Records, 2001
The last time that I reviewed a CD by the singer/songwriter Tom Russell was his album, about the Irish disapora- “The Man From God Knows Where”. Hey, wait a minute- how can you go from the Irish diaspora to searching for the Old American West like that? Well, that answer is easy- not all the Irish stayed in the Eastern cities after heading out of the old country over the past 150 years or so. Some, like members of other ethnic groups, headed west when things dried up or got too “hot” in the East.
That is the common design for Russell’s drive to find the key to the old West, and to sing of it, to sing of it like Walt Whitman did in his poetry that sang of America. Although the unabashed promise that Whitman sang of has turned somewhat rancid and wearisome in the last hundred years or so that is where the meat of Russell’s work lies.
Take the song “Touch Of Evil” (title and subject from the classic Orson Welles film), for example, Russell captures the mean streets of the borders, between countries, cultures, and personal circumstances and exposes their hard edges. In short, my kind of songwriter. “Hills Of Old Juarez” and “Where The Dream Begins” are other outstanding examples of that same idea. If you too are searching for the meaning of the Old West, the real Old West, in song and the New West, as well, listen up here.
Touch Of Evil
Tom Russell
G C G C/G
The night my baby left me I crossed the bridge to Juarez avenue
C G C
Like that movie "Touch of evil" I got the Orson Wells, Marlene Dietrich
G
blues
C G
Where Orson walks in to the whore house and
C G C/G
Marlene says "Man, you look like hel l"
G
And Orson's chewing on a chocolate bar
C/G
as the l ights go on in the old Blue Star hotel
C Bm
"Read my future" says old Orson, "down inside the tea leaves of your cup"
Am
And she says " You ain't got no future, Hank,
C D G
I believe your f uture's all used up"
C G
Why don't you touch me anymore? Why don't you touch me anymore?
D G G7
Why do you run away and hide? You know it hurts me deep inside
C G
Why do you close the bedroom door? This is a brutal little war
D C G
What good is all this fightin' for if you don't touch me any more?
G C/G
(Chords like 1st verse, until notice)
G C G C/G
They shot "A touch of evil" in a Venice, California colo ny
C G
And I grew near those dead canals
C G
where they filmed the longest pan shot ever made
C G C G C/G
Now I'm thinking a bout the movie, the bar I'm in, the bridge, the Rio Grande
G C/G
Now I'm t hinking about my baby and the borderline 'tween a woman and a man
C Bm
I was d runk as Orson Wells the night I crawled backwards out the door
Am C D G
I was screaming "Baby, baby how come you touch me any more?"
CHORUS:
G C/G x3
(Chords like 2nd verse)
G C G C/G
Oh, some one rolled the credits on twenty years of love turned dark and raw
C G C G
Not a technicolor l ove film, it's a brutal document, it's film noir
C G C G C/G
And it's all played out on a borderline and the actors are tragically miscast
G C/G
Like a Mexican bur lesk show where the characters are wearing comic masks
C Bm
Oh, it's love and love alone I cry to the barmen in this Juarez water hole
Am C D G
As we raise a glass to Orson and "A touch of evil" livin' our souls
CHORUS:
*Searching For The Old American West In Song- The Music Of Tom Russell
Click on the headline to link to a "YouTube" film clip of Tom Russell performing "The Ballad Of Ira Hayes."
CD Review
Indians Cowboys Horses Dogs, Tom Russell, Hightone Records, 2004
The last time that I reviewed a CD by the singer/songwriter Tom Russell was his album, about the Irish disapora- “The Man From God Knows Where”. Hey, wait a minute- how can you go from the Irish diaspora to searching for the Old American West like that? Well, that answer is easy- not all the Irish stayed in the Eastern cities after heading out of the old country over the past 150 years or so. Some, like members of other ethnic groups, headed west when things dried up or got too “hot” in the East.
That is the common design for Russell’s drive to find the key to the old West, and to sing of it, to sing of it like Walt Whitman did in his poetry that sang of America. Although the unabashed promise that Whitman sang of has turned somewhat rancid and wearisome in the last hundred years or so that is where the meat of Russell’s work lies.
In this album the motif shifts a shade in that Russell takes a deep, deep look at the stormy (to be kind ) relationships between whites and Native Americans in the struggle over the land, and, in the final analysis over cultural respect (or rather lack of it). That is always brought home to me in “The Ballad of Ira Hayes”. Ira Hayes was one the planters of the American flag at Iwo Jima in the Pacific War in World War II. For a minute he was a hero then went just as quickly back to being….”just another drunken Indian”. In that same vein here, “Tonight We Ride” and “All This Way For A Short Ride” stick out.
"The Ballad Of Ira Hayes"-Bob Dylan's Lyrics
Gather round you people and a story I will tell
About a brave young Indian you should remember well
From the tribe of Pima Indians, a proud and a peaceful band
They farmed the Phoenix Valley in Arizona land
Down their ditches for a thousand years the sparkling water rushed
Till their white man stole their water rights and the running water hushed
Now Ira's folks were hungry and their farms wene crops of weeds
But when war came he volunteers and forgot, the white man's greed
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Yes, call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
They started up Iwo Jima Hill, 250 men
But only 27 lived to walk back down that hill again
And when the fight was over and the old glory raised
One of the men who held it high was the Indian Ira Hayes
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
Now Ira returned a hero, celebrated throughout the land
He was wined and speeched and honored, everybody shook his hand
But he was just a Pima Indian, no money crops, no chance
And at home nobody cared what Ira had done and the wind did the Indian's dance
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
And Ira started drinking hard, jail was often his home
They let him raise the flag there and lower it like you'd throw a dog a bone
He died drunk early one morning, alone in the land he had fought to save
Two inches of water in a lonely ditch was the grave for Ira Hayes
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Yes, call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
Yes, call him, Drunken Ira Hayes, but his land is still as dry
And his ghost is lying thirsty in the ditch where Ira died
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Yes, call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
CD Review
Indians Cowboys Horses Dogs, Tom Russell, Hightone Records, 2004
The last time that I reviewed a CD by the singer/songwriter Tom Russell was his album, about the Irish disapora- “The Man From God Knows Where”. Hey, wait a minute- how can you go from the Irish diaspora to searching for the Old American West like that? Well, that answer is easy- not all the Irish stayed in the Eastern cities after heading out of the old country over the past 150 years or so. Some, like members of other ethnic groups, headed west when things dried up or got too “hot” in the East.
That is the common design for Russell’s drive to find the key to the old West, and to sing of it, to sing of it like Walt Whitman did in his poetry that sang of America. Although the unabashed promise that Whitman sang of has turned somewhat rancid and wearisome in the last hundred years or so that is where the meat of Russell’s work lies.
In this album the motif shifts a shade in that Russell takes a deep, deep look at the stormy (to be kind ) relationships between whites and Native Americans in the struggle over the land, and, in the final analysis over cultural respect (or rather lack of it). That is always brought home to me in “The Ballad of Ira Hayes”. Ira Hayes was one the planters of the American flag at Iwo Jima in the Pacific War in World War II. For a minute he was a hero then went just as quickly back to being….”just another drunken Indian”. In that same vein here, “Tonight We Ride” and “All This Way For A Short Ride” stick out.
"The Ballad Of Ira Hayes"-Bob Dylan's Lyrics
Gather round you people and a story I will tell
About a brave young Indian you should remember well
From the tribe of Pima Indians, a proud and a peaceful band
They farmed the Phoenix Valley in Arizona land
Down their ditches for a thousand years the sparkling water rushed
Till their white man stole their water rights and the running water hushed
Now Ira's folks were hungry and their farms wene crops of weeds
But when war came he volunteers and forgot, the white man's greed
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Yes, call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
They started up Iwo Jima Hill, 250 men
But only 27 lived to walk back down that hill again
And when the fight was over and the old glory raised
One of the men who held it high was the Indian Ira Hayes
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
Now Ira returned a hero, celebrated throughout the land
He was wined and speeched and honored, everybody shook his hand
But he was just a Pima Indian, no money crops, no chance
And at home nobody cared what Ira had done and the wind did the Indian's dance
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
And Ira started drinking hard, jail was often his home
They let him raise the flag there and lower it like you'd throw a dog a bone
He died drunk early one morning, alone in the land he had fought to save
Two inches of water in a lonely ditch was the grave for Ira Hayes
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Yes, call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
Yes, call him, Drunken Ira Hayes, but his land is still as dry
And his ghost is lying thirsty in the ditch where Ira died
Call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war
Yes, call him, Drunken Ira Hayes, he won't answer anymore
Not the whiskey-drinking Indian or the marine who went to war.
*From The "Black Man With A Library"- On The Intellectual Origins Of Hip-Hop
Clickon the headline to link to a "Black Man With A Library" entry- "On The Intellectual Origins Of Hip-Hop."
Thursday, May 27, 2010
*From The Archives Of "Women And Revolution"-On Language and Liberation
Click on the headline to link a website that features George Orwell's "Politics and the English Language."
Markin comment:
On a day when I am featuring George Orwells's "Politics and the English Language" the following article dealing with the specifics of current politcal language usage (1995, but still appropriate today)seems timely.
Markin comment:
The following is an article from the Spring 1995 issue of "Women and Revolution" that may have some historical interest for old "new leftists", perhaps, and well as for younger militants interested in various cultural and social questions that intersect the class struggle. Or for those just interested in a Marxist position on a series of social questions that are thrust upon us by the vagaries of bourgeois society. I will be posting more such articles from the back issues of "Women and Revolution" during Women's History Month and periodically throughout the year.
*****************
On Language and Liberation
We print below an excerpted exchange between a reader of Women and Revolution and a member of our editorial board.
Montreal, Quebec [undated, received July 1994]
To whom it may concern,
As a recently new reader of the Spartacist League's journal "Workers Vanguard" as well as the journal (of the Women's League of the SL), "Women and Revolution," I am very inspired, encouraged, and impressed with your organisation's anti-racist, anti-sexist, and anti-homophobic integration with very clear Marxist principles which seek to destroy a class-based, capitalist society and the inequities it creates. I, however, am puzzled by something I noticed in "Women and Revolution" which, though seemingly trivial, is I think very important to any Marxist publication and especially one which chooses to focus on the "woman question."
I noticed that throughout "Women and Revolution" you consistently use the term "mankind" as opposed to people or humankind. While I anticipate your defense of this practice to claim that language or terms are a mild bandaid (or not the true problem) rather than a solution to sexism, I have a few reasons why I think language is an important issue in battling sexism.
First, language is not solely a means of communication. It is also an expression of shared assumptions and transmits implicit values and behavioural models to those who use it. Therefore, to use "mankind" implies that people are men—this renders women invisible in a very literal and symbolic way and serves to perpetuate an androcentric society.
Secondly, since language both reflects and creates social norms and values; that is, "if it plays a crucial part in social organisation it is instrumental in maintaining male power..." (Deborah Cameron, Feminism and Linguistic Theory [1985]} and Marxists, in deconstructing sexism as an integral tool of capitalist oppression, must study its workings carefully. While, obviously, gender-neutral language will not eradicate sexism, it is a very important aspect in social transformation. To say something is not worth implementing because it does not provide complete success instantly, is like saying that since international expansion is integral to a successful Marxist revolution, it is not worth starting a movement or mobilization in one country.
Finally, if indeed "mankind" means everyone and language or terms are trivial, then why all the resistance to changing it? If you were to substitute "womankind" for "mankind" or "she" for "he," your readers would assume you meant only women and would (with reason) question your motives. If it is truly not a "big deal," then why the insistence on continuing a practice which perpetuates sexist and androcentric images and values?
While I understand your organisation's focus is class-based, I assume, by your journal "Women and Revolution" as well as your anti-sexist stance in all your activities, that eradicating sexism both as a special oppression and as a tool and product of capitalism is an important issue for you. As a result, considering my argument outlined above, I urge you to contemplate your use of the term "mankind" and the larger issue of language in general.
Sincerely, Jasmine C.
Vancouver, British Columbia 27 August 1994
Dear Jasmine,
Thank you for your interesting letter to Women and Revolution forwarded here by my colleagues in New York. I assure you, political debates about language are not trivial. We share an understanding that opposition to all forms of oppression is integral to the Marxist program which indeed seeks to destroy "class-based capitalist society and the inequities it creates." And that is the framework in which I will address your concerns about W&R's use of language, especially words like "mankind."
It's true that changing language is not a "solution to sexism." It's not even a "mild bandaid." But this is not why we oppose "political linguistics." Rather, the sustained effort by feminist linguists to change language with the aim of partially or wholly addressing social inequities, embodies a political program that is counterposed to the necessary social struggle against social, racial and sexual oppression. It is based on the false premise that by changing how people speak, we can change how they act. This is idealism: proceeding from what is in people's heads, their ideas and the language in which they express those ideas, rather than the social reality that creates and conditions the ideas. As Karl Marx said, "'Liberation' is an historical and not a mental act."
Language mirrors social reality and is a vehicle for communicating ideas, a powerful instrument of human culture. It can as easily convey a liberating revolutionary program as a reactionary one. But language doesn't create social reality, or as you say, "social norms and values."
We disagree with Deborah Cameron that language is instrumental in maintaining male power, and with Dale Spender, another feminist linguist, that language causes women's oppression. Women's oppression is deeply rooted in the institution of the family, economic unit and guardian of private property in capitalist society. It's really not a matter of words and ideas and language. It is capitalist exploitation and private property that are central to the maintenance of women's oppression. Our struggle as communists is to transform that social reality through proletarian socialist revolution.
That said, I agree that language can have a political program. Two examples will illustrate this. When anti-abortion terrorists hurl words like "baby killer" at women seeking abortions and the doctors performing them, this is an action program for murder which is being carried out. Racist epithets and code words for terror against blacks, Asians and Jews can incite pogroms and lynching. But stopping that race-terror is not a matter of linguistics but of mobilizing the integrated working class in action to stop the Klan and Nazi fascists.
Until 1977 we didn't use "gay" to refer to homosexuals, except in quotes, because we did not consider gay as a neutral or conventional synonym for homosexual. But we began using gay because, while homosexual was and still is an adequate term, it became impossible to refer to a whole range of cultural/political activities without use of the word gay. Yet it still does not refer to homosexuality in all contexts (ancient Rome, for example, or Iran where homosexuals are anything but gay). Nor does it describe a variety of sexual orientations and interests (e.g., lesbian women and bisexuals). American author Core Vidal's elegant solution was to speak of "same sex sex" which is both accurate and explicit. We explained our political rationale when we announced the style change in Workers Vanguard:
"The term was promoted by and gained public currency in the last decade due to the gay liberation movement. The general program of the gay liberation movement is not so much fighting for democratic rights for homosexuals as the affirmation of 'gay pride.' As a political rather than purely personal statement, 'gay pride' represents a sectoralist outlook fundamentally hostile to Marxism and detrimental to the struggle for a united mobilization of the working class and all defenders of democratic rights against discrimination and social oppression....
"Our resistance to using the term gay was also derived from opposition to New Left moralistic idealism in general, one aspect of which has been a tendency to reject the conventional terms relating to oppressed social groups in favor of new terms, often quite artificial in appearance (e.g., chairperson). As Marxists we oppose such termino-
conservative attitude toward conventional usage. Thus we used Negro rather than black until Negro generally acquired an obsolete or derogatory meaning and black became conventional usage. We still do not use the term 'Ms.,' a form of address closely associated with feminism and based on an amalgamation of traditional aristocratic-derived, sex-defined terminology (as opposed to the democratic 'citizen' or the communist 'comrade')."
—WV No. 168, 29 July 1977
We also don't use "choice" to refer to a woman's right to abortion. "Choice" is insisted upon by the petty-bourgeois feminists of CARAL in Canada, and NOW and NARAL in the U.S. They speak of "a woman's right to choose" and call out the well-worn slogan, "Control of our bodies, control of our lives." Posing the struggle for abortion rights as a matter of "choice" is the political program of the petty bourgeoisie. It intentionally masks reality. Abortion is a medical procedure. It is a democratic right, and should be available free and on demand. For teenagers and for poor, minority and working-class women the decision to have an abortion is an often painful economic or medical necessity. A "choice" perhaps, but not one freely made. The "pro-choice" feminists appeal to their well-heeled sisters in the bourgeoisie who in any case can always afford abortions. They call on Clinton's cops to defend the clinics in the U.S., while in Canada they also preach reliance on the state, especially if the attorney general is an NDP [New Democratic Party] social democrat. In the context of medicine-for-profit, these feminists will not fight for free abortion on demand. And nothing less than that will provide "choice" for the vast majority of working-class women.
Now to the thorny question of "mankind." In flipping through W&R I see a variety of words and expressions to denote the whole of homo sapiens, men and women: mankind, human beings, humanity, humankind, people, all people, women and men. "Mankind" is not inherently anti-woman. Its dictionary definition is "the human species...human beings in general." "Humankind" has a similar meaning: "the human race, mankind." By the way, in French "mankind" translates as "I'humanite," a feminine noun, while the German word is more akin to the English: "die Menschheit," also a feminine noun. As for "man," the Oxford English Dictionary's first definition is "a human being (irrespective of sex or age)" and their historical backup is this piquant quote from a 17th century writer: "The Lord had but one paire of men in Paradise"!
I'm sure you would be interested in the question of language in Japan. This is a very hierarchical country where women's oppression is profound and permeates every aspect of social life, including language. At an early age boys learn to add a particle at the end of a sentence to indicate their definite opinion, while girls are taught to add other particles which convey hesitation, deference and politeness, literally codifying and enforcing female inferiority and oppression. A Japanese grammar tells us that "Some of these particles are used exclusively by male or exclusively by female speakers, so they also function to mark the speaker's sex." This is an example of "conventional usage" that our comrades in Japan would avoid and in an egalitarian workers' Japan it would quickly disappear.
After the 1917 October Revolution the Russian language changed considerably, becoming both simpler (fewer letters in the alphabet, for example) and more egalitarian. In tsarist Russia, the familiar second person singular (you/ty) was used by the nobility towards servants, peasants and workers, but the latter were expected to respond in the more respectful mode of the second person plural (you/vy). This reactionary social convention was overthrown first in the army and in the factories. Leon Trotsky described the new, revolutionary order in the Red Army: "Of course, Red Army personnel may use the familiar form in speaking to one another as comrades, but precisely as comrades and only as comrades. In the Red Army a commanding officer may not use the familiar form to address a subordinate if the subordinate is expected to respond in the polite form. Otherwise an expression of inequality between persons would result, not an expression of subordination in the line of duty."
—Problems of Everyday Life
After the Stalinist political counterrevolution the bureaucracy fostered a recrudescence of the old tsarist forms of address. In his decisive analysis of Stalinism, The Revolution Betrayed, Trotsky voiced his outrage at the reemergence of this practice:
"How can they fail to remember that one of the most popular revolutionary slogans in tzarist Russia was the demand for the abolition of the use of the second person singular by bosses in addressing their subordinates!"
Contemporary feminism has had some impact on the language, but this has not translated into even token improvements for women in the realm of social equality, abortion rights, jobs, or an amelioration of the unremitting violence that so many women so routinely face. Even as the bourgeois media, employers and governments implement "gender-neutral" language, we are witnessing a real degradation of women's rights and lives. This is a product both of the capitalist economy utterly going down the tubes, and of the social counterrevolution in the ex-Soviet Union and Eastern Europe. And "gender-neutral" language can express reactionary, anti-woman bigotry. I heard a really horrifying example of this on the radio the other day. A professor at a provincial college is accused of sexual harassment. In the radio interview, he used quite "correct" language to say that women belong at home and blacks have low IQs!
I agree with your arguments against those who say that something is not worth implementing because it does not provide complete success instantly. Thus we struggle for abortion rights and mobilize ourselves and others at the besieged clinics. We fight for full democratic rights for gays and lesbians. We oppose the ruling class' anti-sex crusade, which hits women and gays most viciously. We seek to mobilize the multiracial working class to struggle against the racist immigration laws. We've organized numerous integrated working-class actions which have stopped the fascists from marching. In all the battles in defense of workers and the oppressed, we aim to lay bare the inner workings of capitalism and to link such struggles to the necessity for the working class to take power in its own name. That's when we can begin to lay the material basis for the true liberation of women and all humanity.
Communist greetings,
Miriam McDonald
for Women and Revolution
Markin comment:
On a day when I am featuring George Orwells's "Politics and the English Language" the following article dealing with the specifics of current politcal language usage (1995, but still appropriate today)seems timely.
Markin comment:
The following is an article from the Spring 1995 issue of "Women and Revolution" that may have some historical interest for old "new leftists", perhaps, and well as for younger militants interested in various cultural and social questions that intersect the class struggle. Or for those just interested in a Marxist position on a series of social questions that are thrust upon us by the vagaries of bourgeois society. I will be posting more such articles from the back issues of "Women and Revolution" during Women's History Month and periodically throughout the year.
*****************
On Language and Liberation
We print below an excerpted exchange between a reader of Women and Revolution and a member of our editorial board.
Montreal, Quebec [undated, received July 1994]
To whom it may concern,
As a recently new reader of the Spartacist League's journal "Workers Vanguard" as well as the journal (of the Women's League of the SL), "Women and Revolution," I am very inspired, encouraged, and impressed with your organisation's anti-racist, anti-sexist, and anti-homophobic integration with very clear Marxist principles which seek to destroy a class-based, capitalist society and the inequities it creates. I, however, am puzzled by something I noticed in "Women and Revolution" which, though seemingly trivial, is I think very important to any Marxist publication and especially one which chooses to focus on the "woman question."
I noticed that throughout "Women and Revolution" you consistently use the term "mankind" as opposed to people or humankind. While I anticipate your defense of this practice to claim that language or terms are a mild bandaid (or not the true problem) rather than a solution to sexism, I have a few reasons why I think language is an important issue in battling sexism.
First, language is not solely a means of communication. It is also an expression of shared assumptions and transmits implicit values and behavioural models to those who use it. Therefore, to use "mankind" implies that people are men—this renders women invisible in a very literal and symbolic way and serves to perpetuate an androcentric society.
Secondly, since language both reflects and creates social norms and values; that is, "if it plays a crucial part in social organisation it is instrumental in maintaining male power..." (Deborah Cameron, Feminism and Linguistic Theory [1985]} and Marxists, in deconstructing sexism as an integral tool of capitalist oppression, must study its workings carefully. While, obviously, gender-neutral language will not eradicate sexism, it is a very important aspect in social transformation. To say something is not worth implementing because it does not provide complete success instantly, is like saying that since international expansion is integral to a successful Marxist revolution, it is not worth starting a movement or mobilization in one country.
Finally, if indeed "mankind" means everyone and language or terms are trivial, then why all the resistance to changing it? If you were to substitute "womankind" for "mankind" or "she" for "he," your readers would assume you meant only women and would (with reason) question your motives. If it is truly not a "big deal," then why the insistence on continuing a practice which perpetuates sexist and androcentric images and values?
While I understand your organisation's focus is class-based, I assume, by your journal "Women and Revolution" as well as your anti-sexist stance in all your activities, that eradicating sexism both as a special oppression and as a tool and product of capitalism is an important issue for you. As a result, considering my argument outlined above, I urge you to contemplate your use of the term "mankind" and the larger issue of language in general.
Sincerely, Jasmine C.
Vancouver, British Columbia 27 August 1994
Dear Jasmine,
Thank you for your interesting letter to Women and Revolution forwarded here by my colleagues in New York. I assure you, political debates about language are not trivial. We share an understanding that opposition to all forms of oppression is integral to the Marxist program which indeed seeks to destroy "class-based capitalist society and the inequities it creates." And that is the framework in which I will address your concerns about W&R's use of language, especially words like "mankind."
It's true that changing language is not a "solution to sexism." It's not even a "mild bandaid." But this is not why we oppose "political linguistics." Rather, the sustained effort by feminist linguists to change language with the aim of partially or wholly addressing social inequities, embodies a political program that is counterposed to the necessary social struggle against social, racial and sexual oppression. It is based on the false premise that by changing how people speak, we can change how they act. This is idealism: proceeding from what is in people's heads, their ideas and the language in which they express those ideas, rather than the social reality that creates and conditions the ideas. As Karl Marx said, "'Liberation' is an historical and not a mental act."
Language mirrors social reality and is a vehicle for communicating ideas, a powerful instrument of human culture. It can as easily convey a liberating revolutionary program as a reactionary one. But language doesn't create social reality, or as you say, "social norms and values."
We disagree with Deborah Cameron that language is instrumental in maintaining male power, and with Dale Spender, another feminist linguist, that language causes women's oppression. Women's oppression is deeply rooted in the institution of the family, economic unit and guardian of private property in capitalist society. It's really not a matter of words and ideas and language. It is capitalist exploitation and private property that are central to the maintenance of women's oppression. Our struggle as communists is to transform that social reality through proletarian socialist revolution.
That said, I agree that language can have a political program. Two examples will illustrate this. When anti-abortion terrorists hurl words like "baby killer" at women seeking abortions and the doctors performing them, this is an action program for murder which is being carried out. Racist epithets and code words for terror against blacks, Asians and Jews can incite pogroms and lynching. But stopping that race-terror is not a matter of linguistics but of mobilizing the integrated working class in action to stop the Klan and Nazi fascists.
Until 1977 we didn't use "gay" to refer to homosexuals, except in quotes, because we did not consider gay as a neutral or conventional synonym for homosexual. But we began using gay because, while homosexual was and still is an adequate term, it became impossible to refer to a whole range of cultural/political activities without use of the word gay. Yet it still does not refer to homosexuality in all contexts (ancient Rome, for example, or Iran where homosexuals are anything but gay). Nor does it describe a variety of sexual orientations and interests (e.g., lesbian women and bisexuals). American author Core Vidal's elegant solution was to speak of "same sex sex" which is both accurate and explicit. We explained our political rationale when we announced the style change in Workers Vanguard:
"The term was promoted by and gained public currency in the last decade due to the gay liberation movement. The general program of the gay liberation movement is not so much fighting for democratic rights for homosexuals as the affirmation of 'gay pride.' As a political rather than purely personal statement, 'gay pride' represents a sectoralist outlook fundamentally hostile to Marxism and detrimental to the struggle for a united mobilization of the working class and all defenders of democratic rights against discrimination and social oppression....
"Our resistance to using the term gay was also derived from opposition to New Left moralistic idealism in general, one aspect of which has been a tendency to reject the conventional terms relating to oppressed social groups in favor of new terms, often quite artificial in appearance (e.g., chairperson). As Marxists we oppose such termino-
conservative attitude toward conventional usage. Thus we used Negro rather than black until Negro generally acquired an obsolete or derogatory meaning and black became conventional usage. We still do not use the term 'Ms.,' a form of address closely associated with feminism and based on an amalgamation of traditional aristocratic-derived, sex-defined terminology (as opposed to the democratic 'citizen' or the communist 'comrade')."
—WV No. 168, 29 July 1977
We also don't use "choice" to refer to a woman's right to abortion. "Choice" is insisted upon by the petty-bourgeois feminists of CARAL in Canada, and NOW and NARAL in the U.S. They speak of "a woman's right to choose" and call out the well-worn slogan, "Control of our bodies, control of our lives." Posing the struggle for abortion rights as a matter of "choice" is the political program of the petty bourgeoisie. It intentionally masks reality. Abortion is a medical procedure. It is a democratic right, and should be available free and on demand. For teenagers and for poor, minority and working-class women the decision to have an abortion is an often painful economic or medical necessity. A "choice" perhaps, but not one freely made. The "pro-choice" feminists appeal to their well-heeled sisters in the bourgeoisie who in any case can always afford abortions. They call on Clinton's cops to defend the clinics in the U.S., while in Canada they also preach reliance on the state, especially if the attorney general is an NDP [New Democratic Party] social democrat. In the context of medicine-for-profit, these feminists will not fight for free abortion on demand. And nothing less than that will provide "choice" for the vast majority of working-class women.
Now to the thorny question of "mankind." In flipping through W&R I see a variety of words and expressions to denote the whole of homo sapiens, men and women: mankind, human beings, humanity, humankind, people, all people, women and men. "Mankind" is not inherently anti-woman. Its dictionary definition is "the human species...human beings in general." "Humankind" has a similar meaning: "the human race, mankind." By the way, in French "mankind" translates as "I'humanite," a feminine noun, while the German word is more akin to the English: "die Menschheit," also a feminine noun. As for "man," the Oxford English Dictionary's first definition is "a human being (irrespective of sex or age)" and their historical backup is this piquant quote from a 17th century writer: "The Lord had but one paire of men in Paradise"!
I'm sure you would be interested in the question of language in Japan. This is a very hierarchical country where women's oppression is profound and permeates every aspect of social life, including language. At an early age boys learn to add a particle at the end of a sentence to indicate their definite opinion, while girls are taught to add other particles which convey hesitation, deference and politeness, literally codifying and enforcing female inferiority and oppression. A Japanese grammar tells us that "Some of these particles are used exclusively by male or exclusively by female speakers, so they also function to mark the speaker's sex." This is an example of "conventional usage" that our comrades in Japan would avoid and in an egalitarian workers' Japan it would quickly disappear.
After the 1917 October Revolution the Russian language changed considerably, becoming both simpler (fewer letters in the alphabet, for example) and more egalitarian. In tsarist Russia, the familiar second person singular (you/ty) was used by the nobility towards servants, peasants and workers, but the latter were expected to respond in the more respectful mode of the second person plural (you/vy). This reactionary social convention was overthrown first in the army and in the factories. Leon Trotsky described the new, revolutionary order in the Red Army: "Of course, Red Army personnel may use the familiar form in speaking to one another as comrades, but precisely as comrades and only as comrades. In the Red Army a commanding officer may not use the familiar form to address a subordinate if the subordinate is expected to respond in the polite form. Otherwise an expression of inequality between persons would result, not an expression of subordination in the line of duty."
—Problems of Everyday Life
After the Stalinist political counterrevolution the bureaucracy fostered a recrudescence of the old tsarist forms of address. In his decisive analysis of Stalinism, The Revolution Betrayed, Trotsky voiced his outrage at the reemergence of this practice:
"How can they fail to remember that one of the most popular revolutionary slogans in tzarist Russia was the demand for the abolition of the use of the second person singular by bosses in addressing their subordinates!"
Contemporary feminism has had some impact on the language, but this has not translated into even token improvements for women in the realm of social equality, abortion rights, jobs, or an amelioration of the unremitting violence that so many women so routinely face. Even as the bourgeois media, employers and governments implement "gender-neutral" language, we are witnessing a real degradation of women's rights and lives. This is a product both of the capitalist economy utterly going down the tubes, and of the social counterrevolution in the ex-Soviet Union and Eastern Europe. And "gender-neutral" language can express reactionary, anti-woman bigotry. I heard a really horrifying example of this on the radio the other day. A professor at a provincial college is accused of sexual harassment. In the radio interview, he used quite "correct" language to say that women belong at home and blacks have low IQs!
I agree with your arguments against those who say that something is not worth implementing because it does not provide complete success instantly. Thus we struggle for abortion rights and mobilize ourselves and others at the besieged clinics. We fight for full democratic rights for gays and lesbians. We oppose the ruling class' anti-sex crusade, which hits women and gays most viciously. We seek to mobilize the multiracial working class to struggle against the racist immigration laws. We've organized numerous integrated working-class actions which have stopped the fascists from marching. In all the battles in defense of workers and the oppressed, we aim to lay bare the inner workings of capitalism and to link such struggles to the necessity for the working class to take power in its own name. That's when we can begin to lay the material basis for the true liberation of women and all humanity.
Communist greetings,
Miriam McDonald
for Women and Revolution
*From "The Rag Blog"-Vietnam and Afghanistan : Still Waist Deep in the Big Muddy
Click on the headline to link to a "The Rag Blog" entry-"Vietnam and Afghanistan : Still Waist Deep in the Big Muddy."
Markin comment:
Aside from the obvious slogan- "Troops Out Of Afghanistan!"- a reprieve of Pete Seeger's, "Waist Deep In The Big Muddy", seems in order today. The 'reasoning' from Vietnam still is in play in the American imperial state, and in its commanding heights.
Waist Deep In The Big Muddy
by Pete Seeger 1963, planned for the Smothers Brothers Comedy Hour in 1967 but CBS objected to the blacklisted Seeger making obvious references to the"big fool" in the White House, finally sung by Seeger on the Comedy Hour in 1968 as the finale in a medley of anti-war songs
It was back in nineteen forty-two,
I was a member of a good platoon.
We were on maneuvers in-a Loozianna,
One night by the light of the moon.
The captain told us to ford a river,
That's how it all begun.
We were -- knee deep in the Big Muddy,
But the big fool said to push on.
The Sergeant said, "Sir, are you sure,
This is the best way back to the base?"
"Sergeant, go on! I forded this river
'Bout a mile above this place.
It'll be a little soggy but just keep slogging.
We'll soon be on dry ground."
We were -- waist deep in the Big Muddy
And the big fool said to push on.
The Sergeant said, "Sir, with all this equipment
No man will be able to swim."
"Sergeant, don't be a Nervous Nellie,"
The Captain said to him.
"All we need is a little determination;
Men, follow me, I'll lead on."
We were -- neck deep in the Big Muddy
And the big fool said to push on.
All at once, the moon clouded over,
We heard a gurgling cry.
A few seconds later, the captain's helmet
Was all that floated by.
The Sergeant said, "Turn around men!
I'm in charge from now on."
And we just made it out of the Big Muddy
With the captain dead and gone.
We stripped and dived and found his body
Stuck in the old quicksand.
I guess he didn't know that the water was deeper
Than the place he'd once before been.
Another stream had joined the Big Muddy
'Bout a half mile from where we'd gone.
We were lucky to escape from the Big Muddy
When the big fool said to push on.
Well, I'm not going to point any moral;
I'll leave that for yourself
Maybe you're still walking, you're still talking
You'd like to keep your health.
But every time I read the papers
That old feeling comes on;
We're -- waist deep in the Big Muddy
And the big fool says to push on.
Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep! Neck deep! Soon even a
Tall man'll be over his head, we're
Waist deep in the Big Muddy!
And the big fool says to push on!
Words and music by Pete Seeger (1967)
TRO (c) 1967 Melody Trails, Inc. New York, NY
Markin comment:
Aside from the obvious slogan- "Troops Out Of Afghanistan!"- a reprieve of Pete Seeger's, "Waist Deep In The Big Muddy", seems in order today. The 'reasoning' from Vietnam still is in play in the American imperial state, and in its commanding heights.
Waist Deep In The Big Muddy
by Pete Seeger 1963, planned for the Smothers Brothers Comedy Hour in 1967 but CBS objected to the blacklisted Seeger making obvious references to the"big fool" in the White House, finally sung by Seeger on the Comedy Hour in 1968 as the finale in a medley of anti-war songs
It was back in nineteen forty-two,
I was a member of a good platoon.
We were on maneuvers in-a Loozianna,
One night by the light of the moon.
The captain told us to ford a river,
That's how it all begun.
We were -- knee deep in the Big Muddy,
But the big fool said to push on.
The Sergeant said, "Sir, are you sure,
This is the best way back to the base?"
"Sergeant, go on! I forded this river
'Bout a mile above this place.
It'll be a little soggy but just keep slogging.
We'll soon be on dry ground."
We were -- waist deep in the Big Muddy
And the big fool said to push on.
The Sergeant said, "Sir, with all this equipment
No man will be able to swim."
"Sergeant, don't be a Nervous Nellie,"
The Captain said to him.
"All we need is a little determination;
Men, follow me, I'll lead on."
We were -- neck deep in the Big Muddy
And the big fool said to push on.
All at once, the moon clouded over,
We heard a gurgling cry.
A few seconds later, the captain's helmet
Was all that floated by.
The Sergeant said, "Turn around men!
I'm in charge from now on."
And we just made it out of the Big Muddy
With the captain dead and gone.
We stripped and dived and found his body
Stuck in the old quicksand.
I guess he didn't know that the water was deeper
Than the place he'd once before been.
Another stream had joined the Big Muddy
'Bout a half mile from where we'd gone.
We were lucky to escape from the Big Muddy
When the big fool said to push on.
Well, I'm not going to point any moral;
I'll leave that for yourself
Maybe you're still walking, you're still talking
You'd like to keep your health.
But every time I read the papers
That old feeling comes on;
We're -- waist deep in the Big Muddy
And the big fool says to push on.
Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep in the Big Muddy
And the big fool says to push on.
Waist deep! Neck deep! Soon even a
Tall man'll be over his head, we're
Waist deep in the Big Muddy!
And the big fool says to push on!
Words and music by Pete Seeger (1967)
TRO (c) 1967 Melody Trails, Inc. New York, NY
*On Using The "C" Word- "C-------t" In Public- A Note
Click on the headline to link a website that features George Orwell's "Politics and the English Language."
Markin comment:
Politics, including revolutionary politics, has its up and down moments; this one is an up one and moreover is also a “teachable” moment to boot. Recently I received a message from a young leftist militant, or at least that is how I would categorize him politically, asking about the various terms used in our left-wing movement to define sundry political types and trends. He was, not surprisingly, when one thinks about it confused over the common use and interchangeability (whoa!), including by this writer, of terms like left-wing militant, leftist, socialist , revolutionary socialist, workers party, revolutionary labor party, workers government, dictatorship of the proletariat, Bolshevik, and, the holy of holies, Communist, the “C” word of the headline.
Well, frankly, part of the interchangeability is to vary up the usage in an article or series of articles, depending, sometimes, on the subject and to whom the entry is directed. I will, however, let the old socialist writer George Orwell take me to task on this one. For those not familiar with Orwell’s work, “Politics and the English Language”, I have linked that gem above. Now Orwell had many political faults, including that funny little quirk of a touching faith in British imperialism in the early Cold War period of the 1940s shortly before his death in 1949, but he had it exactly right about the virtues of political precision. I can only say, as I have on other occasions, that I have honored that wisdom in the breech more than in the observance on more occasions that I care to recount.
But to address the young militant leftist’s point more fully I will try to draw some differences in terminology starting with the categorization of "militant leftist". I would say today that political designation would include someone against the American imperial wars in Iraq and Afghanistan and other imperial adventures and willing to go into the streets on the question. Someone also, perhaps, vaguely disenchanted with international capitalism but with no particular strategy to change it beyond some “tinkering” with the system. In short, the predicament of the vast majority of those, especially of the young, who are looking for a way out of the impasse posed by capitalism. Today, one may wear the badge “militant leftist” with some honor. Whether that will remain true in the future will depend on not yet known circumstances.
Beyond that general political characterization in order to see whether our fellows fall on “the side of the angels” or not, there is something of real and defining history in the usage of certain terms in the socialist movement. Before World War I, and the overwhelming betrayal by many of the European Social Democratic parties in supporting their own country’s capitalist government's war efforts, that term was in general usage and highly regarded. Even then, as factions developed within these “party of the whole class” organizations, reformist and revolutionary socialist wings were apparent. After the Russian Revolution of 1917 the clear defining line was between the now committed reformist Social Democrats and the equally committed revolutionary Communists. That distinction reflected the Bolshevik “hard” position that it was necessary to overthrow the capitalist governments of the world and create new working class institutions that would serve to put society on the road to socialism. I submit that that distinction is still a good approximation for the differences between ostensibly socialist organizations today.
I want to give special attention to the terms revolutionary labor party, workers party, dictatorship of the proletariat, and workers government, terms that are strewn all over many of the entries in this space. These expressions are terms of art in the revolutionary movement so some clarity is necessary. When I propagandize for a workers party my idea is not some generic version of the old Labor Party in Great Britain that serves at the sufferance of the Queen but of a revolutionary labor party based on a transitional program of demands that require a socialist overturn of society to be implemented. And that overturn is reflected in the idea of a workers government. That, my friends, is nothing less than the old Marxist idea of the “dictatorship of the proletariat.” –the first tentative step to the socialist stage of development and then to communism, the classless society. Now if this information does not help let me put it this way. If I have a preference as to what I want to be called, politically, and would be happy to have etched on my grave marker then inscribe the “C” word please. And you should be too. In the meantime I will,and hopefully you will also, continue to fight for our communist future-the classless society.
Markin comment:
Politics, including revolutionary politics, has its up and down moments; this one is an up one and moreover is also a “teachable” moment to boot. Recently I received a message from a young leftist militant, or at least that is how I would categorize him politically, asking about the various terms used in our left-wing movement to define sundry political types and trends. He was, not surprisingly, when one thinks about it confused over the common use and interchangeability (whoa!), including by this writer, of terms like left-wing militant, leftist, socialist , revolutionary socialist, workers party, revolutionary labor party, workers government, dictatorship of the proletariat, Bolshevik, and, the holy of holies, Communist, the “C” word of the headline.
Well, frankly, part of the interchangeability is to vary up the usage in an article or series of articles, depending, sometimes, on the subject and to whom the entry is directed. I will, however, let the old socialist writer George Orwell take me to task on this one. For those not familiar with Orwell’s work, “Politics and the English Language”, I have linked that gem above. Now Orwell had many political faults, including that funny little quirk of a touching faith in British imperialism in the early Cold War period of the 1940s shortly before his death in 1949, but he had it exactly right about the virtues of political precision. I can only say, as I have on other occasions, that I have honored that wisdom in the breech more than in the observance on more occasions that I care to recount.
But to address the young militant leftist’s point more fully I will try to draw some differences in terminology starting with the categorization of "militant leftist". I would say today that political designation would include someone against the American imperial wars in Iraq and Afghanistan and other imperial adventures and willing to go into the streets on the question. Someone also, perhaps, vaguely disenchanted with international capitalism but with no particular strategy to change it beyond some “tinkering” with the system. In short, the predicament of the vast majority of those, especially of the young, who are looking for a way out of the impasse posed by capitalism. Today, one may wear the badge “militant leftist” with some honor. Whether that will remain true in the future will depend on not yet known circumstances.
Beyond that general political characterization in order to see whether our fellows fall on “the side of the angels” or not, there is something of real and defining history in the usage of certain terms in the socialist movement. Before World War I, and the overwhelming betrayal by many of the European Social Democratic parties in supporting their own country’s capitalist government's war efforts, that term was in general usage and highly regarded. Even then, as factions developed within these “party of the whole class” organizations, reformist and revolutionary socialist wings were apparent. After the Russian Revolution of 1917 the clear defining line was between the now committed reformist Social Democrats and the equally committed revolutionary Communists. That distinction reflected the Bolshevik “hard” position that it was necessary to overthrow the capitalist governments of the world and create new working class institutions that would serve to put society on the road to socialism. I submit that that distinction is still a good approximation for the differences between ostensibly socialist organizations today.
I want to give special attention to the terms revolutionary labor party, workers party, dictatorship of the proletariat, and workers government, terms that are strewn all over many of the entries in this space. These expressions are terms of art in the revolutionary movement so some clarity is necessary. When I propagandize for a workers party my idea is not some generic version of the old Labor Party in Great Britain that serves at the sufferance of the Queen but of a revolutionary labor party based on a transitional program of demands that require a socialist overturn of society to be implemented. And that overturn is reflected in the idea of a workers government. That, my friends, is nothing less than the old Marxist idea of the “dictatorship of the proletariat.” –the first tentative step to the socialist stage of development and then to communism, the classless society. Now if this information does not help let me put it this way. If I have a preference as to what I want to be called, politically, and would be happy to have etched on my grave marker then inscribe the “C” word please. And you should be too. In the meantime I will,and hopefully you will also, continue to fight for our communist future-the classless society.
Wednesday, May 26, 2010
*Playwright's Corner- Clifford Odets' "Waiting For Lefty"
Click on the headline to link to a "Wikipedia" entry for the American playwright Clifford Odets.
Book/Play Review
Waiting For Lefty, and other plays, Clifford Odets, Random House, New York, 1935
There has always been a place for didactic political plays, like the one under review here, “Waiting For Lefty”, within the left-wing movement. Such plays have value both as a means to express certain plebeian cultural values that are not expressed through mainstream bourgeois cultural institutions and for purely propaganda purposes to get the “message” out to the sometimes illiterate, sometimes just barely literate, or sometimes merely recalcitrant masses. These are both honorable and acceptable means in order to create an “alternative” cultural expression looking forward to the new culture of the new communist society.
Moreover, there has been no lack of those cultural workers, including playwrights and actors, who, while not plebes themselves, have readily come over to our side, at least for a while. This movement toward the plebes is episodic but takes a big leap forward especially in times of general social turmoil like the period of the Great Depression in the 1930’s and in the social movements of the 1960s. That is the case with the playwright under review, Clifford Odets, and the cultural organization that initially sponsored his works, The Theater Guild of New York, in the 1930s.
Put a collectivist spirit in the air as a result of serious class struggles for union recognition in some a massive strike wave in 1934, a turn by the Communist International toward the popular front and alliance with previously ignored or despised bourgeois and petty bourgeois elements, some hunger actors and related cultural workers, AND the bright lights of New York and you have the Theater Guild. Its illustrious personal included many young performers who would go on to, if not honorable theater careers, then long ones like Lee J. Cobb and Elia Kazan who made appearances in Clifford Odets works.
As to “Waiting For Lefty” it certainly is a period piece of those times. The subject, a pending strike of taxi cab workers, and how various characters came to class consciousness, or at least of consciousness of the need to struggle against the bosses is pretty straight forward. Except, that the Lefty of the title, a known militant worker from whom his fellows had previously taken their political lead is no where to be found. Or rather is, in the end, found dead, in some back alley from a boss’s thug’s bullet. Lefty may have been the catalyst for action, for developing political awareness, but the plebes are on their own now. The class struggle continues. Definitely, as intended, an uplift kind of play that could use a revival today. If not of the play itself then of the need for class struggle theme behind it.
Note: I would be remiss if I did not mention that Clifford Odets, and a number of other members of the Theater Guild troupe, most infamously Elia Kazan and Lee J. Cobb, when the sunny days of the 1930s struggles passed and the hard Cold War days of the “red scare” came in the 1950s had no problem naming names of those whom they were asked to identify as communists or, more probably, fellow travelers by various Washington committees. Were they, like some of the characters in Odets’ “Till The Die I Die” (also in this book), tortured by some Gestapo-like fiends into submission for that information? Or were they threatened with some other more psychological abuse and being merely mortal could not stand the heat. No, they “sang” just to keep their jobs. Others like Dalton Trumbo, the Hollywood Ten and Howard Fast, brought their toothbrushes with them to the committees and took the jail time instead. While there was (and is) a huge gap between the politics of these Stalinists and ours we honor them despite their politics. For Odets, Kazan and Cobbs we have nothing but scorn.
Book/Play Review
Waiting For Lefty, and other plays, Clifford Odets, Random House, New York, 1935
There has always been a place for didactic political plays, like the one under review here, “Waiting For Lefty”, within the left-wing movement. Such plays have value both as a means to express certain plebeian cultural values that are not expressed through mainstream bourgeois cultural institutions and for purely propaganda purposes to get the “message” out to the sometimes illiterate, sometimes just barely literate, or sometimes merely recalcitrant masses. These are both honorable and acceptable means in order to create an “alternative” cultural expression looking forward to the new culture of the new communist society.
Moreover, there has been no lack of those cultural workers, including playwrights and actors, who, while not plebes themselves, have readily come over to our side, at least for a while. This movement toward the plebes is episodic but takes a big leap forward especially in times of general social turmoil like the period of the Great Depression in the 1930’s and in the social movements of the 1960s. That is the case with the playwright under review, Clifford Odets, and the cultural organization that initially sponsored his works, The Theater Guild of New York, in the 1930s.
Put a collectivist spirit in the air as a result of serious class struggles for union recognition in some a massive strike wave in 1934, a turn by the Communist International toward the popular front and alliance with previously ignored or despised bourgeois and petty bourgeois elements, some hunger actors and related cultural workers, AND the bright lights of New York and you have the Theater Guild. Its illustrious personal included many young performers who would go on to, if not honorable theater careers, then long ones like Lee J. Cobb and Elia Kazan who made appearances in Clifford Odets works.
As to “Waiting For Lefty” it certainly is a period piece of those times. The subject, a pending strike of taxi cab workers, and how various characters came to class consciousness, or at least of consciousness of the need to struggle against the bosses is pretty straight forward. Except, that the Lefty of the title, a known militant worker from whom his fellows had previously taken their political lead is no where to be found. Or rather is, in the end, found dead, in some back alley from a boss’s thug’s bullet. Lefty may have been the catalyst for action, for developing political awareness, but the plebes are on their own now. The class struggle continues. Definitely, as intended, an uplift kind of play that could use a revival today. If not of the play itself then of the need for class struggle theme behind it.
Note: I would be remiss if I did not mention that Clifford Odets, and a number of other members of the Theater Guild troupe, most infamously Elia Kazan and Lee J. Cobb, when the sunny days of the 1930s struggles passed and the hard Cold War days of the “red scare” came in the 1950s had no problem naming names of those whom they were asked to identify as communists or, more probably, fellow travelers by various Washington committees. Were they, like some of the characters in Odets’ “Till The Die I Die” (also in this book), tortured by some Gestapo-like fiends into submission for that information? Or were they threatened with some other more psychological abuse and being merely mortal could not stand the heat. No, they “sang” just to keep their jobs. Others like Dalton Trumbo, the Hollywood Ten and Howard Fast, brought their toothbrushes with them to the committees and took the jail time instead. While there was (and is) a huge gap between the politics of these Stalinists and ours we honor them despite their politics. For Odets, Kazan and Cobbs we have nothing but scorn.
Tuesday, May 25, 2010
*The Latest From The "SteveLendmanBlog"-Obama's Gulf Commission: Distortion, Obstruction and Whitewash Assured - A Guest Commentary
Click on the headline to link to the latest from the "SteveLendmanBlog"-"Obama's Gulf Commission: Distortion, Obstruction and Whitewash Assured."
Markin comment:
This blog is indispensable for those who need hard information about the subjects of pressing subjects of the day. Moreover, brother Lendman covers material that I either don't know much about or don't want to deal with, especially the perfidies of bourgeois politics here in America (and in Israel). Thanks.
Markin comment:
This blog is indispensable for those who need hard information about the subjects of pressing subjects of the day. Moreover, brother Lendman covers material that I either don't know much about or don't want to deal with, especially the perfidies of bourgeois politics here in America (and in Israel). Thanks.
*The Latest From The National Jericho Movement- Free All Class War Prisoners!
Click on the headline to link to the latest from the "National Jericho Movement" Website- Free All Class War Prisoners!
*The Latest From The "Citizen Soldier" Website-A Guest Commentary
Click on the headline to link to a "Citizen Soldier" entry concerning the relationship between the working class and support for the American imperial adventures in Iraq and Afghanistan from those who are fighting those damn wars.
Subscribe to:
Posts (Atom)