James Joyce, literary modernist
Frank Zappa, musical modernist
George Ciccariello-Maher, Marxist modernist
James Joyce, literary modernist
Frank Zappa, musical modernist
George Ciccariello-Maher, Marxist modernist
It might be obvious from articles appearing on CounterPunch (“A Response to Our Socialist Worker Critics”, to name just one) that former members of the International Socialist Organization (ISO) have decided to subject the self-described “Leninist” group to a withering critique.
In a recent development, current members constituted as the Renewal Faction have joined the chorus of critics as well, something that will obviously irk a leadership accustomed to fawning approval from the ranks. Indicating the general movement toward web-based debate and discussion and away from the print-based medium favored by small propaganda groups operating in the “Leninist” tradition, the faction launched a website titled “External Bulletin”, a term that very likely challenges the notion of the “Internal Bulletin”, the members-only medium that allows such groups to conduct their discussions without the prying eyes of non-members.
Unfortunately for the ISO, the internal bulletin might have become a relic of the Leninist past after a disgruntled member or members decided to forward PDF’s of 30 (at last count) documents to selected critics of the ISO, including me. Over the past few days, I have read maybe 100 pages worth of internal discussion articles and want to offer my analysis of what is happening with the largest “Leninist” organization in the United States (I exclude the CP, which operates more as a wing of the Democratic Party.) As someone who spent nearly 12 years in the American Socialist Workers Party from 1967 to 1978 (now there’s a screenplay begging to be written: “12 Years a Sectarian”), I can recognize the pressures operating on the ISO that will inevitably generate discontent.
read full: http://www.counterpunch.org/2014/02/18/notes-on-a-staggering-iso/
Given the youth movement charged with energizing the Super Bowl’s non-football offerings—a trend embodied by Bruno Mars at this year’s halftime show—it was only fair that the old folks should make a counterattack in the ads, long held to be the true locus of entertainment value at the annual orgy of sex and violence, consumerism and military display. Thus we were treated to the unsavory vision of Bob Dylan sliding into Chevrolet’s latest sedan and gurgling patriotic garbage about American pride above ambient guitar chords.
If not for the fussy make-up and hair-styling, one might have surmised—or at least hoped—that this one-time countercultural figurehead and voice of protest was not pitching Chrysler’s cars in a multi-million-dollar commercial, but was instead doing public service announcements for the last vestiges of American industry. Indeed, since there’s no way that Dylan needs the money, one could have been forgiven for assuming this was his gift to the American people, a gratis boost of confidence during a long stretch of crisis.
But Dylan had clearly cashed the check for this paean so mendacious that it achieved a melancholy far beyond and below that of “Song to Woody” or “It’s All Over Now, Baby Blue.”
full: http://www.counterpunch.org/2014/02/14/the-shameless-descent-of-bob-dylan/
Sid Caesar died yesterday at the age of 91. The N.Y. Times obituary (http://www.nytimes.com/2014/02/13/arts/television/sid-caesar-comic-who-blazed-tv-trail-dies-at-91.html) pays tribute to his remarkable breakthroughs as a comedian that Alfred Hitchcock compared to Charlie Chaplin and who counted Albert Einstein as one of biggest fans. Speaking of Chaplin and Einstein, a couple of lefties, I can’t say I am surprised that the obit did not pay attention to Sid Caesar’s early leftist affinities. While they never were manifested in his hugely popular TV show, his evolution as a comic was definitely just as much a product of the New Deal popular culture as Pete Seeger’s.
I had pretty strong connections to Sid Caesar even though I never spoke a word to him. This is partly a function of my being a young kid when he used to show up in Woodridge, my hometown, from time to time but also a function of his intimidating presence. He used to show up at the pharmacy next to my dad’s store “strapped”—he was heavily into guns. Plus, he was a big guy who gave off “don’t bother me” vibes. As it turned out, Sid was a health food nut even if he was not above developing a spoof on the bean sprout scene.
I know for a fact that he was a health food nut because the owner of the hotel where he got his start used to call my father up to order his best fruits and vegetables for Sid. This is captured in the excerpt from my abortive memoir below, as well as the leftist connections. (Btw, if any of my enemies—you know who you are—needs wising up, I am posting the excerpt under the provisions of the Fair Use provisions of the copyright laws.)
My first reference to Sid’s leftist past that formed the basis for the comic book passage was prompted by a visit to a conference on the Catskills organized by Phil Brown, a Brown University sociologist whose parents ran a small hotel not far from my home town. The entire report is at http://www.columbia.edu/~lnp3/mydocs/jewish/borschtbelt.htm
Here’s the relevant part:
Most people know about the resort hotels and the famed Jewish comedians who got their start there, including Jerry Lewis, Danny Kaye, Rodney Dangerfield and Buddy Hackett among others. What is not so well-known is that the area was a hotbed of left-wing politics. I suppose that wherever Jews can be found there is bound to be left-wing politics, except Israel that is.
Sid Caesar got his start at the Avon Lodge about a mile from my father’s fruit store. His comedy show was the biggest thing on television in the fifties. The writing staff included Woody Allen, Neil Simon and Mel Brooks at one point. Caesar had a violent temper and during a writing session once held an errant writer outside the window of the NBC offices by his heels.
He would come to my village to do some shopping whenever he was upstate for a weekend getaway. Sid was a gun-nut and would always come to town with big revolvers in his holster and a cartridge belt fully loaded. He would spend hours at a time on the firing range at the Avon Lodge venting his rage on tin cans and bottles. When I drove my bicycle down the road near the Avon Lodge, I could always hear him shooting. Ka-boom. Ka-boom. Ka-boom.
The Avon Lodge was co-owned by the Arkins and the Neukrugs. Sid Caesar had married an Arkin. The Neukrugs were rumored to be red. I studied piano briefly with Henrietta Neukrug in 1957 and in the middle of practicing “Row-row-your-boat” one afternoon, I turned to her and asked, “Mrs. Neukrug, are you a Communist?” She glared at me and told me that I was rude. Many years later as my exploits as a globe-trotting radical became common knowledge in town, the Neukrugs decided to turn over a box of Henrietta’s mementos after she died. It included many pamphlets by William Z. Foster, WEB DuBois and Sy Gerson, etc., and a hand-painted portrait of Joseph Stalin. Her family’s gesture meant a lot more to me than the contents of the box.
Here’s the graphic version:
A while back I called attention to Rowan Berkeley, the Jew-baiting commenter at this “anti-imperialist” website. After 3 or 4 comments there, I was banned.
I check in on it from time to time just to keep track of the talking points of the pro-Assad tendency–I hate to call it left because the website has so little interest in class politics.
This morning I caught these comments on an article attacking a Danny Postel editorial in the NY Times calling on outside powers to use force to deliver food to besieged cities and neighborhoods in Syria:
snigger….this last sentence according to NYTs Danny Postel(jewish?) should read: ‘They are besieged by democratically oriented rebel groups’
Posted by: brian | Feb 11, 2014 8:34:53 PM | 15
I am pretty sure that this Brian is a character who used to troll my blog until I banned him. You have to ask yourself what Postel’s ethnicity has to do with anything.
Then there is this:
Evidently, lenin and stalin, both intimately linked to zionism and alsmost certainly jews themselves and bringing many other jews (usually zio-related) into power and/or position, have done immense harm to Russia.
Decades later, when communism ended, the traitor whore gorbachev and later the drunkard jelzin completely sold out Russia and her wealth. And once again jews, typically with tight links to israel, are, to put it diplomatically, unproportionally well represented among those who baughts fortunes in resources and state enterprises for pennies.
Posted by: Mr. Pragma | Feb 11, 2014 7:43:26 PM | 11
You really have to stop and think why this high-profile “peace” and “anti-imperialist” website attracts such individuals. I suppose it is like rotten meat attracting maggots.
I also have to wonder why Mondoweiss editor-at-large Annie Robbins keeps posting links to this rancid outlet so often. I suspect that for her “anti-imperialism” is important enough to overlook the website’s obvious attraction to Jew-baiters, if not outright fascists.
UPDATE:
Comment from Sheldon Ranz on Marxmail:
Louis, Annie Robbins has been noticed for her own Jew-baiting.
In an exchange on Mondoweiss last year, she implied that one participant, goldmarx, was “an arrogant Jew.”
She has prevented others from responding to blatant anti-Semitic posts from one Woody Tanaka, who last March accused European Jews in general of engaging in rape, murder and land theft.
But Phil Weiss knows all this and ultimately, he must be held accountable.
I imagine that most people under 40 have no idea who Shirley Temple was but she died yesterday at the age of 85. Good riddance, I say.
Temple was a big child star in the 1930s. The rather sanitized NY Times obit refers to the films she did with Bill (Bojangles) Robinson, who was immortalized in the Jerry Jeff Walker song from 1968. Robinson, an African-American, was cast in the kind of role that Stepan Fetchit made infamous, a grinning, shuffling and deferential Uncle Tom. In real life, Robinson was nothing like his character. He was a proud and assertive Black man who after being refused service in a restaurant once asked the owner to give him a ten dollar bill for a minute, which he did. Robinson then took 5 ten-dollar bills out of his wallet and shuffled all the bills together. Which one is mine, Robinson challenged.
The worst of the Temple-Robinson collaborations was undoubtedly “The Littlest Rebel” that starred Temple as Virgie, a little girl trying to save her Confederate officer dad from the Union army. You can get a flavor of the film from this Wikipedia article:
The film opens in the ballroom of the Cary plantation on Virgie’s sixth birthday. Her slave Uncle Billy dances for her party guests, but the celebration is brought abruptly to an end when a messenger arrives with news of the assault on Fort Sumter and a declaration of war. Virgie’s father is ordered to the Armory with horse and side-arms. He becomes a scout for the Confederate Army, crossing enemy lines to gather information. On these expeditions, he sometimes briefly visits his family at their plantation behind Union lines.
One day, Colonel Morrison, a Union officer, arrives at the Cary plantation looking for Virgie‘s father. Virgie defies him, hitting him with a pebble from her slingshot and singing “Dixie”. After Morrison leaves, Cary arrives to visit his family but quickly departs when slaves warn of approaching Union troops. Led by the brutal Sgt. Dudley, the Union troops begin to loot the house. Colonel Morrison returns, puts an end to the plundering, and orders Dudley lashed. With this act, Morrison rises in Virgie’s esteem.
This scuzzy movie is online:
Turn to 05:50 for a flavor of the racism in this film.
For what it’s worth, “The Littlest Rebel” is a 20th Century Fox movie, the same studio that brought us “12 Years a Slave”. The executive most closely associated with the 20th Century Fox brand name was one Darryl Zanuck. To his credit, Zanuck was responsible for “Pinky”, a 1949 film that tackled racism in the Deep South. Of course, racial attitudes were a lot different by then.
After her film career ended, Temple married one Charles Alden Black in 1950 and became Shirley Temple Black, a figure long associated with rightwing Republican politics even though she caught flak in 1938 for sending a friendly letter to a French newspaper with CP ties. My guess is that when she was a kid, she had no idea about what was going on in the world. By the 1950s, she had wised up. Anti-Communism was a good career movie, for liberals and conservatives alike.
In 1967 Temple ran for Congress against Pete McCloskey, a staunch antiwar Republican liberal—yes, Virginia, there were such people around back then. Despite losing the race, her political future remained rosy. Nixon appointed her representative to the United Nations and later on Ford made her ambassador to Ghana.
Back in 1974, Charles Eckert wrote an article for Jump Cut—a radical film magazine—titled “Shirley Temple and the House of Rockefeller” that made the case for her films functioning as a damper against working-class militancy. I find his arguments persuasive, especially since they are formulated in terms of rejecting the “Hoover-Roosevelt” solution for economic misery:
If we add to all of this Shirley’s function as an asset to the Fox studios, her golden locks and the value of her name to the producers of Shirley Temp dolls and other products, the imagery closes in. She is subsumed to that class of objects which symbolize capitalism’s false democracy: the Comstock Lode, the Irish Sweepstakes, the legacy from a distant relative. And if we join her inestimable value with her inability to be shared we discover a deep resonance with the depression-era notion of what capital was: a vital force whose efficacy would be destroyed if it was shared. Even Shirley’s capacity for love is rendered economic by our awareness that Fox duplicated the Hoover-Roosevelt tactic of espousing compassion for anterior economic motives (specifically, by making a profit from the spectacle of compassion). And because of the unique nature of the star-centered movie industry of the thirties, Shirley was a power for monopoly control of film distribution.