Louis Proyect: The Unrepentant Marxist

November 21, 2014

The Business of “Art vs. Commerce” in Hollywood

Filed under: Counterpunch,Film — louisproyect @ 1:55 pm
Alejandro Iñárritu’s “Birdman” and Alex Ross Perry’s “Listen Up, Philip”

The Business of “Art vs. Commerce” in Hollywood

by LOUIS PROYECT

Starting around this time each year I try to catch up with the American narrative films that I anticipate my colleagues in New York Film Critics Online will be considering for awards at our yearly meeting in early December. Unlike those who get paid to review junk like “Horrible Bosses 2”, I write about films that my colleagues tend to ignore. As one fellow pointed out a couple of years ago, he never reviews documentaries because his readers do not go to see them.

For the most part, the films that I put on my list are those that are likely to make the final cut at the NYFCO meeting. These tend to be those that the New Yorker Magazine and other arbiters of middlebrow taste deem “intelligent” and “daring”. Inured as I am to such judgments, I see watching them more as a chore than anything else. All in all, it reminds me of the cramming I did in for high school geometry finals.

This week I made time in my busy schedule for “Birdman” and “Listen Up, Paul”, films that have main characters involved with making art. In “Birdman”, Michael Keaton plays the former star of the Birdman movies now in his sixties who is directing a Broadway play based on Raymond Carver’s short story collection “What We Talk About When We Talk About Love”. The eponymous antihero of “Listen Up, Paul” is a young novelist who develops a friendship with an older novelist clearly based on Philip Roth. With allusions to Raymond Carver and Phillip Roth, what could go wrong? Clearly we are miles ahead of “The Transformers” and “Pirates of the Caribbean” but when you start a thousand miles behind the marker set by a Stanley Kubrick or an Alfred Hitchcock, the prospects are guarded at best.

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Trailers for films under review:

November 8, 2014

Make a contribution to CounterPunch and start feeling better

Filed under: Counterpunch — louisproyect @ 5:03 pm

Screen shot 2014-11-08 at 12.02.16 PM

I am reproducing Jeff St. Clair’s letter below prepended with my own appeal.

As many of you know, I have been a regular contributor to CounterPunch for a while now for both the magazine and the website. It affords me to reach a much wider audience than I can with my own blog and puts me in some very good company covering the cultural front. My articles generally appear on the weekend edition next to David Yearsley’s and Charles Larson’s. While most people probably hone in on the current events type stuff, I put their articles on the front burners. Unlike just about every other outlet on the left wing of the Internet, CounterPunch has some truly amazing material on the arts, equal in my opinion to more specialized journals. For example, Yearsley’s latest examines the career of Johann Friedrich Reichardt, a contemporary of Mozart who attended Kant’s lectures as a teenager and became a committed foe of absolutism. Although I consider myself well-schooled on classical music, I had never heard of Reichardt. Where else would you find such an article? I hate to sound sectarian but surely not on ZNet.

Now I know that most of you, particularly you tenured professors, can easily afford to pony up $100 per year to help keep CounterPunch afloat. Think about it. That’s only $8 per month. I bet that about that much gets lost falling out of your pants and below your sofa cushions every month. That $100 would be scarcely missed by most of you but of enormous benefit to the left. So go ahead and do it. You’ll feel much better afterwards, a feeling that is hard to come by in these gloomy times.

Louis Proyect

—-

A Final Plea from CounterPunch Editor Jeffrey St. Clair

I don’t like begging for money. None of us at CounterPunch do. We understand that money is a weapon, invariably used against the poor and the defenseless, with vicious results. Begging for money is distasteful and degrading. But we are trapped by the very system that we are trying to break down. Until the glorious day comes when the system crashes, we need money in order to keep exposing the dire human toll exacted by the neoliberal policies that now rule much of the world.

CounterPunch is not based in a relatively enlightened nation like France, where the government subsidizes small and independent publications. We don’t get infusions of cash from Venezuela’s oil fields or Colorado’s marijuana trade. We don’t inundate you with ads. We don’t take money from big foundations with hidden agendas or political parties or even political sects. We depend on our readers and only our readers to keep us running. No one pulls our strings. Or calls our shots. We are only beholden to you. But that comes at a cost. Once a year our readers have to step up and shoulder part of the burden.

We are not asking for much. Our business manager Becky Grant keeps us on a trim, if not austere, budget. Let me lay it out for you: Our entire annual budget is around $360,000 a year. That’s what it costs to operate the website, publish CounterPunch magazine and CounterPunch Books. Editing and maintaining the website consumes 80 percent of our time, but generates no daily income. We offer it as a kind of commons. We want to keep access to the website free to all.

Donate Today!

Every month, hundreds of thousands of people access the CounterPunch site–most of them every day or two. Of course, if each of our online readers contributed only $10 we wouldn’t have to humiliate ourselves with another fund drive for five years. But we know that’s not the case. Many readers can’t even afford that much. Others simply won’t contribute. That places the burden on our core group of supporters, the many thousands of people across the world who identify themselves as “CounterPunchers.” This year more and more CounterPunchers are donating, but they’re donating smaller amounts than in the past. We know times are hard. We know that the recession has only evaporated for those in the top 1%.

But in recent weeks, two generous CounterPunchers have come forward to ease the burden a bit. They have offered to match any contribution of more than $100–and through our monthly donation option–you can get your $100 matched for as little as $10 per month. I urge you to please take advantage of this opportunity offer.

Please, use our brand new secure shopping cart to make a tax-deductible donation to CounterPunchor purchase a subscription our monthly magazine and a gift sub for someone or one of our explosive books. Show a little affection for subversion: consider an automated monthly donation. (We accept checks, credit cards, PayPal and cold-hard cash…)

Thank you,

Jeffrey St. Clair

PS: If you’ve already donated, we appreciate your support. For those that donated through the Postal Service, we will be mailing you a receipt soon.

To contribute by phone you can call Becky or Deva toll free at: 1-800-840-3683

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November 7, 2014

Interstellar

Filed under: Counterpunch,Film — louisproyect @ 8:22 pm

“Interstellar:” Sensationalism In Search of Sensibility

Lost in Space With Christopher Nolan

by LOUIS PROYECT

Regular readers of my film reviews are probably aware that my focus is on works that follow in the humanistic tradition of classics such as Satyajit Ray’s Apu trilogy or Akira Kurosawa’s “Seven Samurai”. As such, I generally have little reason to write about the typical Hollywood blockbuster except toward the end of the year when I have a responsibility as a member of New York Film Critics Online (NYFCO) to vote on exactly such films.

For NYFCO, something as crude as a Michael Bay movie would never pass muster. But like most film critic societies that are tied by umbilical cord to the Hollywood studios, there is a place at their table for something like “Gravity” that received best director and cinematography awards in 2013, even though it was nothing but Michael Bay adapted to the carriage trade.

Since I have a suspicion that Christopher Nolan’s “Interstellar” that is opening at theaters everywhere this week will have the same sort of middle-brow appeal as “Gravity”, I thought it was worth my time to attend a press screening a couple of days ago. Since the film was being screened on IMAX, the medium that Nolan considers optimum for the sort of thrills he seeks to impart, it would be my introduction to an experience that like 3D seeks to substitute sensationalism for sensibility.

As I sat before the immense screen at the AMC Lincoln Square being assaulted by the loudest sound system I had ever encountered in a theater, I was reminded that no amount of technology could replace an intelligent plot and character development. If there is anything that Christopher Nolan represents as a filmmaker, it is the belief that technology trumps just about everything else.

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Alternate trailer

October 31, 2014

Shooting the Arab Spring

Filed under: Counterpunch,Film — louisproyect @ 7:30 pm
Two Films: “Point and Shoot” and “Die Welt”

Shooting the Arab Spring

by LOUIS PROYECT

On December 17, 2010 Tunisian street vendor Tarek al-Tayeb Mohamed Bouazizi set himself on fire to protest police brutality and corruption. His martyrdom touched off the Arab Spring that affected just about every nation in the Middle East and North Africa, including Libya. This week I saw two films that should be of great interest to anybody with more than a passing interest in the ongoing struggle for human rights and social justice in the region, which means just about every CounterPunch reader. Both are sober accounts of the human costs of the struggle and a step back from the heady enthusiasm that was associated with the Arab Spring, a term that now requires some interrogation given the distressing conjuncture. Whether or not the term Arab Winter is more justified is open to argument. In any case, to help understand the ongoing process, “Point and Shoot”, a documentary about Matt VanDyke, an American who took up arms against Qaddafi, and “Die Welt”, a narrative film about Tunisia, are good places to start. Leaving aside their value as social commentary, these are two films of the highest achievement artistically and on the inside track for my nomination as best documentary and foreign film of 2014.

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Trailers for films under review:

 

October 24, 2014

Political Minimalism and “The Death of Klinghoffer”

Filed under: Counterpunch,music — louisproyect @ 5:21 pm

Night Chorus

When Rambo Met Klinghoffer on Club Med

Political Minimalism and “The Death of Klinghoffer”

by LOUIS PROYECT

Since I could not justify spending hundreds of dollars for tickets to “The Death of Klinghoffer” at the Met, I did the next best thing, which was to take out a CD from the Columbia University library. Something told me that the work was a bit off, so I wanted to reduce my financial liability to a minimum—the price of a subway ride back and forth from my old workplace.

My goal was to come to terms with the opera as an artistic/political statement rather than comment on Zionist attempts to squelch it, as ably reported by Bill Dobbs in CounterPunch.

I first became aware of composer John Adams back in the 1970s when I was always on the lookout for works by minimalist composers like Steve Reich and Philip Glass. Since Adams was touted at the time as the new kid on the block, I made sure to pick up a recording of “Shaker Loops” when it came out in 1987, a piece like most of Reich and Glass that was calculated to appeal to the average listener as a kind of ear candy. As the classical music counterpart to Kraftwerk or Brian Eno, minimalism was about as close as you could come to the pleasure of pre-20th century classical music, joined on these terms later on by the neo-romanticism of composers like Henry Górecki.

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October 21, 2014

Kill the Messenger

Filed under: Counterpunch,crime,Film,journalism,nicaragua — louisproyect @ 5:47 pm

Given its Hollywood provenance, I expected very little from “Kill the Messenger”, a film starring Jeremy Renner as reporter Gary Webb, who after exposing the CIA’s role in facilitating Nicaraguan contra planeloads of cocaine into the USA was martyred by forces more powerful than the modest San Jose newspaper where he worked, particularly the CIA and the Washington Post, a “newspaper of record” that had a long history of covering up for the CIA no matter the reputation it earned through the Woodward-Bernstein reporting on Watergate.

Given Renner’s role as an action hero in Katherine Bigelow’s awful “The Hurt Locker” and more recently as a successor to Matt Damon in “The Bourne Legacy”, I fully expected “Kill the Messenger” to figuratively inject steroids into Gary Webb and turn him into a combination of an investigative reporter and superspy. To the contrary, the film is restrained in its presentation of Webb and the forces aligned against him. The real drama is not of the conventional car chase variety but those that take place in the conference room of the San Jose Mercury News as Webb fights to defend his integrity from hostile forces outside the paper and a management all too willing to bend under the pressure.

The film was of particular interest to me since I had spent three years on the board of Tecnica, a volunteer technical aid project for Sandinista Nicaragua, until it succumbed to the same enemies that conspired against Webb: a reactionary presidency abetted by a Democratic Party that shared its ultimate goal—to crush a revolution—while differing only on the rhetoric put forward to achieve that goal. In the late 1980s the Washington Post was all too willing to stump for the contras despite its liberal reputation as Noam Chomsky reported in “Necessary Illusions”:

In April 1986, as the campaign to provide military aid to the contras was heating up, one of the [La Prensa] owners, Jaime Chamorro, wrote an Op-Ed in the Washington Post calling for aid to “those Nicaraguans who are fighting for democracy” (the standard reference to the U.S. proxy forces). In the weeks preceding the summer congressional votes, “a host of articles by five different La Prensa staff members denounced the Sandinistas in major newspapers throughout the United States,” John Spicer Nichols observes, including a series of Op-Eds signed by La Prensa editors in the Washington Post as they traveled to the United States under the auspices of front organizations of the North contra-funding network.

In fact the reputation of Bob Woodward was inflated to begin with, as I pointed out in a Swans article in 2005:

In 1987, Woodward wrote Veil: the Secret Wars of the CIA 1981-1987, a book that had all the trappings of investigative journalism — especially the title. It was based on the career of William Casey, the CIA director who was a key figure in Reagan’s illegal wars. Although the book was filled with all sorts of lurid revelations (Casey thought Reagan was lazy, the King of Saudi Arabia was a drunk, etc.), it really didn’t get to the heart of why these wars took place and, more importantly, how to stop them.

The book generated some controversy that must have been a painful reminder of the Janet Cooke fiasco. An interview with the dying William Casey, who supposedly “confessed” all his contra-arms dealings to Woodward, was filled with so many inconsistencies and vagueness that the book was widely discredited. In addition, Woodward was accused of withholding important information just as he has done more recently. In Congressional hearings, Lt. Col. Oliver North testified that Casey was in on the diversion of funds from the beginning. If Woodward had Casey’s confession months before North testified, it would have been a major scoop for the Post had he come forward as well as a powerful blow against the illegal conspiracies being hatched during the Reagan presidency. But he held back in order to coincide with the publication date of his book.

Turning to the film itself, it benefited—as all good films do—from a strong screenplay written by Peter Landesman based on Webb’s 1999 “Dark Alliance: The CIA, the Contras, and the Crack Cocaine Explosion”. Landesman was an investigative journalist before he became a screenwriter, including time spent in places like Pakistan and covering matters such the illegal arms trade and sex traffickers. So he knows the territory and brings a verisimilitude to the story that might have been absent if developed by an industry hack straight out of film school. Landesman’s co-writer Nick Schou also has a lot of credibility as the author of “Kill the Messenger: How the CIA’s Crack Cocaine Epidemic Destroyed Journalist Gary Webb”, a Nation Magazine book. Schou is the managing editor of Orange County Weekly, a sister publication of the Village Voice that has somehow retained some of the integrity that was present in this alternative weekly’s roots. So, all in all, the creative team behind “Kill the Messenger” are our kinds of people.

The film begins with Webb reporting on the abuse of drug dealer property seizure by California cops, something I am intimately familiar with since my cousin Joel lost the home in upstate New York that he built with his own hands after a police raid on his property uncovered about a hundred marijuana plants he’d grown for his personal use.

On the strength of his reporting, Webb is approached by the girlfriend of a Nicaraguan émigré drug-dealer who wants his help in exposing courtroom irregularities, including the role of his accuser, a big-time dealer who is a DEA informant notwithstanding the millions of dollars he made and continues to make in the drug trade.

With a grand jury transcript that accidentally came into her hands, Webb begins a search in Los Angeles and then proceeds to Nicaragua to uncover the conspiracy that allowed planeloads of cocaine to be exported to the USA in order to raise funds for the contra killing machine.

His articles on the “Dark Alliance” make him a celebrity overnight, earning him appearances on “Nightline” and profiles in major newspapers everywhere. His reporting also sends shockwaves through the Black community suffering from an epidemic of crack cocaine. Meetings are held in South Central LA and elsewhere demanding a satisfactory explanation from the CIA. Six months after the CIA director John Deutsch speaks to an angry audience at one of these meetings, Bill Clinton fires him.

This is the real drama of “Kill the Messenger”, recreating these events without the slightest degree of exaggeration. It is a film that you can recommend to friends and relatives for Chomskyian type insights while they are being entertained. I use the word entertained in the most conventional sense since this is a brilliantly acted, directed and plotted story. The direction is of some significance since Michael Cuesta most important work prior to the film was the HBO series Showtime that is a nasty piece of Islamophobia from what I have heard.

The third act of the film consists of a counterattack by the CIA and the Washington Post that ultimately destroys Webb’s reputation, his career and his life.

Throughout the entire film, Jeremy Renner turns in a bravura performance as a fairly conventional man put into utterly unconventional circumstances. Right now he is my pick for best actor, to go along with my pick of “Kill the Messenger” for best film of 2014.

In 1999, the same year that Webb’s “Dark Alliance: The CIA, the Contras, and the Crack Cocaine Explosion” came out, Jeff St. Clair and Alexander Cockburn published “Whiteout: The CIA, Drugs and the Press”, a book about Gary Webb’s crusade to tell the truth.

When Webb killed himself in 2004 after finally being worn down by the smears and the loss of income, Jeff and Alex wrote a memorial that read in part:

Trashed by the CIA’s Claque

Gary Webb: a Great Reporter

by ALEXANDER COCKBURN And JEFFREY ST. CLAIR, DECEMBER 13, 2004

News came over the weekend that Gary Webb had died Friday from a gunshot wound to the head in his home in Sacramento, California. It appears to have been self inflicted. The news saddens us, and rekindles our anger at the fouls libels he endured at the hands of his colleagues.

Webb was a great reporter whose best-known work exposed the CIA’S complicity in the import of cocaine into the United States in the 1980s, during the US onslaught on the Sandinista government of Nicaragua. His devastating series Dark Alliance, published in the San Jose Mercury News in 1996, provoked a series of wild attacks in the New York Times, Los Angeles Times and Washington Post, purporting to demolish Webb and exonerate the Agency.

The attacks were without merit, but the San Jose Mercury News buckled under the pressure and undercut its own reporter with a groveling and entirely unmerited retraction by its publisher. It was a very dark day in the history of American journalism. We described the entire saga in detail in our book Whiteout: the CIA, Drugs and the Press which sets the story in the larger context of the Agency’s complicity in drug smuggling since its founding.

Their article also reprises something that Webb wrote for CounterPunch in 2001. If there’s anything that makes me prouder than contributing to the same magazine that Gary Webb wrote for, I can’t think of it.

March 21, 2001 Silencing the Messenger Censoring NarcoNews by Gary Webb CounterPunch

Not long after I wrote a series for the San Jose Mercury News about a drug ring that had flooded South Central Los Angeles with cheap cocaine at the beginning of the crack explosion there, a strange thing happened to me. I was silenced.

This, believe it or not, came as something of a surprise to me. For 17 years I had been writing newspaper stories about grafters, crooked bankers, corrupt politicians and killers — and winning armloads of journalism awards for it. Some of my stories had convened grand juries and sent important people to well-deserved jail cells. Others ended up on 20/20, and later became a best-selling book (not written by me, unfortunately.) I started doing television news shows, speaking to college journalism classes and professional seminars. I had major papers bidding against each other to hire me.

So when I happened across information implicating an arm of the Central Intelligence Agency in the cocaine trade, I had no qualms about jumping onto it with both feet. What did I have to worry about? I was a newspaperman for a big city, take-no-prisoners newspaper. I had the First Amendment, a law firm, and a multi-million dollar corporation watching my back.

Besides, this story was a fucking outrage. Right-wing Latin American drug dealers were helping finance a CIA-run covert war in Nicaragua by selling tons of cocaine to the Crips and Bloods in LA, who were turning it into crack and spreading it through black neighborhoods nationwide. And all the available evidence pointed to the sickening conclusion that elements of the US government had known of it and had either tacitly encouraged it or, at a minimum, done absolutely nothing to stop it.

And that’s when this strange thing happened. The national news media, instead of using its brute strength to force the truth from our government, decided that its time would be better spent investigating me and my reporting. They kicked me around pretty good, I have to admit. (At one point, I was even accused of making movie deals with a crack dealer I’d written about. The DEA raided my film agent’s office looking for any scrap of paper to back up this lie and appeared disappointed when they came up emptyhanded.)

To this day, no one has ever been able to show me a single error of fact in anything I’ve written about this drug ring, which includes a 600-page book about the whole tragic mess. Indeed, most of what has come out since shows that my newspaper stories grossly underestimated the extent of our government’s knowledge, an error to which I readily confess. But, in the end, the facts didn’t really matter. What mattered was making the damned thing go away, shutting people up, and making anyone who demanded the truth appear to be a wacky conspiracy theorist. And it worked.

October 10, 2014

Why you should junk Netflix

Filed under: Counterpunch,Film — louisproyect @ 10:55 pm
And Start Watching Films with a Brain and a Heart

Why You Should Junk Netflix

by LOUIS PROYECT

If any further evidence of the uselessness of Netflix was needed, I refer you to the recently concluded four-picture deal with Adam Sandler, who is to movies as Danielle Steel and Ken Follett are to the novel. Did you ever forget to bring a book with you on a long airplane trip and stop in at an airline terminal to look for something to read? Wall to wall Steel and Follett, right? Bummer. That’s the same reaction I have been having lately looking for something to watch on Netflix. That is not to speak of the cheesy menu that basically propagates the same junk across “Popular on Netflix”, “Recently Added” and “New Releases”. A quick look there turns up “Jackass presents: Grandpa” and “The Coed and the Zombie Stoner”. Considering the fact that most Netflix subscribers have never heard of Kurosawa or Godard, it is quite a statement that “The Coed and the Zombie Stoner” only garnered one and a half stars, an inflated grade considering the fact that you can’t rate something as zero stars.

As a sop to the art house crowd, one supposes, Netflix is also releasing the sequel to “Crouching Tiger, Hidden Dragon”, a film that has all of the superficial characteristics of Hong Kong cinema but none of the substance, least of all the nimbleness of the classics like the 1978 “Drunken Master” starring Jackie Chan. Ang Lee should have stuck to what he knows best, tales of anomie in the aging yuppie milieu.

I just checked the archives of the Marxism list and discovered a message I wrote in 2006 recommending Netflix followed by an enthusiastic New York Times article that compared the service favorably to Blockbuster. That was true. Of course a sharp stick in the eye would have been better than Blockbuster as well.

read full article

trailers for films discussed in the article:

September 20, 2014

Sustain CounterPunch and sustain yourself

Filed under: anthropology,Counterpunch,indigenous — louisproyect @ 2:24 pm

Screen shot 2014-09-20 at 10.17.19 AM

This is as good a time as any to urge my readers to take out a subscription to CounterPunch magazine, especially since the latest issue contains an article I wrote about Indian gaming casinos that I am particularly proud of. It weaves together strands about the history of New York state’s indigenous population, popular culture and political economy in an effort to look at a controversial issue: do gaming casinos rob indigenous peoples of their identity?

There is some irony in me publishing this article in a magazine identified with the late Alexander Cockburn since I gave him hell about his support for casinos way back when (as I did over any number of questions, while remaining an ardent fan.)

When Jeff St. Clair suggested that I write such an article, I mentioned this to him but confessed that I could not even find the article that had sparked my pique (it doesn’t take very much.) In a fresh attempt this morning, I not only found it but realize now that it was much more nuanced than I appreciated at the time:

[from Alexander Cockburn, “Wild Justice,” New York Press, October 21-27, 1998]

The hunters crashed out of the resort at 5 am. and I read a few pages of Ward Churchill’s A Little Matter of Genocide. He certainly raises victim,hood to the level of political manifesto arguing that his purpose is to claim genocide for Indians on the grounds that genocide has given the Jews moral authority and he wants the same moral authority for his people. This seems to be a sad posture, claiming moral authority by dint of the percentage of your number wiped out, with 100 percent moral authority established presumably when you are 100 percent extinct.

Do the Mandan have greater moral stature than the Blackfeet because a white man’s disease, smallpox, wiped out a higher percentage of their number? Do some Indian tribes, surviving in higher numbers, like the Yurok, have diminished moral stature? Or is It just A matter of “Indians” without. regard to specific tribes or destinies? For Churchill it is. He takes a population estimate, pre-white conquest, of 15 million Indians, subtracts the 248,253 Indians counted in the 1890 census and sets down the balance in the ledger of genocide. Ergo, moral authority amid the ruins. Rhetorically, it’s hard to argue with him, because In Churchill’s moral arithmetic you somehow become a denier not only of the Indian but of the Jewish Holocaust as well.

Do Indians really need a holocaust to give them standing? Surely not. To be frank, they’ve done better with casinos. Is it not more uplifting to see Indians as gallant and savvy survivors than as victim-dead? They certainly ended up with more land than two other ethnic grows on the losing end, the Spanish and Africans in North America. It’s true that disease, evictions and cultural dislocation wrought a devastating toll. On the Plains there were massacres: Sand Creek, Washita, Marias River, Camp Grant, Wounded Knee. In these infamous events there were somewhere around 1260 Indians dead. Between 1789 and 1898 the U.S. Army records 1535 Indian fights, with estimates of Indian dead running anywhere from 3000 to 6000. On the other side, between 1789 and 1898 Indians killed maybe 7000, soldiers and civilians. Of course Churchill would disdain such calculations as obscene efforts to establish some sort of moral equivalence, which was certainly the intent of some of the white historians totting up the numbers and claiming that more Indians were killed in intertribal warfare on the Plains than by the white soldiers. There’s no need to haggle over moral equivalence. The whites were the latest of the arrivals on the scene and got every thing. But rather than tout genocide as the battle standard, It is surely better to see Indians as brilliant diplomat-warriors who stood off three major sets of white invaders for centuries. In the end, the true hero is Red Cloud, the warrior/diplomat, rather than Ian Frazier’s (and no doubt Churchill’s) hero, Crazy Horse. Surely this is a more bracing lesson for young Indians than the cover of Churchill’s book, being photographs of the dead at Wounded Knee, and a drunk Indian on Main St., Anywhere, USA. I say, Get over it.

We drove across the rest of Montana, up over the road to the Sun in Glacier National Park over the Lolo Paw, down through% Idaho and into the tolling wheatfields of eastern Washington, like the most kitsch of Soviet socialist realist posters; With a great red sun going down, a grain elevator and a tractor in the foreground (and, as it happened, a child murderer going down to lethal injection in Walla Walla prison, just the other side of the horizon), Down the Columbia, past Sam Hill’s strange museum, down through a couple of stops by Washington and Oregon cops who probably thought we were ferrying dope. Into Oregon City we came, in the ’64 New Yorker with 4000 miles on the odometer, which now stands at 150,324. Back, most surely, in late 90s civilization. Our hosts, Jeffrey St. Clair and Kimberly Willson-St. Clair, are moving house and had just boarded Sam the Newfoundland until new fences could be built. A chipper young woman at the Clackamass Pet Spa had quoted him $14 a day for Sam’s bed and board, with optional extras. Sam could get a “nature walk” through Oregon’s dwindling Douglas firs for $1.50 a day, a ‘snack and snuggle for another $4 a day, “Indoor play” for another $4, and “sunbath” with restoring oils for $2 and a birthday party for $8. If he had a cat, she told the bug-eyed Jeffrey; pussy could, at $4 a day, enjoy a “mock mouse hunt.” So much for frontier days. This is how the trail ends.

Before giving you a flavor of what I wrote, I want to emphasize why it is important to subscribe to the CounterPunch print edition. It, along with yearly fund drives, is a major source of funding for one of America’s leading left institutions. I should probably have said global since the webzine has readers from every corner of the globe as I discovered after a very well-informed Swede wrote me concerning the ultraright. At $55 per year (10 issues) for the print edition and $35 for digital, it is great reading and won’t bust your budget.

In addition to my own jewel of an article, there’s one by David Price that is of particular interest to me since it overlaps with my own long-standing opposition to racism in anthropology that so often victimizes American Indians as “dinosaurs” that needed to be superseded by “civilization”.

In an article titled “The Bio-Social Facts of American Capitalism: When the FBI Dreamed of an Epidemic for College Professors”, Price, a professor of anthropology at St. Martin’s College in Washington state, takes aim at E.A. Hooton, an anthropologist at Harvard University who espoused eugenics and the theory that there were distinct “races”, each with their own distinct genetic “intelligence” capabilities. Harvard University, can you imagine that?

Using a FOIA request, Price was able to get the FBI files on Hooton that included some articles the good professor wrote during WWII, including one that called for “a program of supervised breeding, sterilization of the unfit, and increased control over the development and education of its future parents.”

A drawing contained in Hooton’s tract “Up From the Ape” illustrates his crude racist beliefs. In the past Harvard had no problem with someone like this holding a post and the U. of Illinois was okay with Robert Weissberg spouting similar racist filth but if you are too sympathetic to Palestinians, you’d better watch out.

Screen shot 2014-09-20 at 10.05.02 AM

As I indicated above, my article tried to tie together various perspectives to help understand the role of gaming casinos in American Indian society today, especially as they relate to Governor Cuomo’s signing off on them in Sullivan County where I grew up. Among the tribes who had considered making a bid was the Munsees who once occupied the very land beneath my feet when I lived at home. From my article:

Unlike the Pequots who built their casino on reservation land in Connecticut, the Munsees were based in Wisconsin. This would lead one to ask what their connection to New York was. Were they acting cynically like Chief Doug Smith? [A casino boss stereotyped in a “Sopranos” episode.] In 2011, the Department of the Interior rescinded a 2008 rule adopted by the Bush administration blocking the opening of a casino beyond commuting distance from a reservation. It was only natural that the Munsees would take advantage of their roots in New York State.

Like many other American cities, rivers and mountain ranges bequeathed with indigenous names, Muncie, Indiana owes its to the Munsees. Wikipedia states:

The area was first settled in the 1770s by the Lenape people, who had been transported from their tribal lands in the Mid-Atlantic region (all of New Jersey plus southeastern New York, eastern Pennsylvania, and northern Delaware) to Ohio and eastern Indiana.

You’ll notice the use of the passive voice “had been trans- ported”, a tendency often found in prose anxious to shirk responsibility. The Lenapes, including the Munsee, were not exactly “transported”—they were expelled, mostly in the 19th century. White settlers bought the land from beneath their feet and drove them westward, first from New York and then from Ohio. As they moved toward Wisconsin and finally to Oklahoma, they left their traces along a trail of tears, including Muncie.

In addition to having their roots in New York, the Munsees have the added distinction of giving Manhattan its name. Likely the Lenape tribe that the settlers encountered was the Munsees, who called the island “Mannahattanink,” the word for “place of general intoxication” according to Mike Wallace—the Marxist co-author of Gotham, not the television personality of the Indian-baiting 60 Minutes. In describing Manhattan as a “place of general intoxication”, the Munsees certainly demonstrated a grasp of the fine art of futurology.

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September 12, 2014

Sweden and the Renaissance of Marxist Crime Stories

Filed under: Counterpunch,crime,popular culture,Sweden,television — louisproyect @ 2:36 pm

From Beck to Wallander

Sweden and the Renaissance of Marxist Crime Stories

by LOUIS PROYECT

For fans of Stieg Larsson’s Dragon Tattoo novels and the film adaptations both American and Swedish it inspired, I have good news about similar crime stories that appeared on Swedish television originally and that can be seen on Netflix, Amazon and on other commonly available sources.

For reasons to be explained momentarily, there are good reasons why Marxists like Larsson decided to write what can arguably be called pulp fiction. Foremost in Larsson’s mind was the need to create a nest egg for his long-time partner who unfortunately has run into conflicts with Larsson’s father and brothers over the author’s estate. (Larsson, who died unexpectedly from a heart attack, did not leave a will.) While there are undoubtedly sharp observations about the dark side of Swedish society in his novels, his main goal was to tell compelling stories with memorable characters. If that is the sort of thing you are looking for in popular culture, then the existence of other Swedish works in this genre should be most welcome.

Full article

 

 

August 29, 2014

Cancer, Politics and Capitalism

Filed under: Counterpunch,health and fitness — louisproyect @ 12:00 pm

Dissenting Opinions

Cancer, Politics and Capitalism

by LOUIS PROYECT

After working for a series of unsavory financial institutions for 15 years, I accepted a position as a database administrator at Memorial Sloan-Kettering Cancer Center (MSKCC) in 1983 with an eager sense of anticipation. Finally I would be doing something professionally that was more in sync with my political values. Instead of using my skills to keep track of pension trust portfolios, I would be creating a data infrastructure for patient care.

For more than a year I worked on developing a data model based on “normalized” relationships that sought to eliminate redundancies and provide a reliable foundation for applications development. A few months after I presented the model to management, I learned that all my work was in vain. The hospital had decided to buy a package from SMS, inc. that was considered nonpareil when it came to debt collection. As happened too often, a loved one would check into the hospital for a couple of months of very expensive and painful treatments that came to an end with the patient’s death. Since the survivors often had a tendency to ignore the astronomical bills that went along with such an exercise in futility, the hospital decided to purchase a system that was very good at dunning if nothing else. That decision left me feeling deflated. Once again money ruled.

When I received an invitation to review “Second Opinion: Laetrile at Sloan-Kettering”, a documentary described as “the remarkable true story of a young science-writer at Memorial Sloan-Kettering Cancer Center, who risked everything by blowing the whistle on a massive cover-up involving a promising cancer therapy”, I knew that this was one I could not miss. (The film opens at Cinema Village in NYC on August 29, and at Laemmle Music Hall in LA on September 5. A national release will follow.)

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