If victorious strikes by teamsters in Minneapolis in 1934, by San Francisco dockworkers the same year and auto workers three years later in Flint define the rise of the American working class as a powerful force to be reckoned with, three confrontations between labor and capital in our lifetime mark its retreat.
In 1981 Ronald Reagan fired 11,000 airline controllers who had gone out on strike as a signal that the partnership between labor and capital was a thing of the past. Four years later, the meatpacking workers organized as P-9 struck Hormel in an effort to maintain the good-paying jobs with generous benefits that were seen as essential for a decent middle-class existence. With the defeat of P-9, jobs at Hormel and other meatpacking jobs became non-union, low-paying and dangerous with a predominantly immigrant workforce made up in large part of vulnerable undocumented workers.
While not a strike as such, the union-led struggle in Madison, Wisconsin of 2011 was launched to prevent teachers and other public service employees from being “Hormelized”. When Governor Scott Walker introduced a bill in January of that year that would cut wages, benefits and eliminate dues checkoff—a mechanism that is essential to keeping a union functioning in a closed shop environment—over 100,000 people took part in a “kill the bill” movement that adopted many of the tactics of the Occupy Wall Street movement that erupted a couple of months later.
For those not old enough to have bitter memories of the P-9 strike, I recommend tracking down Barbara Kopple’s 1990 film “American Dream” that unfortunately is nowhere to be seen on VOD but that can be borrowed as a DVD from better libraries, such as Columbia University’s. Kopple is also the director of “Harlan County, USA”, another documentary about labor struggles, in that case a 1973 strike by coal miners in the legendary pro-union county that voted 8-1 for Donald Trump in November.
Kopple has declined in recent years, stooping so low as to make a documentary about Woody Allen in 1997 and following up with a docudrama about the Hamptons in 2002 that was a Yankee version of British soap operas like Upstairs/Downstairs or Downton Abbey.
Fortunately for us, a new Barbara Kopple has emerged, namely Katherine M. Acosta, the sociologist and obviously politically advanced director of “Divided We Fall”, a film about the Wisconsin labor struggle that I had the good fortune to watch yesterday. For now, the film has not found a distributor and hopefully this review will inspire some enterprising party to invest in this film that is equal to Kopple at her best and moreover a story that demands the attention of everybody trying to understand how we have ended up with an orange-haired baboon in the White House determined to throw us back to the 1880s. Essentially, the defeat of the public workers struggle in Wisconsin involved all of the players and all of the contradictions that led to the defeat of Hillary Clinton and the nightmare we are now living with.
Even if you’ve read every article about the Wisconsin struggle as it was unfolding in 2011, nothing comes close to seeing exactly how young people and workers rallied to the capitol building to put their bodies on the line to oppose Scott Walker’s anti-labor assault that was as calculated a bid to destroy organized labor that year as Reagan’s firing of the airline controllers was in 1985.
Acosta draws from a wide variety of interviewees, from relatively lowly teaching assistants at the U. of Wisconsin, including FB friend Elizabeth Wrigley-Field, who is a brilliant Marxist analyst in her own right, to sociology professor Rahul Mahajan, who I first ran into in the mid-90s as a graduate student on the list that would evolve into Marxmail. Rahul is witty, wise and as informed in class analysis as Wrigley-Field. So, with people like that in the front ranks of the occupation of the capitol building and in strategy meetings, what could have gone wrong? The title of the film says it all. The movement was divided and as such bound to fail.
There were basically three blocs involved within the workers’ camp but each with its own priorities. Those closest to the student movement like Wrigley-Field and Mahajan were revolutionaries, to put it bluntly. They saw the fight against Scott Walker in exactly the same way that Farrell Dobbs saw the fight to organize truck drivers in 1934, as the first step in building a new (in this instance, renewed) labor movement that could fight effectively for the interests of workers in general and lead ultimately to a transformation of American society.
In the middle were union officials at the local level who had to stand up for the rights of their membership, those people who would be forced to pay more for health insurance and face wage stagnation. Like the average member, the officials had a class status just one step above precarity. Losing a job as a clerical worker in an AFSCME union could plunge some into penury and worse. The officials often came directly out of that social layer and knew what was at stake.
The head of AFSCME, who was led off in handcuffs toward the end of the film, was Marty Beil. Beil, who died two years ago, was a bear of a man with Michael Moore’s physique (or lack thereof) who understood the importance of AFSCME better than the top officials in Washington. Formed in Wisconsin in 1932, AFSCME was the first and foremost organizer of predominantly white collar clerical government jobs even though it grew to include firefighters. It is of some interest that Beil’s first job was as a probation and parole officer, not exactly the sort of position that you would associate with labor militancy. As the film makes clear, the police presence at the capitol building was initially drawn from campus and local cops who were much more sympathetic to the struggle, even to the point of marching in support. Such contradictions might vex those addicted to Marxist schemas but one that the film skillfully engages with especially as these cops were replaced by state troopers who had no use for workers at all.
Another powerful presence from the local labor movement was John Matthews, the president of the city’s public schoolteacher’s union who combines a soft-spoken Midwest speaking style with a willingness to openly confront the national leadership of his union. These big shots parachuted into Madison and stayed at a luxury hotel, where they mapped out a strategy to settle the strike on terms favorable to Scott Walker.
For reasons probably having something to do with being reluctant to defend their role in in Acosta’s film, they are not heard from. But you don’t need to hear from AFSCME president Gerald McEntee to know what agenda he would follow in Madison. In 2009, McEntee was being paid $480,000 per year. When you make that kind of money, plus fringe benefits such as staying at Madison’s best hotel on the membership’s dime, you tend to lose track of the sort of class antagonisms that drove the average worker to rise up.
Another problem was the reliance on Democratic Party “friends of labor” who were just as eager as McEntee to deescalate the struggle in Madison and get things back to normal, even as they were giving speeches in support of the unions and in working to undermine Republican attempts to steamroll through Walker’s legislation.
If the film consisted of nothing but talking heads, it would still be worth watching, particularly to hear from Wrigley-Field, Mahajan and other radical students and professors at the U. of Wisconsin. But beyond that, Acosta was present throughout the occupation directing her film crew to capture the Occupy Wall Street type drama of those sitting in. That footage combined with the commentary by people involved with the struggle make up for an unforgettable movie experience that screams out for nationwide distribution.
The film makes clear that occupy type tactics could only go so far. The Republicans had a majority in the state legislative bodies and would ultimately prevail. Of course, the real question is why a shit-hook like Scott Walker could ever become governor of a progressive state like Wisconsin.
Once the occupation ran out of steam (helped along by “kettling” tactics by the state troopers), the trade union officials and Democrats thought that the answer was to replace Walker. Instead of considering ways to block the legislation by either a general strike (probably an over-projection by some leftists) or guerrilla tactics in the workplace like “sick-outs” or working by the rule, all the energy went into the recall campaign.
But the recall was to no avail. Walker was reelected. Why?
He was reelected because he was to Donald Trump as his Democratic Party opponent Tom Barrett was to Hillary Clinton. Walker had defeated Barrett in 2010 and by even more votes in the 2012 recall election. This has to do with Barrett running exactly the same kind of campaign as Clinton, one geared to the “swing voter” and careful to avoid any association with trade unions, sit-ins and the like.
But looking past the Wisconsin context, which the film understandably did not try to address, I would suggest that there was an important element that militated against success. As the film’s title implies, there were problems of being divided—but not just within the labor movement but in the Wisconsin population as a whole. Seen as benefiting from Democratic Party largesse, the taxpayers felt that these unions were a privileged layer. If Wisconsin was facing a fiscal crisis, why shouldn’t teachers et al not have to “chip in” to bail out the state?
The fiscal crisis, of course, was rooted in a system that included “starving the beast”. State budgets were in the red because taxes kept being cut. If the Democratic Party had stood up to the rich, returned tax rates to what they were under Eisenhower, pushed through single-payer health insurance and stood up for the rights of homeowners who had been devastated by the subprime meltdown of 2008, maybe the voters would have been more motivated to back the Democrats. This would have required a total transformation of the labor movement that might yet be in the offing as we sail into the stormy seas facing us over the next four years. As Harriet Rowan, one of the politically astute graduate students interviewed in the film, put it toward the end of the film, we can’t wait for the leadership to catch up with the people.
