Louis Proyect: The Unrepentant Marxist

December 16, 2016

All That Hollywood Jazz

Filed under: Counterpunch,Film,music — louisproyect @ 3:59 pm

All That Hollywood Jazz

Let me start with my own connections to jazz that run as deep as those to Marxism and film, the other two passions in a long and largely quixotic lifetime. In the summer of 1961, just before I headed off to Bard College for my freshman year, I sat at a table in a pizza parlor in the Catskills enjoying a pie with my buddies when someone put a dime in the juke box to play a tune that left me thunderstruck: Miles Davis playing “Summertime”. That it was on a juke box in 1961 should tell you something about the difference between now and then.

After finding out more about Miles Davis, I began taking jazz records out of the well-stocked Bard music library and became conversant in the music of the day, which was arguably jazz in its classic period with hard bop and the West Coast style prevailing but with the avant-garde making its first appearances. In my freshman year, I heard the Paul Bley quartet in concert featuring saxophone player Pharaoh Sanders whose “sheets of sound” paved the way for the New Thing a few years later. As New Thing icon Albert Ayler put it, “Trane was the Father, Pharaoh was the Son, I am the Holy Ghost”.

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December 9, 2016

Narcos and the Story of Colombia’s Unhappiness

Filed under: Counterpunch,drugs,Latin America,television — louisproyect @ 5:59 pm

Narcos and the Story of Colombia’s Unhappiness

Notwithstanding my advice to CounterPunch readers to junk Netflix, it is still worth the membership fee for many of the European television shows they reprise such as Wallander and for their own productions such as Narcos that I have been watching for the past several weeks. As you may know, this series now in Season Two is about the rise and fall of Pablo Escobar, the leader of the Medellín cartel that shipped billions of dollars worth of cocaine into the USA in the 1980s, and who is played brilliantly by Brazilian actor Wagner Moura.

Narcos has very few deep insights about the social and economic context for the rise of the drug industry so why would a Marxist film critic recommend it? The answer is that it is vastly entertaining and has enough background about the Colombian political context of the 1980s to motivate reading about the “war on drugs”. Like the “war on terror” and the Cold War that preceded it, it was one in a series of conflicts that were designed to mobilize Americans against a dreaded enemy after the fashion of the permanent warfare in Orwell’s 1984. When a population grows restive over declining economic prospects, what better way to suppress resistance than to redirect anger against an external threat? Indeed, you will find striking affinities between the hunt for Pablo Escobar and the one for Osama bin-Laden.

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December 2, 2016

Deepening Contradictions: Identity Politics and Steelworkers

Filed under: Counterpunch,New Deal,racism,trade unions,workers — louisproyect @ 3:36 pm

screen-shot-2016-12-02-at-6-14-08-pm

She argues that affirmative action divides the working class

Deepening Contradictions: Identity Politics and Steelworkers

It goes without saying, that as we fight to end all forms of discrimination, as we fight to bring more and more women into the political process, Latinos, African Americans, Native Americans – all of that is ENORMOUSLY important, and count me in as somebody who wants to see that happen. But it is not good enough for somebody to say, ‘hey, I’m a Latina, vote for me.” That is not good enough. I have to know whether that Latina is going to stand up with the working class in this country and is going to take on big-money interests. And one of the struggles that we’re going to have…in the Democratic Party is it’s not good enough for me to say we have x number of African Americans over here, we have y number of Latinos, we have z number of women, we are a diverse party, a diverse nation. Not good enough!

As someone who had little use for Hillary Clinton or any Democrat for that matter, there was something a bit troubling about the “class trumping identity” plea since it reminded me of contradictions that have bedeviled the revolutionary movement from its inception. While the idea of uniting workers on the basis of their class interests and transcending ethnic, gender and other differences has enormous appeal at first blush, there are no easy ways to implement such an approach given the capitalist system’s innate tendency to create divisions in the working class in order to maintain its grip over the class as a whole.

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November 25, 2016

Don’t Think Twice

Filed under: Counterpunch,Film — louisproyect @ 9:09 pm

“Don’t Think Twice:” Art is Socialism, Life is Capitalism

When I posted my movie consumer’s guide for 2012, among the recommended films was “Sleepwalk With Me”, a quirky “indie” film based on the real life career of Mike Birbiglia, a self-deprecating, mildly amusing standup comedian who is a sleepwalker. Among the things we learn about him in this modest work is that unless he spends the night in a sleeping bag atop a bed, there is a chance that he might walk out a second story window as he once did.

After getting an invitation from a publicist to see his latest film “Don’t Think Twice”, I was eager to see it based on his earlier work. On one level, it is the same kind of breezy entertainment as “Sleepwalk With Me” but on a higher level it is a dark and deeply perceptive meditation on the phenomenon that William James described in a letter to H.G. Wells in 1906: “The moral flabbiness born of the exclusive worship of the bitch-goddess SUCCESS. That — with the squalid cash interpretation put on the word success — is our national disease.”

Birbiglia stars as Miles, the founder and director of an improvisational comedy group called The Commune that performs in a theater named Improv for America. While there is nothing overtly political about the group’s performances, their improvisational techniques suggest a certain kind of value system familiar to those of us who lived through the 60s:

1/ Say Yes: Always accept your partner’s cue on stage to move the improvisation forward.

2/ It’s All About the Group: The individual is subordinate to the collective performance. Stardom is frowned upon.

3/ Don’t Think: This is about getting out of your head and acting on your impulses. It is also a reference to the film’s title, one of Bob Dylan’s most famous songs that we hear in the closing credits of the film.

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November 18, 2016

Stefan Zweig: Farewell to Europe

Filed under: Counterpunch,Film — louisproyect @ 2:20 pm

The Radical Internationalism of Stefan Zweig

 

Poorly served by Wes Anderson in the “The Grand Budapest Hotel” as a comic-opera figure in line with the director’s overripe pastel-colored sense of whimsy, Stefan Zweig now reappears in a thoughtful and dramatically compelling new film titled “Stefan Zweig: Farewell to Europe” that is Austria’s Official Academy Awards Entry for Best Foreign Language film. It will certainly garner my vote for the New York Film Critics Online awards meeting in early December.

Directed by Maria Schrader who co-wrote the script with Jan Schomburg, it is structured as a five-act drama with each act centered on a pivotal moment in Zweig’s life in exile, all but one taking place in Latin America where he still enjoyed a lofty reputation. For Zweig, the 30s were an ordeal both for being forced into exile from his beloved Vienna and for having to deal with a painful reality that literary fashion had passed him by.

Despite a certain Zweig revival that counts me and CounterPunch editor Jeff St. Clair as standard bearers, the critical establishment today would likely agree with earlier critics who found Zweig far inferior to Thomas Mann, the only German-language author to exceed him in sales. For example, Michael Hoffman treated him contemptuously in the pages of the London Review of Books:

Stefan Zweig just tastes fake. He’s the Pepsi of Austrian writing. He is the one whose books made films – 18 of them, and that’s the books, not the films (which come in at a stupefying 38). It makes sense: these are hypothetical and bloodless and stiltedly extreme monuments and monodramas for ‘teenagers of all ages’, as someone said, books composed for the bourgeoisie to give itself culture or a fright, which needed Hollywood or UFA to make them real, to give them expressions, faces, bodies, rooms and dialogue; and to drain some of the schematic grand guignol out of them.

As is so often the case, when a novelist writes for the public rather than the critical establishment, there will be such disapproval.

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November 11, 2016

Barry

Filed under: Counterpunch,Film,Obama — louisproyect @ 4:21 pm

Obama and the Common Affairs of the Whole Bourgeoisie

Around this time every year I begin to be deluged by DVD’s and Vimeo links geared to the sort of middle-brow films that Hollywood studios submit for consideration to members of New York Film Critics Online for our annual awards meeting in early December. If you’ve ever seen something by Merchant-Ivory, you’ll probably know the kind of movie I’m talking about.

When Netflix sent me an email with a link to “Barry”, a biopic about Obama’s time at Columbia University that premieres on Friday, December 16, 2016, my first reaction was to put in the trash just like one of those solicitations I used to get from Nigerian generals before SpamAssassin kicked in.

But since it was received so close to election day, I decided to watch the film and give it the spanking I am sure it would deserve as well as use it as a peg for some ruminations on the Obama presidency and the ascendancy of Donald Trump. Studio boss Sam Goldwyn once said “Just write me a comedy. Messages are for Western Union”. Although I don’t write films, I do like to review them and wouldn’t dream of not including a message while I am at it.

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November 4, 2016

The Descent of the Left Press: From IF Stone to The Nation

Filed under: Counterpunch,Film,journalism — louisproyect @ 4:28 pm

The Descent of the Left Press: From IF Stone to The Nation

Just about fifty years ago when I was becoming politicized around the war in Vietnam, I began searching desperately for information and analysis that could explain why this senseless war was taking place. After taking out a subscription to I.F. Stone’s Weekly that an old friend had recommended, the scales began to fall from my eyes. Isidor Feinstein Stone, who died at the age of 81 in 1989, began publishing his newsweekly in 1953 during the depths of the cold war and witch-hunt. Actually, the cold war had recently become hot in Korea and Stone had the courage to write antiwar articles that conceivably could have landed him in prison.

A year later, I let my subscription to Stone’s weekly lapse since I had joined the Trotskyist movement, whose newspaper The Militant brooked no competition. When you joined a group like the Socialist Workers Party, you felt like you were a chorus member in “West Side Story”:

When you’re a Jet,
You’re a Jet all the way
From your first cigarette
To your last dyin’ day.

You’re never alone,
You’re never disconnected!
You’re home with your own:
When company’s expected,
You’re well protected!

As it happened, I eventually felt so disconnected that I severed my ties in 1978 and began a two or three-year process getting my bearings. Part of that involved looking for leftist analysis that did not bear a sectarian stamp (I.F. Stone had stopped publishing in 1971). That led to a subscription to The Nation magazine that I found essential to my deprogramming. When a new issue arrived in my mailbox, the first page I always turned to contained Alexander Cockburn’s “Beat the Devil”. With the wars in Central America heating up, his blistering attacks on Ronald Reagan were as valuable to me as Stone’s on Vietnam.

As I became more deeply involved with Central America solidarity, it seemed to make sense to contribute to The Nation as a sustainer. Over a two or three-year period, I must have sent in over $500 but found my enthusiasm waning after Bill Clinton became president in 1993. Three years after his election, I cancelled my subscription having grown tired of how The Nation tailed after him, just as they are doing today with his wife and presumptive next president.

As iconic periodicals, the two are the subjects of documentaries I looked at this week. Directed by Fred Peabody, “All Governments Lie” is a tribute to Stone and to the men and women who follow in his footsteps (ostensibly) and that opens tomorrow at the Cinema Village in NY and the Laemmle Music Hall in LA. It is a survey of leftist electronic and print publications with which most CounterPunchreaders are probably familiar, ranging from Democracy Now to TomDispatch. For some reason, the one publication that is arguably more rooted in the I.F. Stone tradition than any other is omitted: CounterPunch.

Hot Type: 150 Years of The Nation was made in 2015 and can now be seen on iTunes for a mere $4.99. Directed by Barbara Kopple, who has come a long way since her first film “Harlan County USA”, has essentially made the kind of film that big corporations commission as a public relations outreach—something like Bill Gates would have paid Ric Burns to make. If your idea of film entertainment is listening to Katrina vanden Heuvel, Eric Alterman, Rachel Maddow and Rick Perlstein telling you how great the magazine is for 93 minutes, it is just what you asked for. I suffered through it because I think that the left has to contend with The Nation baring its fangs on behalf of a Hillary Clinton vote. It helped me to understand how such a reactionary politician can be endorsed by a magazine that has such an exaggerated view of its progressive credentials by seeing its principal personalities preen in front of Kopple’s camera. To call them lacking in self-awareness would be the understatement of the year.

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November 6, 2015

Trumbo

Filed under: Counterpunch,Film — louisproyect @ 2:29 pm

Why “Trumbo” is One of the Most Important Films Ever Made

When I ran into a fellow member of New York Film Critics Online last night following the press screening of Trumbo that opens everywhere on November 6th (unlike most films that I review, this one gets full-page ads in the NY Times), he asked me what I thought. My response: “If you can see only one film this year, it should be Trumbo. Furthermore, if you can see only film for the rest of your life, it might also be Trumbo, a desert island selection next to Citizen Kane orModern Times.

This is a film that obviously matters a lot more to me than the average Hollywood film that has become not only distressingly escapist but poorly made as well, the quality of which tends to be in inverse proportion to the amount of money it costs to make. Making a biopic in 2015 about the famous blacklisted screenwriter with a cast of notables including Bryan Cranston of Breaking Bad in the lead role should get the attention of any CounterPunch reader but when such a film is so head and shoulders over every American film made this year in terms of direction, screenplay, acting, incidental music, and costume design, it becomes one for the ages.

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October 30, 2015

Sembène and the Spirit of Rebellion

Filed under: Africa,Counterpunch,Film — louisproyect @ 2:40 pm

Saul Bellow once asked tauntingly “who was the Zulu Tolstoy” in an obvious dismissal of African potential. Considering the career of filmmaker Ousmane Sembène, who is the subject of the great documentary “Sembène” that opens on November 6th at the Lincoln Plaza Cinema in New York, you would conclude that the potential is enormous, held back only by what Andre Gunder Frank once called the development of underdevelopment.

Although I have been following Sembène’s film career for decades, “Sembène” offered new insights into what a genius he was. Born in 1923, his father a fisherman, Sembène fell in love with movies at an early age after seeing scenes of Jesse Owens’ track victories in Leni Riefenstahl’s pro-Nazi Olympics documentary. “For the first time,” he told the LA Times in 1995, “a black honored us by beating whites. . . . It became the film for the young people of my generation.” We can be sure that this was not Riefenstahl’s intention.

Sembène quit high school after punching out a teacher who had hit him first. He then joined the Free French army during World War II. After the war he became a rail worker, participating in an epochal Dakar-Niger railroad strike in 1947-48. After stowing away in a ship to France, he became a longshoreman in Marseilles and a member of the French Communist Party.

In France he started writing fiction in order to depict the reality of modern African life that could best be represented by the African. As the documentary points out, he was to become a modern version of the griot, the travelling storyteller who was to Africa as Homer was to the Greeks. Indeed, the real question is “who was the African Homer”, not Tolstoy. The answer is that Ousmane Sembène comes pretty close.

His first novel “The Black Docker” was published in 1956. But in the early 1960s, Sembène decided to turn his attention to filmmaking (“the people’s night school”) because most Africans were illiterate and could only be reached with this medium. His films would follow the same road as his writing, to offer an alternative to Tarzan movies and garish epics like “Mandingo.” “We have had enough of feathers and tom-toms,” he said.

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October 25, 2015

CounterPunch fund drive

Filed under: Counterpunch — louisproyect @ 7:18 pm

Screen Shot 2015-10-25 at 3.13.38 PM

Twenty-two years ago I took out a subscription to a newsletter that was advertised in the back pages of the Nation Magazine. It was called CounterPunch and edited by Ken Silverstein. It was the same back pages where I had found out about Doug Henwood’s Left Business Observer a few years earlier. In the early 90s such newsletters were carrying on the tradition of I.F. Stone’s Weekly. Even though the Internet was gathering momentum, it was still a time when the worldwide web was still in its relative infancy.

After Ken had written an article about Goldman-Sachs, I sent off an email (the only use of the net for most people at the time) letting him know about a mass firing that took place at my old workplace. In the next issue he recounted my story about how a bunch of managers with names ending in vowels had been sent home in town cars because the new manager, a scumbag West Point graduate named Rick Adam who would also be fired later on, decided that they lacked the proper credentials. Years later I ran into one of these ex-managers at Columbia University who told me that he was washing windows there. I was delighted to see CounterPunch spilling the goods on those rotten bastards at Goldman.

A year later Alexander Cockburn joined Silverstein as the City Paper reported. The opening grafs pretty much sum up the spirit of CounterPunch to this day:

Hitting Back
CounterPunch Editors Ken Silverstein and Alexander Cockburn Assail the Right—and the Center
By Lisa Gray • October 21, 1994

“The left in general tends to be wimpy,” rages journalist Ken Silverstein, himself a confirmed leftist. He quivers with indignation: “They’re chickenshit about going after people.” To remedy that ill, Silverstein last year founded CounterPunch, a bloodthirsty little newsletter that covers official Washington from a shamelessly radical perspective. “Rush Limbaugh is not a role model,” he says. “But the idea of actually going after people and hitting hard makes sense.”

Back in 1989, while an intern at the Nation, Silverstein had discussed such a fiery newsletter with his mentor, columnist Alexander Cockburn. Cockburn knows fire: A master of invective, he has for years positioned himself to the left of the left, championing Maoist values, admitting that he preferred Brezhnev to Gorbachev, and writing that Stalin didn’t kill all that many people. Cockburn liked the idea of a feisty newsletter, a fortress from which to attack the “bipartisan blotch of evil.” He laments, “Even the Nation feels it necessary to defend Clinton occasionally.” As editors of a newsletter, he and Silverstein would feel no such compulsion.

Two years later Ken would move on and Jeff St. Clair took his place in a project that would become an exemplar of radical journalism on the worldwide web. Ever since it premiered online, I read it every day as most of you certainly do as well. Like many of you, the experience of reading CounterPunch is probably akin to drinking a double espresso for the first time after a lifetime of drinking PBS or HuffingtonPost warm milk. It will be a hair-raising experience as Ken and Alexander certainly intended.

Just over three years ago, I began writing for CounterPunch after a decade of fulminating against Alexander Cockburn. After reading my complaint about how people like Mike Whitney were trashing Pussy Riot, Jeff St. Clair invited me to write a response, which I did. Contrary to the view that some have that CounterPunch is some kind of “line” publication, nothing could be further from the truth. It is instead a voice for the radical movement as well as some non-radicals like Paul Craig Roberts who have valuable insights into economic malfeasance.

Over the past three years I have written close to 200 articles for CounterPunch. I am very proud to be writing for a publication that includes Arno Mayer, Ralph Nader, Jesse Jackson, Clancy Sigal, Ruth Fowler and Kim Nicolini as contributors. If there is any recommendation that can be made on behalf of CounterPunch, it is its amazing variety of voices such as these.

I have just donated $100 and strongly urge you to chip in. As some guy once said, from each according to their ability, to each according to their need. The other day I posted a complaint that someone had sent to Jeff St. Clair about my writing for CounterPunch. The malcontent thought it was some kind of trick that I was allowed to write film reviews since the net effect would be to encourage Obama to bomb Syria (Russia got a green light obviously.)

This led someone to post a comment: “I’ve no objection to Proyect’s articles, from what I’ve read. Always food for thought. But I also pass on contributing to Counterpunch, because they do not pay writers.”

In fact I would pay CounterPunch just to publish not only me but also all the others who appear there on a daily basis. In the entire 11 years I was in the Trotskyist movement, I had the same relationship. I paid my dues in order for the Militant to get published. At this stage of my life, after the accumulated wisdom of 48 years on the left, I can assure you that anything you contribute to CounterPunch will be the best investment you can make for a more just world.

Please be generous.

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