Thursday, December 31, 2009

El Teatro Campesino transforms traditional Chicano theater

El Teatro Campesino transforms traditional Chicano theater

[Was at:]
http://www.montereyherald.com/leisure/ci_13845897

by MARC CABRERA
Nov. 23, 2009

The traditions of El Teatro Campesino are kept alive through
community, through art and, most importantly, through the doctrines
of the farmworkers' theater itself.

So with this winter's production of their seminal "La Pastorela," the
gatekeepers of Chicano Teatro, based in tiny San Juan Bautista, have
their sights set on solidifying their legacy as traditional art, even
as transition abounds.

"La Pastorela" premiers Nov. 27 at the historic Mission San Juan
Bautista. It runs through Dec. 20.

The play follows the story of a humble group of shepherds as they
encounter the Angel of the Lord, portrayed by Jillian Mitchell, who
announces the birth of the Redeemer in Bethlehem.

Embarking on their spiritual journey in search of the Holy Child, the
shepherds find themselves beset by the demonic followers of Luzbel,
portrayed by Eduardo Robledo, and Satanas, portrayed by Christy
Sandoval, who waylay them with obstacles born of their own human frailties.

Twenty-six-year-old Adrian Torres, a Teatro veteran of 10 years,
takes the reigns as director from Kinan Valdez, son of Teatro founder
Luis Valdez. Kinan Valdez has served as director of the company's
annual holiday shows for the better part of the past 15 years.

Valdez maintains a role as a producer, but the switch marks a
symbolic torch passing, as Torres is signed up to direct next year's
production of "La Virgen de Tepeyac." The company switches between
the two shows every year.

This month marks 44 years of existence for the El Teatro Campesino,
which formed as a guerilla theater troupe in solidarity with Cesar
Chavez and the Chicano civil rights movement at the height of the
United Farm Workers strikes during the 1960s.

Kinan Valdez is aiming to steer the company's course with a circuit
of ambitious projects over the next few years, en route to the
teatro's 50th anniversary in 2015.

As such, he is saddled with the task of shaping both the company and
the very genre his father Luis founded four-plus decades ago.

"I read somewhere the definition of traditional art," said Valdez.
"They said a traditional art is something that is not based on
individual achievement, but a collective wisdom that's amassed and
and passed on from generation to generation. "

He continued: "It dawned on me not so long ago that the way we
practice Chicano theater at El Teatro Campesino is starting to head
into this realm of traditional art."

That's important, he said, as a means of protecting the shape and
future of an art form he was born into.

It's particularly relevant with regard to "La Pastorela," which,
along with "La Virgen ..." has become the company's hallmark
production. "La Pastorela" premiered as a puppet show in 1975, and
has been performed bi-annually at the mission since 1981.

For Valdez, the play represents the Christmas spirit.

"There would be no Christmas spirit or holiday spirit for me without
these shows," he said. "The spirit and unity we create with the
community in the process of making this show is what the spirit of
Christmas is supposed to be about."

Being involved in the production for most of his life, Valdez has
seen the evolution of that tradition, through the young cast members
who grew up and returned years later.

That includes this year's cast veterans like Robledo, who is
celebrating his 40th anniversary of joining the company. He first
performed with the company as a teen in 1969.

The younger veteran Torres joined the holiday cast in 2001 playing
the devious Luzbel. Having performed on the show previously gave
Valdez confidence in Torres' directing abilities.

"He is reared in this tradition. He understands it organically," said
Valdez. "He's not a visiting director who says 'This is going to be a
Western theater approach to making this show happen.' It's that
organic transition that is essential to maintain these traditions."

Valdez is maintaining control of those traditions, but his eye is on
creating some new ones for the company as well.

He announced a recent endowment to Teatro from the James Irvine
Foundation to develop what he termed an "outdoor sacral theater
pageant," similar in scope to the teatro's holiday productions, for the summer.

The events would be staged on a parcel of land the company owns just
outside of San Juan Bautista. The first project is an adaptation of
Mayan mythology taken from the Popol Vuh, the Mayan book of creation.

"The idea has always been to create a type of work that mirrors what
happens during the holiday season, but for the summertime," said
Valdez. "The idea of creating these huge community pageants is
something that has been at least in conversation for a long time. So
we finally, thanks to the James Irvine Foundation, are taking those
first steps."

Other projects include a staging of resident artist Ruben C.
Gonzalez's latest work, "La Esquinita, USA" in the spring, and
prepping the premier of brother Lakin Valdez's project, "Victor in
Shadow," which is scheduled to debut next year in Berkeley before
coming to the teatro in 2011.

And in the ultimate show of respect, Kinan's father and Teatro
artistic director Luis Valdez is gearing up to premier his signature
play, "Zoot Suit," in Mexico City. A Spanish adaptation is being
planned for the spring, marking the first time it will be staged in Mexico.

"It's the first time a Chicano playwright has ever been welcomed by
Mexico," said Kinan Valdez with pride for his father's work. "So
that's an achievement and an honor."
--

Marc Cabrera can be reached at 646-4345
--

If you go

--What: El Teatro Campesino presents "La Pastorela."

--When: Performances run Thursdays, Fridays and Saturdays at 8 p.m.
and Sundays at 4 and 7:30 p.m. from Nov. 27-Dec. 20.

--Where: Historic Mission San Juan Bautista, located at 406 Second
St. in San Juan Bautista.

--Information: Call 623-2444

.

Guidelines for buying a former grow op or drug lab

Canadian real estate, marijuana, ecstasy, methamphetamine, drug labs and you.

http://www.examiner.com/x-29795-Vancouver-Social-Policy-Examiner~y2009m12d27-Canadian-real-estate-marijuana-methamphetamines-drug-labs-and-you

December 27, 2009
Barry O'Regan

Canada's red hot real estate market has real estate buyers scrambling
to get into the profitable real estate market while the getting is
good. Many feel purchasing and renovating distressed properties such
as former grow ops or methamphetamine labs are an easy flip for
profit. For the unsuspecting home buyer, this column is geared for you!

Many in Canada see the marijuana industry as a victimless crime. Grow
ops, ecstasy labs and meth labs can be next door in any home,
including 5,000 square foot luxury mansions from Hope to Whistler.
Believe it or not, there are more million dollar plus homes used for
manufacturing drugs in British Columbia versus an old home.

Most people cannot tell if a house was used as a drug lab. Many do
not realize they may be buying a toxic wasteland. Meth drugs labs
produce about seven pounds of hazardous waste for every pound of meth produced.

Many Realtors and Home inspectors are not experienced in detecting
former drug labs. So it could be buyer beware. This column will
provide some basic insights in what to look for when you suspect that
smoking hot deal may too good to be true.

Homes in the lower mainland costing upwards of a million dollars plus
are certainly a major investment for anyone.

A little investigation by the home buyer beforehand will go a long
way in providing some protection, after all it is your investment,
including the health of your family.

Background on homes built in North America before 1980

Ninety percent of homes and buildings in North America built before
1980 have asbestos (a cancer causing mineral fiber) in much of the
building materials used in the construction of these homes.

Examples of asbestos containing materials; drywall mud, ceiling
textures, wall plaster coatings, attic and wall insulation, vinyl
sheet flooring and floor tiles are just some examples.

Many drug lab operators who know the health risks will hesitate to
cut holes in the walls, floors and ceilings of these homes for obvious reasons.

Many of these older pre 1980's built homes have a limited 60 amp
power supply, certainly inadequate for energy hungry drug labs,
especially grow operations, hence why the criminal element prefer new
homes with a larger power supply, such as 200 amps or larger.

Myth and Reality

One myth many believe is that only dilapidated houses are used for
grow ops and meth labs.

The reality is most drugs labs are located in many affluent family
friendly neighbourhoods like yours. These neighbourhoods are ideal
areas as they are less likely to be detected by police.

If a drug lab is busted by police or other agency, your municipality
will have a record of it. This information may not be available for
public release, but you can try to get it from the municipality.

If the drug lab operation went undetected, police, fire and
municipalities will not know it's existence.

The homebuyer can always inquire if the municipality will release any
information to verify if the home was ever used as an illegal drug facility.

Banks and Insurance companies usually request proof of this from the
home purchaser before lending money or insuring the home.

Another method, though not the best way is to ask a neighbor or two
if the home was ever visited by police or the fire department and why?

Below are a list of recommendations for the homebuyer and
homeowner. Using these recommendations may assist you in picking up
telltale clues and whether further investigation is warranted by
environmental professionals.

What to bring to do your own inspection

Digital camera, black light, flashlight, six foot ladder (for attic
inspections), pen and notepad.

Digital cameras set to large format are useful in taking photos of
any area you feel need further inspection.

Photoshop and other programs are valuable tools for modifying
contrast, colours and brightness of your photos. These modification
controls can usually spot imperfections in wall and ceiling surfaces,
revealing circular lines.

Room by room inspections

If a homebuyer suspects a home was used as a drug lab, there are easy
ways to find out. Take a black light, check all wall surfaces and
floors for evidence of massive cleaning, phosphorous used in some
cleansers will light up the area.

Freshly painted concrete basement or garage floors are a clue to hide
telltale circular potting marks where marijuana plants were kept.

Chemical staining inside the laundry tub or plumbing fixtures are another clue.

For walls and ceilings, turn off the lights in the room, then take a
large wattage flashlight and with a sideways glance direct the
flashlight beam along the wall for signs of circular areas.

Circular areas usually indicate a previous drywall repair and can
range in size from four inches to twenty inches in diameter. This is
where ductwork is passed through the wall or ceiling to provide
venting of noxious gases to the outside.

Look for areas on the wall and ceiling for adhesive markings or
fastener holes. These may be used to secure drug equipment, plumbing
or hang growing marijuana plants for drying.

Wallpaper borders along the top of the wall bordering the ceiling
have been used to hide adhesive tape marks. Red Tuck tape is commonly
used to hang reflective black and white plastic sheeting in the room
for plants to reflect light or retain heat.

Red cellophane brand "Tuck tape" has excellent adhesion properties
and is very difficult to sand off drywall, in some cases the drywall
along the top of the wall and drywall bordering the window frames
becomes damaged, wallpaper borders are one way to hide these markings.

Inspecting the floors can be conducted by looking inside closets for
carpet patches or walking the floor for any unevenness. Carpet
patches or unevenness under carpet or flooring may indicate these
areas were previously patched to hide ductwork pass throughs.

Look for mould, though it may not be a perfect indicator, it may
provide a clue.

One should know mould is everywhere, energy efficient homes can be
susceptible to mould due to the energy air tightness of the home and
when the air exchanger is not working or areas are not well
ventilated. Homes which do not have ductwork and rely on baseboard
heat are more prone to mould if in a high humidity environment.

Electrical

Inspect the electrical panel and judge if it is new or original, or
get an electrician to check it out for you, as they are pretty good
at detecting tampering of the circuits and power.

Tampering with the electricity in a home is usually done directly
above the electrical panel, so check for drywall repairs around the
panel and the floor directly above the electrical panel.

Cupboards and shelves

Open cupboards, look at workshop shelving for anything unusual.

Closets

Open every closet, inspect the floor and ceiling inside the closet
for repairs in these areas. These are favoured places where previous
installations for drug labs to run power, water and ductwork, thus
hiding it from the prying eyes of visitors.

Basement

If the basement is unfinished, look up at the basement ceiling at the
wood framing members and wood joists. Inspect closely, do you see any
staples embedded in any of the wood? If not, do you see pinhole marks
made by the staples?

Check the wood framing members on the walls, do you see staples or
marks left by them? Staples are used to secure black or white poly
sheeting to the walls and ceiling of the basement.

If you notice staples on the walls of the basement securing clear
plastic sheeting, with insulation behind it, that is normal.

Water lines

This inspection is normally out of the realm for most homebuyers and
best left to a plumber or building inspector. Though taking a few
photos of anything unusual wouldn't hurt, such as oxidation of copper piping.

Drug lab operators tie into the water lines for process water or to
feed their plants.

Floor

Freshly painted basement floors may indicate someone is hiding
circular marks left on the floor where flower pots were left for the
marijuana plants. This is why you check for staples or staple marks
left on the wood framing members or joists in the ceiling. No staples
or staple marks? Chances are the concrete basement floor was painted
to look nice.

Attic

Inspect the attic and inspect for wood sheathing repairs, which may
indicate that venting and ducting was used to vent chemicals and
noxious gases to the outdoors.

Is the attic insulation neat and uniform throughout or does it seem
as if someone was walking through the attic.

Is there debris in the attic, discarded cardboard boxes, do these
cardboard boxes have electrical or lighting labeling on them, names
like Ballast or transformers?

Is there anything else in the attic that looks out of place?

Check for odours in the attic, does it have a distinct odour similar
to a skunky odour, though not a positive indicator, it may be a
warning sign of a previous grow op.

Mould in the attic on the roof sheathing may be another indicator of
a previous grow op, but is not always the case. Roof leaks, a loose
exhaust duct from a bathroom may be the culprit. Damp sheathing is
not a good sign either way. Take a photo of the wood sheathing as a
reference for later on.

Attic and fireplaces

Ingenious drug lab operators use large cylindrical carbon canisters
and modify the fireplace flue to vent toxic fumes outdoors in order
to escape detection, as the carbon filters remove that distinctive
skunky odour that is all too familiar to police and wary neighbors'.

Garage

Look for any obvious signs such as large bags of fertilizer, Perlite,
large chemical containers, coils of electric wire, transformers,
ballasts, black, white poly plastic sheeting and lastly large
lightbulbs the size of a housecat.

Look in any garbage containers or garbage bags, don't route through
it, just open it and peek inside, getting stuck with a syringe and a
trip to the emergency ward is no fun.

Outdoors

Look over the grounds for unevenness in the landscape, drug labs
routinely bury their contaminants instead of putting them out for the
garbage men who are trained to look for suspicious trash commonly
used by drug lab operators.

Grow ops commonly use commercial potting soils such as Perlite.

Perlite is a brownish soil with small white beads mixed in. If this
is found in the landscape, this may be a sign grow operators are
disposing of Perlite by mixing it into the landscape. Perlite potting
soil is not commonly used outdoors.

There are additional methods used to spot a former drug lab, but
these methods are normally out of the realm for the inexperienced homebuyer.

Conclusion

Finally, when in doubt, obtaining the services of a reputable
environmental company is a cost effective method in safeguarding your
investment.

Environmental companies experienced in drug lab investigations are
usually listed with local bylaw agencies in your municipality.

Though all the above recommendations are not foolproof, it's a step
in the right direction for home buyers.

The RCMP estimate there are 18,000 drug labs currently operating in
the lower mainland of British Columbia. Perhaps this is a home
lottery one should hesitate to play when it comes to buying a home
without first checking it out.

Knowledge is power, every little bit helps.

.

Woodstock Can't Escape America's War Economy

They're Building Nuclear Missile Parts in Woodstock?
You Can't Escape America's War Economy

http://www.alternet.org/story/144748/

December 22, 2009.

The New York small town has a worldwide association with peace, yet
its largest employer has been making components for nuclear missiles
for six decades.
--

Woodstock, New York -- I'm proud of my small town's worldwide
association with peace. Many times during the 24 years that I've
lived here, I've stood in peace vigils on the Village Green - and
provided a bit of local color for visitors' snapshots. Tourists and
other assorted pilgrims are drawn to Woodstock by peace as well as by
the festival that didn't happen here.

So I was stunned as I sat the other day in our excellent public
library, examining an archive which they store in a remote closet.
The documents told me that for six decades Woodstock's largest
employer has been making crucial, custom components for nuclear missiles.

In the 60s and 70s, hippies graced the Village Green. A mile away,
down a banal country lane, under the benign gaze of a statue of the
Buddha, skilled workers assembled fans that were "critical to the
success of nearly every U.S. military missile program," as the
company's promotional material boasted. And specially-designed
Woodstock fans were busy in the skies over Vietnam in B-52 bombers,
making possible the "Christmas Bombings" of 1972, which were the
largest heavy bombing strikes launched by the U.S. since World War II.

Today, Made-In-Woodstock components fly F-15s and F-16s and Apache
attack helicopters over Iraq, rumble through Afghanistan in Bradley
tanks, fire warheads from rocket launchers, and prowl the oceans in
nuclear submarines.

The Iraq War provided an upturn in Woodstock's weapons contracts, as
had the Vietnam and Korean Wars ("Woodstock Company Expands For War
Work" was the headline of a local newspaper in the early 1950s).

The Cold War work of Woodstock's Rotron Inc. fueled the growth of the
town and provided employment for some of its artists. The company,
which also makes civilian products alongside its core military work,
has been a notable supporter of community efforts such as the rescue
squad. Meanwhile (although this only became known in the 1980s), TCE
and other highly toxic byproducts of weapons production were
contaminating the wells of neighborhood homes, who to this day can't
drink their well water or grow their own vegetables.

In 1973, the company even received a Special Award from Rockwell
International, maker of the Minuteman nuclear missile. "Year after
year," the award said, "the Rotron fan has performed on the Minuteman
missile program without a single instance of failure."

Next to a model of a Minuteman, the award displayed a replica of one
of Sir Francis Drake's ships, likening Rotron's contribution towards
keeping the Soviets at bay to Drake's turning back the Spanish Armada
in 1588. (Today, the third generation of Minuteman ICBMs, now made by
Boeing, are still a lethal nuclear threat - and still rely on
Woodstock components.)

I stared at the nuclear missile and the sailing ship. What does it
mean, I wondered, that for 60 years Woodstock, with its
hippie-granola-peace reputation, has quietly had an economy anchored
in nuclear terror and arms manufacturing?

It doesn't mean that our tiny town is particularly evil. Rather the
reverse: it means that Woodstock - like all towns - is both special
and, at the same time, like everyone else.

All over the United States, in every congressional district,
communities depend upon the war economy. Our own weapons-components
plant, though it looms large in our local economy, is a small fish in
the huge and murky pond of military contractors.

It means that, yes, even in Woodstock, too much of our hard work and
creativity is expended producing products and services that go to
war, that is, to desolation and waste.

And it means that, together with towns around the world, we have a
responsibility to turn our local productivity in a positive direction.

Environmental, economic, and security crises are forcing us to
rethink the economy. War makes all these crises worse. We can help to
solve them by promoting peaceful, green manufacturing and services.

In a recession, people are naturally afraid of rocking the boat when
jobs are at stake. But so many things we actually need are
desperately underfunded. Fixing our infrastructure, for example, and
educating our children. When money is put into these, it creates more
jobs (per dollar invested) than war production.

Perhaps we shouldn't, after all, follow the example of that plunderer
and slaver Sir Francis Drake or any modern successors.
--

Laurie Kirby is a Professor of Mathematics at Baruch College of the
City University of New York, and a Woodstock musician. He is a member
of Woodstock Peace Economy.
http://woodstockpeaceeconomy.org/

.

Dreaming of a Day-Glo Xmas

Dreaming of a Day-Glo Xmas

http://www.laweekly.com/2009-12-24/art-books/dreaming-of-a-day-glo-xmas/

Doug Harvey's mostly psychedelic shopping list

By Doug Harvey
December 23, 2009

I've been looking around at all these Top 10 Art Books of 2009 lists,
and geez, it's no wonder everyone thinks art is so boring and stuffy.
The upside is that if some rich, misguided relative actually buys you
the $600 six-volume edition of Van Gogh's complete letters the
cognoscenti are drooling over, you can return it and buy everything
on my list, with enough left over for a bag of weed and six hours of
Thai massage.

Speaking of a bag of weed, those who routinely flipped by their L.A.
public-access cable channel between 1996 and the untimely demise of
the medium in January of this year at some point probably stumbled
incredulously upon The Threee Geniuses, a transcendently
self-indulgent orgy of cheap video wipes, stroboscopic edits, trashy
glam psychedelia and incoherent studio actions, all mashed up in real
time, usually to the equally fragmentary soundscapes created by the
Venemous Invisible Amanda, aka Don Bolles. Augmenting the titular
genii (Dan Kapelovitz, Jon Shere and Tim "Mr. X" Wilson) were an
array of talents ranging from cable-access luminaries like Francine
Dancer and David Liebe Hart to noted schizophrenic street people Andy
Dick and Ariel Pink. Titled The Re-Death of Psychedelia
(3geniuses.com) the 3Gs' new compilation DVD proves the show was as
physically difficult to watch as it always seemed, and perhaps the
most challenging and inventive structuralist video art of the new
millennium. If it ain't headache-, nausea- and seizure-inducing, it
ain't avant-garde!

Andy Kaufman was only incidentally a professional comedian, though
the exact nature of his primary vocation is hard to pin down. I used
to consider him in a similar light as the 3Gs ­ a great performance
artist whose work was ignored by the Art World because it frequently
took place on TV ­ but now I tend to think of him as more a sort of
confrontational philosopher along the lines of Diogenes the Cynic,
using his body and personality as mutable props to instruct the
public in the flimsiness of socially constructed realities. Dear Andy
Kaufman, I Hate Your Guts! (Process Media) compiles a remarkable set
of documents that bear witness to his effectiveness ­ letters from
women (mostly) accepting his 1979 challenge on Saturday Night Live to
wrestle any member of the weaker sex as proof of male superiority. If
defeated, he would shave his head, award his opponent $1,000 and
allow her to marry him. Outraged, off their rockers or in on the
joke, Kaufman's respondents seem to draw their energy from his
disruptive creativity, cartooning, collaging, striking poses in the
requisite photo, and inventing novel epithets ("spineless mollusk"
"inane drone") on their "Broad Power" postcards or "Notes from a
Sensuous Woman" stationery. Kaufman would pick the sexiest
challengers, then book a college performance in their town,
ultimately claiming to have bedded 80 percent of his opponents.
Whether that's art or philosophy is still up in the air.

Mike McGonigal always seemed like the archetypal zine editor as he
came of age helming the deeply idiosyncratic mix of indie
music/comix/free jazz/outsider art/experimental literature known as
Chemical Imbalance, before being stabbed by a mugger, descending into
junkie squalor and disappearing from public view. He turned up on
amazon.com in the late '90s, writing and editing reviews, lending the
young online company the credibility of his visionary-leaning
literacy. For the last decade he has operated out of Portland,
publishing YETI ­ an occasional book-format journal whose latest,
eighth issue includes typically eclectic features on a lost
collaboration between Johnny Mathis and Chic, a transcribed polylogue
by multiple-personality blues preacher Bishop Perry Tillis; an
interview with French female drone composer Eliane Radigue;
selections from Luc Sante's collection of mind-blowing folk
photography (also the subject of a beautiful new YETI book) and much
more ­ as well as a CD featuring a mix of McGonigal's current audio
obsessions, lately hovering between vintage gospel and neo-psych, and
always the cherry on the sundae of anything he edits (yetipublishing.com).

It may have been in the pages of Chemical Imbalance that I first
encountered the work of Michael Kupperman ­ back when he was known as
P.Revess and drawing the Alzheimerific adventures of Cousin Grampa
and Pablo Picasso. His nostalgic graphic style ­ reminiscent of old
engravings and woodcuts ­ was more rickety and disjointed then, and
his humor and narratives even more incoherent. In the late '90s he
produced Up All Night, an awesome alt-weekly comic, anthologized as
the brilliant Snake 'n' Bacon's Cartoon Cabaret, which for some
reason went straight to the cutout bins. Small wonder Kupperman fell
in with the thugs at McSweeney's, cleaned up his line and took to the
illustration fields. A couple years ago, he resurfaced at
Fantagraphics with his own comic book, Tales Designed to Thrizzle,
whose first four issueshave just been anthologized as a hardcover ­
bringing a slick, hyperreal illustrative consistency that amplifies
the already dreamlike mixture of familiarity and strangeness, which
permeates his deadpan surrealist slapstick. This year also saw the
debut and immediate disappearance of the Adult Swim TV version of
Snake 'n' Bacon. But third time's the charm. I say go for the feature film.

Along with Tim & Eric, the video auteurs who have been actually
keeping Adult Swim's edge alive are the Brooklyn-based multimedia
enclave PFFR, who record addled rock music and make gallery art, and
who stretched the limits of decency and humor with their two-season
"kids' show" for MTV2, Wonder Showzen. Since finding a home at AS,
their most remarkable achievement has been a totally fucked-up
animated series called Xavier: Renegade Angel a cryptic, recursive,
ridiculous spirit quest/criminal investigation rendered in a clunky
video-game cubism. The protagonist is a hirsute, beaked, six-teated
humanoid with a snake for a left arm, and sneaker-clad backward legs,
who poses questions like, "I flip more lids than a monkey in a soup
kitchen ... of the mind! Does this make me a hero?" in a voice
remarkably similar to that of Keanu Reeves. The recently released,
essential two-DVD set collects the first two seasons, and it appears
there will actually be more ­ a blessing if only for its infuriating
effect on the whining anime fanboys who only tune in for the Saturday
night J-porn marathons and reruns of Family Guy and Futurama.

While we're torturing geeks, I have to put in a good word for Andrei
Molotiu's Abstract Comics: The Anthology, also from Fantagraphics.
Given the historical simultaneity of modern art and graphic
narrative, and the considerable amount of crossover between the
traditions (Japanese ukiyo-e prints, pop art, etc.) it seems odd that
there hasn't been a movement to bring the language of
nonrepresentational painting into the narrativizing sequential
structure of comics. As editor (and contributor) Molotiu points out
in his introductory essay, artists like Hans Richter and Oskar
Fischinger were quick to successfully translate geometric abstraction
into the equally narrative-prone language of cinema. Many of the best
works here could in fact be storyboards for animations. But the thing
is, most comic readers are primarily interested in the medium's
conventional storytelling potential, often vitriolically so. The
collection has a wealth of rewarding material, some of it awkward,
some groundbreaking ­ on the whole, it is a significant historical
document that may jump-start an actual new genre. I'd have liked to
have seen the fine-art examples reproduced on equal footing with the
contemporary comic art, and some love for Jess and Oyvind Fahlstrom,
but that's what volume 2 is for, right?

Fantagraphics (again) certainly delivered big-time on the second (and
probably final) collection of primitive comic savant Fletcher Hanks'
You Shall Die By Your Own Evil Creation!, as well as with the
almost-as-weird Supermen!: The First Wave of Comic Book Heroes 1936-1941.

It has been harder and harder to find underrecognized areas of
graphic design ­ a notoriously self-cannibalizing visual field ­ to
revive and valorize (or crib from), but Dan Donahue has come up with
a doozy with Ultraviolet: 69 Classic Blacklight Posters from the
Aquarian Age and Beyond, which promises that each of the winged, blue
unicorns, righteous soul brothers, floating crystal palaces, and
many, many naked hippie couples will "shine brilliantly" in the
presence of a black light (not included). The Red Book: Liber Novus
by Carl Jung makes no such claims but compensates with a deeper, more
heartfelt and artistically significant array of personal mythological
symbolism. Created during a prolonged period of craziness after his
split from Freud, Jung's Red Book is more than 200 hand-painted
illuminated manuscript pages chronicling his experiments in "active
imagination" ­ basically dreaming while you're awake. Hidden from
public view until this year, its publication by Norton ­ and current
exhibition of the original at the Rubin Museum of Art in NYC ­ are
significant moments in the history of analytic psychology. But the
real surprise for most will be seeing what an interesting and
accomplished painter Jung was. Having just gotten around this year to
reading Deidre Bair's excellent 2003 biography of the
depth-psychology patriarch, we know the guy was something of a dick.
And clinical psychology is no excuse for being a dick. Luckily for
Jung, philosophy and art can be.

.

The Day-Glo Brothers Really Shines

Review:
The Day-Glo Brothers Really Shines

http://www.wired.com/geekdad/2009/12/the-day-glo-brothers/

By Kathy Ceceri
December 7, 2009

Everyone knows the story of the invention of the airplane, the
telephone and the light bulb. But there are a million little things
around us that we never even notice which didn't exist until somebody
thought them up. Take Day-Glo colors. We see them every day on Blaze
Orange traffic cones and hunter's caps, Signal Green sticky notes,
and Saturn Yellow highlighter markers. But did you ever stop to think
why some pinks look rosy while others are actually hot?

Like most people, author Chris Barton didn't give Day-Glo colors a
second glance until he happened to read an obituary of Robert
Switzer, who with his brother Joe turned an interest in magical
illusions into an industry ­ and along the way created hues Nature
never dreamed of. The Day-Glo Brothers tells about Joe's fascination
with ultraviolet lamps, which he wanted to use to make objects in his
magic shows glow in the dark. Poking around in their father's
drugstore, they found chemicals which they used to create the first
fluorescent paint. Then Bob got the idea to make glow-in-the-dark ink
for store signs and billboards. It was an accident that some of the
paint they developed also glowed in the light. World War II made the
brothers rich selling glowing paint for buoys, signal flags and
safety jackets. Psychedelic posters and bright green tennis balls came later.

The Day-Glo Brothers is a picture book aimed that younger kids will
easily follow. The illustrations by Tony Persiani naturally make
generous use of the glowing colors. And publisher Charlesbridge has a
web page with links to an animated explanation of how Day-Glo works,
interviews with the author, and the original obituary that started
Barton on the project. There's also a teacher's guide with activities
­ but the best activity is to give your kids a black light at your
local hardware store and let them see what might glow.

The Day-Glo Brothers, by Chris Barton with illustrations by Tony
Persiani, retails for $18.95 but can easily be found for less (or,
like me, you can borrow it from the library).

.

Lived Experience:Volume 9 collection released

Lived Experience: Volume 9 collection released

http://www.bclocalnews.com/bc_cariboo/williamslaketribune/community/79876112.html

December 24, 2009

Need a last minute Christmas gift? Consider Lived Experience ­ Volume
9: A Literary Journal from the Mountains of BC, just released by Van
Andruss of Lillooet. As in the previous eight volumes, Lived
Experience Volume 9 (LE9) contains the work of several local writers,
Lorne Dufour from McLeese Lake, Gloria Atamanenko from 150 Mile
House, Sage Birchwater from Williams Lake, Sally Bland from Likely,
and John Schreiber from Victoria, describing his explorations of the Chilcotin.

Along with the writers of the Cariboo Chilcotin are regular
contributors Doug Dobyns, Bob Sarti, Robert Champ, Tony Eberts, Tim
McNulty, Edye Hanen, Jonathan Kerslake, Alan Twigg and of course, Van
Andruss. New writers introduced in LE9 are Joram Piatigorsky, Tony
Ross, Christopher and Judith Plant, and Mariko Kage.

Van says he is struck by the diversity of style and theme from his
growing stable of writers. "It's one of the joys of my role to make a
seeming order of the mix," he says, admitting that the Lived
Experience series is emphatically biased in the direction of
environmental consciousness and the values of place.

"I favour stories and poems that come from a particular spot on our
verdant globe, especially from the province of BC where I find my community."

He says thematically the LE9 returns to the 1960s in North America.
"It's an historic period of great importance," he says. "The mould of
convention was broken, the paradigm cracked, and spilled out the
children, who scattered in all directions. Taken together the
directions were utopian. The goal was to find oneself in harmony with
others and the natural world."

He admits that much of what happened in the Sixties was silly. "What
else could you expect of children? But the intention was humane and
is worthy of respect. More than respect, the search for a new world
is imperative and never to be abandoned."

Van says he and local writer, Lorne Dufour, were both of the Yippie
generation, but neither were Yippies. "We dropped out of the city
experience and took to the hills," he says. "Lorne became a Bush
Gypsy and I became a Bush Hippie."

In the pages of LE9 Van gives a short review of Dufour's book Jacob's
Prayer, released last summer. He also includes Lorne's latest work,
Mario's Buick, a literary piece reflecting Lorne's horse logging days
near Salmon Arm.

Also featured in LE9 is Gloria Atamanenko's Tobacco Pudding, a
delightful collection of essays about her girlhood experiences
growing up in Northern Alberta in an immigrant family where English
was a second language.

Sally Bland has four poems in this year's volume: Katy at Six,
Wildflower Cabin, Midnight Canoe and The Cliche Cafe.

John Schreiber, the author of Stranger Wycott's Place, has two essays
in LE9. The Casual Elegance of Terns reflects on the life of
Tsilhqot'in elder, Donald Ekks, and John's exploration of the Turner
Lake chain of lakes. In New Burials at Big Eagle Lake, John offers
reflections of later finding the graves of Donald and Emily Ekks
along the shore of Choelquoit Lake where he encounters a family of
grizzlies in this remote corner of the Chilcotin.

In Rainbow Gathering '72, authored by yours truly, I continue my
musings of travels about North America in the early 1970s, that began
with Coathanger Man in LE 8. Inspired by the Woodstock Rock Festival
of 1969, the Rainbow Gathering near Granby Colorado in 1972, was the
first of its kind, bringing people together from all over the world
to establish a temporary intentional community to meditate on world
peace. Since then there has been a Rainbow Gathering every year at
various locations throughout the United States and in countries
around the world. For me this experience was transformational, and
has remained an important touchstone influencing my life.

Using pseudonyms for himself and his family, Van Andruss offers a
couple of memoirs of life in a close-knit community. At the end of
his introduction he apologizes for upping the price of Lived
Experience Volume 9 from $12 to $15, explaining that the price of
printing has increased by half over the past year.

Once again Van's publishing efforts are a labour of love, giving
voice to a number of BC writers and a unique reading opportunity for
those who like locally written stuff.

All nine volumes of Lived Experience can be found at the Open Book
and the Station House Gallery. LE9 will be available at these
locations on Dec. 22, just in time for the last-minute shopper.

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Invasion 68 Prague

Invasion 68 Prague

http://www.miaminewtimes.com/2009-12-24/culture/art-capsules/

Through February 6. Freedom Tower, 600 Biscayne Blvd., Miami;
305-237-7700; galleries@mdc.edu.com. Tuesday through Friday noon to 5
p.m. and Saturday noon to 4 p.m.

"Invasion 68 Prague" captures the spirit of a time when the world
appeared to be spinning off its axis. On the night of August 21,
1968, Josef Koudelka, a theater photographer living in Prague, found
himself caught between an anvil and the hammer. The 30-year-old
became an unsuspecting witness to the Soviet-led invasion of his
homeland. Moscow had unleashed its vast arsenal against
Czechoslovakia determined to crush the short-lived liberalization of
that nation, which became known as the "Prague Spring." He snapped an
arresting series of images documenting the 200,000 Warsaw Pact troops
and 5,000 tanks that, with a noose of turmoil and fear, choked off
the city of a hundred spires. On display at the Freedom Tower are 60
of Koudelka's searing black-and-white pictures, many on public view
for the first time and chosen by the photographer from his extensive archives.

.

The Weather Underground film

Films of the decade:
"The Weather Underground"

http://salon.com/ent/movies/film_salon/2009/12/24/weather_underground/index.html

This amazing doc about the radical terrorist group reminds us how
fragile American society really is

By Lawrence Levi
Dec 24, 2009

In a decade scarred by terrorism and disastrous responses to it, a
documentary about homegrown terrorists ­ militants? revolutionaries?
­ blew my mind: "The Weather Underground," about the radical antiwar
group of the '70s whose mission was no less than the violent
overthrow of the U.S. government. For me, too young to know what the
Weather Underground were up to when they were at large, learning what
they did, and why, in their own words, was seriously disturbing ­ not
least because it seems almost reasonable. They bombed the Capitol,
people! Along with police stations, banks and the Pentagon. And they
eluded the FBI for years.

The film's directors, Sam Green and Bill Siegel, are wise enough not
to take a stand on the morality of violent protest, letting the
ambivalence of several of the participants speak for itself. But when
you see a clip of Martin Luther King, that icon of pacifism,
furiously denouncing the "abominable, evil, unjust war in Vietnam,"
your head may start to spin too. Seeing the movie again now, in the
wake of right-wing attempts to tarnish Barack Obama by linking him
with former Weatherguy Bill Ayers (who, like all of the interviewees,
is eloquent), is even more disorienting. More than any other movie
I've seen, "The Weather Underground" shows how fragile America's
social fabric truly is.

Of course, the decade's best movie about our nation's response to
terrorism was "Team America: World Police."

.

Critical time for Sundiata and Mumia

Holidays a critical time for Sundiata and Mumia

http://uhurunews.com/story?resource_name=holidays-a-critical-time-for-sundiata-and-mumia

The New Black Panther Party
Published Dec 24, 2009

This holiday season is a critical time for two freedom fighters,
Sundiata Acoli and Mumia Abu Jamal.

Sundiata is Assata Shakur's co-defendant and is in his 36th year of
incarceration! Now 72, Sundiata will be up for parole consideration
in February. Letters supporting his bid for parole are crucial! If
your family or organization is hosting a Kwanzaa or a holiday event,
please consider setting a few moments aside to have your participants
write a letter for Sundiata right there where you can collect them.
If you decide to do so, contact us with all of the particulars for
your event so we can highlight your organization's commitment. We
will also make arrangements for getting them from you and getting them mailed.

We especially encourage professional persons, clergy, activists,
performers and entrepreneurs to write a letter on your own respective
letterhead. The parole board should also see that leading elements in
our community welcome our beloved Sundiata home.

If you cannot attend any of the supporting events, but would still
like to send a support letter, please use the sample below as a
guideline and do so. Send us a copy so we know we can count on you.

Please also sign the online petition for Sundiata:
http://www.thepetitionsite.com/2/parole-for-sundiata-acoli

This is something simple that everybody can do. At the time of this
release, the online petition has a little more than 200 signatures.
Our goal has been to secure 1000 by month's end. I don't know how
anyone who claims love for Assata and Sundiata can accept that tame
response. It is absolutely unfair to Sundiata and to his comrades.

Mumia's situation is most critical if you or your organization has
yet to send a letter to the Justice Department, please do so as soon
as possible. The campaign to have the Justice Department intercede on
Mumia's behalf appears to be the last real chance to save Mumia's
life. The courts simply have not shown that they will. Mumia himself
made it most plain in another context about
the court system in this country when he said, "we have courts of
law, not courts of justice."

Letters supporting Sundiata Acoli

Please mail your lettters to:
Chairwoman Volette C. Ross
New Jersey State Parole Board
P.O. Box 862
Trenton NJ 08625

---------- Sample letter ----------

December 1, 2009

Chairwoman Volette C. Ross
New Jersey State Parole Board
P.O. Box 862
Trenton NJ 08625

Chairwoman Ross:

I am writing this letter concerning Sundiata Acoli,
NJ#54859/Fed#39794-066, who is eligible for parole February of 2010.
I strongly encourage you to grant his parole request.

Sundiata's age is a strong reason to grant parole. In January 2010,
Sundiata will be 73 years old. He has been incarcerated for 36 years
and has served his sentence. Elderly prisoners' recidivism rates are
extremely low and they are highly unlikely to commit a crime once
released. In addition, elderly prisoners require more intensive
medical care to remain healthy, which is an added cost to the prison system.

Sundiata's prison record has been impeccable. Not only has he not had
any violations or write-ups in decades, he is a talented painter,
writer and educator. He has worked with high school and college
classes across the country, providing information and insight, as
well as providing support to other prisoners who want to further
their education.

Sundiata himself has a very impressive educational and work
background, having worked at NASA in the 1960s as a computer
programmer. He left that job to travel to the South to register
Blacks to vote during the Civil Rights movement.

Sundiata has expressed remorse for his involvement in the
circumstance that has led to his incarceration. I believe with all of
my heart that if he is released, he will be an asset to the
community, one that is sorely needed.

Sundiata is a father and a grandfather, and his greatest desire is to
get to watch his grandchildren grow up. Please help fulfill that desire.

Sincerely,

Name: _________________ ______________________ ___________________

Address: __________________________________________________________

Email: _________________________________________

*address and email is optional but is very important for letters
coming from New Jersey.

Letters supporting Mumia Abu-Jamal

Please mail letters to:
US Justice Department
Washington, DC
Attn: Atty General Eric Holder

---------- Sample letter ----------


November 12, 2009

US Justice Department
Washington, DC
Attn: Atty General Eric Holder
RE: Mumia AbuJamal

Greetings,

The New Black Panther Party, as a part of a global human rights
united front, proudly presents this letter demanding that your
department intervenes in the incredible case of Mumia Abu­Jamal.

If there was ever a case that challenges the American image on race
and the American system of justice at its core, it is this case, at
this historical moment.

Even though Mumia's attorneys have made an incredible and obvious
case of numerous constitutional violations in his trial, even though
those same efforts unveiled a range of new evidence establishing his
innocence, and even though there are precedents for the proper
granting of a new trial, in hearing after hearing and in court after
court, including tragically even the federal courts, the deepseated
race-based and political animosity facing Mumia has overridden the
rule and principle of the law at every turn. Now we are faced with
watching one of the most biased death penalty prosecutions seek the
reinstatement of his death sentence, even though the world knows that
this man is innocent.

At this critical moment, we can not allow political conventions to
stand in the face of justice and allow what the world sees as a legal
and political lynching to take place. The affirmation of slavery and
the property holding rights of slavemasters was once the political
convention of the day. Jim Crow segregation and the practice of lynch
mob terror to enforce that order was also once the political
convention of the day. However, on this date, at this incredible
hour, in this enormous historical moment, with the eyes of the world
upon us all, we, not just as in we, the international human rights
community, but we, as in 'we the people,' simply can not allow this to happen!

So it is with respectful, but absolutely uncompromising urgency, that
we come to demand that the Justice Department, here to prevent such
tragedy as was once the common order of racial terror throughout much
of this land, properly intervene in this case and see to it that true
justice is served.

At the very least, Mumia Abu-Jamal deserves a new trial, and given
the ordeal he has faced placing him at the threshold of a racist and
politically motivated execution, he should be released in the
interests of justice.

May the God of our ancestors be with you as you confront this
enormous historical challenge.

Respectfully submitted,
Zayid Muhammad,
Natl Min of Culture, New Black Panther Party
cc: Malik Zulu Shabazz, Esq., Nat'l Chairman, New Black Panther Party
(published in The Amsterdam News)

.

Interview with Nat Hentoff about Obama

America Under Barack Obama

http://www.lewrockwell.com/orig8/whitehead6.1.1.html

An Interview with Nat Hentoff

by John W. Whitehead
December 24, 2009

"I try to avoid hyperbole, but I think Obama is possibly the most
dangerous and destructive president we have ever had." ~ Nat Hentoff

Nat Hentoff has had a life well spent, one chock full of controversy
fueled by his passion for the protection of civil liberties and human
rights. Hentoff is known as a civil libertarian, free speech
activist, anti-death penalty advocate, pro-lifer and not uncommon
critic of the ideological left.

At 84, Nat Hentoff is an American classic who has never shied away
from an issue. For example, he defended a woman rejected from law
school because she was Caucasian; called into a talk show hosted by
Oliver North to agree with him on liberal intolerance for free
speech; was a friend to the late Malcolm X; and wrote the liner notes
for Bob Dylan's second album.

A self-described uncategorizable libertarian, Hentoff adds he is also
a "Jewish atheist, civil libertarian, pro-lifer." Accordingly, he has
angered nearly every political faction and remains one of a few who
has stuck to his principles through his many years of work,
regardless of the trouble it stirred up. For instance, when he
announced his opposition to abortion he alienated numerous
colleagues, and his outspoken denunciation of President Bill Clinton
only increased his isolation in liberal circles (He said that Clinton
had "done more harm to the Constitution than any president in
American history," and called him "a serial violator of our liberties.").

Born in Boston on June 10, 1925, Hentoff received a B.A. with honors
from Northeastern University and did graduate work at Harvard. From
1953 to 1957, he was associate editor of Down Beat magazine. He has
written many books on jazz, biographies and novels, including
children's books. His articles have appeared in the Wall Street
Journal, New York Times, Commonwealth, the New Republic, the Atlantic
and the New Yorker, where he was a staff writer for more than 25
years. In 1980, he was awarded a Guggenheim Fellowship in Education
and an American Bar Association Silver Gavel Award for his coverage
of the law and criminal justice in his columns. In 1985, he was
awarded an Honorary Doctorate of Laws by Northeastern University. For
50 years, Hentoff wrote a weekly column for the Village Voice. But
that publication announced that he had been terminated on December
31, 2008. In February 2009, Hentoff joined the Cato Institute as a
Senior Fellow.

Hentoff's views on the rights of Americans to write, think and speak
freely are expressed in his columns. He is also an authority on First
Amendment defense, the Bill of Rights, the Supreme Court, students'
rights and education. Friends and critics alike describe him as the
kind of writer, and citizen, that all should aspire to be ­ "less
interested in 'exclusives' than in 'making a difference.'" Critiquing
Hentoff's autobiography, Speaking Freely, Nicholas von Hoffman refers
to him as "a trusting man, a gentle man, just and undeviatingly consistent."

Hentoff took to heart the words from his mentor, I. F. "Izzy" Stone,
the renowned investigative journalist who died in 1989: "If you're in
this business because you want to change the world, get another day
job. If you are able to make a difference, it will come
incrementally, and you might not even know about it. You have to get
the story and keep on it because it has to be told."

Nat Hentoff has earned the well-deserved reputation of being one of
our nation's most respected, controversial and uncompromising
writers. He began his career at the Village Voice because he wanted a
place to write freely on anything he cared about. And his departure
from the publication has neither dampened his zeal nor tempered his voice.

Hentoff, whose new book, At the Jazz Band Ball ­ Sixty Years on the
Jazz Scene (University of California Press), is due out in 2010, took
some time to speak with me about Barack Obama, the danger of his
health care plan, the peril of civil liberties, and a host of other issues.

John W. Whitehead: When Barack Obama was a U.S. Senator in 2005, he
introduced a bill to limit the Patriot Act. Now that he is president,
he has endorsed the Patriot Act as is. What do you think happened with Obama?

Nat Hentoff: I try to avoid hyperbole, but I think Obama is possibly
the most dangerous and destructive president we have ever had. An
example is ObamaCare, which is now embattled in the Senate. If that
goes through the way Obama wants, we will have something very much
like the British system. If the American people have their health
care paid for by the government, depending on their age and their
condition, they will be subject to a health commission just like in
England which will decide if their lives are worth living much longer.

In terms of the Patriot Act, and all the other things he has pledged
he would do, such as transparency in government, Obama has reneged on
his promises. He pledged to end torture, but he has continued the CIA
renditions where you kidnap people and send them to another country
to be interrogated. Why is Obama doing that if he doesn't want
torture anymore? Throughout Obama's career, he promised to limit the
state secrets doctrine which the Bush-Cheney administration had
abused enormously. The Bush administration would go into court on any
kind of a case that they thought might embarrass them and would argue
that it was a state secret and the case should not be continued.
Obama is doing the same thing, even though he promised not to.

So in answer to your question, I am beginning to think that this guy
is a phony. Obama seems to have no firm principles that I can discern
that he will adhere to. His only principle is his own aggrandizement.
This is a very dangerous mindset for a president to have.

JW: Do you consider Obama to be worse than George W. Bush?

NH: Oh, much worse. Bush essentially came in with very little
qualifications for presidency, not only in terms of his background
but he lacked a certain amount of curiosity, and he depended entirely
too much on people like Rumsfeld, Cheney and others. Bush was led
astray and we were led astray. However, I never thought that Bush
himself was, in any sense, "evil." I am hesitant to say this about
Obama. Obama is a bad man in terms of the Constitution. The irony is
that Obama was a law professor at the University of Chicago. He
would, most of all, know that what he is doing weakens the Constitution.

In fact, we have never had more invasions of privacy than we have
now. The Fourth Amendment is on life support and the chief agent of
that is the National Security Agency. The NSA has the capacity to
keep track of everything we do on the phone and on the internet.
Obama has done nothing about that. In fact, he has perpetuated it. He
has absolutely no judicial supervision of all of this. So all in all,
Obama is a disaster.

JW: Obama is not reversing the Bush policies as he promised. But even
in light of this, many on the Left are very, very quiet about Obama.
Why is that?

NH: I am an atheist, although I very much admire and have been
influenced by many traditionally religious people. I say this because
the Left has taken what passes for their principles as an absolute
religion. They don't think anymore. They just react. When they have
somebody like Obama whom they put into office, they believed in the
religious sense and, of course, that is a large part of the reason
for their silence on these issues. They are very hesitant to
criticize Obama, but that is beginning to change. Even on the cable
network MSNBC, some of the strongest proponents of Obama are now
beginning to question, if I may use their words, their "deity."

JW: Is the so-called health commission that you referred to earlier
what some people are referring to as death panels? Is that too strong a word?

NH: That term was used with hyperbole about the parts of the health
care bill where doctors are mandated, if people are on Medicare and
of a certain age or in serious physical condition, to counsel them on
their end-of-life alternatives. I don't believe that was a death
panel. It was done to get the Medicare doctors to not spend too much
money on them. The death panel issue arose with Tom Daschle, who was
originally going to be the Health Czar. Daschle became enamored with
the British system and wrote a book about health care, which
influenced President Obama.

In England, you have what I would call government-imposed euthanasia.
Under the British healthcare system, there is a commission that
decides whether or not, based on your age and physical condition, the
government should continue to pay for your health. That leads to the
government not doing it and you gradually or suddenly die. The
present Stimulus Bill sets up the equivalent commission in the United
States similar to that which is in England. The tipoff was months ago
on the ABC network. President Obama was given a full hour to describe
and endorse his health plan. A woman in the audience asked Obama
about her mother. Her mother was, I believe, 101 years old and was in
need of a certain kind of procedure. Her doctor didn't want to do it
because of her age. However, another doctor did and told this woman
there is a joy of life in this person. The woman asked President
Obama how he would deal with this sort of thing, and Obama said we
cannot consider the joy of life in this situation. He said I would
advise her to take a pain killer. That is the essence of the
President of the United States.

JW: Do you think Obama is shallow?

NH: It's much worse than that. Obama has little, if any, principles
except to aggrandize and make himself more and more important. You
see that in his foreign policy. Obama lacks a backbone ­ both a
constitutional backbone and a personal backbone. This is a man who is
causing us and will cause us a great deal of harm constitutionally
and personally. I say personally because I am 84 years old, and this
is the first administration that has scared me in terms of my lifespan.

JW: But he is praised for his charisma and great smile. He can make
people believe things just by his personality.

NH: That was a positive factor in his election. A good many people
voted for Obama, and I'm not only talking about the black vote. A lot
of people voted for Obama because of our history of racial
discrimination in this country. They felt good even though they
didn't really know much about him and may have had some doubts. But
at least they showed the world we could elect a black president. And
that is still part of what he is riding on. Except that, too, is
diminishing. In the recent Virginia election, the black vote
diminished. Now why was that? I think a lot of black folks are
wondering what this guy is really going to do, not only for them but
for the country. If the country is injured, they will be injured.
That may be sinking in.

JW: One of the highest unemployment rates in the country is among
African-Americans.

NH: Not only that, the general unemployment rate is going to continue
for a long time and for all of us. I have never heard so many
heart-wrenching stories of all kinds of people all across the
economic spectrum. As usual, the people who are poorest ­ the blacks,
Hispanics and disabled people ­ are going to suffer more than anyone
else under the Obama administration. This is a dishonest
administration, because it is becoming clear that the unemployment
statistics of the Obama administration are not believable. I can't
think of a single area where Obama is not destructive.

JW: A lot of people we represent and I talk to feel that their
government does not hear them, that their representatives do not
listen to them anymore. As a result, you have these Tea Party
protests which the Left has criticized. What do you think of the Tea
Party protests?

NH: I spent a lot of time studying our Founders and people like
Samuel Adams and the original Tea Party. What Adams and the Sons of
Liberty did in Boston was spread the word about the abuses of the
British. They had Committees of Correspondence that got the word out
to the colonies. We need Committees of Correspondence now, and we are
getting them. That is what is happening with the Tea Parties. I wrote
a column called "The Second American Revolution" about the fact that
people are acting for themselves as it happened with the Sons of
Liberty which spread throughout the colonies. That was a very
important awakening in this country. A lot of people in the adult
population have a very limited idea as to why they are Americans, why
we have a First Amendment or a Bill of Rights.

JW: Less than 3% of high school students can pass the immigration
test while over 90% of people from foreign countries can pass it. The
questions are simple ­ such as, "What is the supreme law of the
land?" or "Who wrote the Declaration of Independence?" Civic
education in the United States is basically dead.

NH: I have been in schools around the country, and I have written on
education for years. Once, I was once doing a profile on Justice
William Brennan and I was in his chambers, and Brennan asked, "How do
we get the words of the Bill of Rights into the lives of the
students?" Well, it is not difficult. You tell them stories. When I
speak to students, I tell them why we have a First Amendment. I tell
them about the Committees of Correspondence. I tell them how in a
secret meeting of the Raleigh Tavern in Virginia, Thomas Jefferson
and Patrick Henry, who did not agree with each other, started a
Committee of Correspondence.

Young people get very excited when they hear why they are Americans.
It is not hard to do. We hear talk now about reforming public
education. There are billions of dollars at stake for such a reform.
But I have not heard Arne Duncan, who is the U.S. Education
Secretary, mention once the civic illiteracy in the country.

JW: Adults are constitutionally illiterate as well.

NH: A few years ago, I was lecturing at the Columbia Journalism
School of Education. I asked them about what was happening to the
Fourth Amendment. I said, "By the way, do you know what is in the
Fourth Amendment?" One student responded, "Is that the right to bear
arms?" It's hard to believe these are bright students.

JW: I ask law students who attend our Summer Internship Program to
name the five freedoms in the First Amendment. I have yet to find one who can.

NH: That is a stunner.

JW: You lived through the McCarthy era in the 1950s. Is it worse now
than it was then?

NH: McCarthy's regime was ended by Senators who realized that he had
gone too far. What we have now may be more insidious. What we have
now in America is a surveillance society. We have no idea how much
the government knows and how much the CIA even knows about average
citizens. The government is not supposed to be doing this in this
country. They listen in on our phone calls. I am not exaggerating
because I have studied this a long time. You have to be careful about
what you do, about what you say, and that is more dangerous than what
was happening with McCarthy, but the technology the government now
possesses is so much more insidious.

JW: You don't sound very optimistic.

NH: If James Madison or Thomas Jefferson were brought back to life
and they looked at television and read the papers, they would not
recognize the country.

The media has been very bad about informing us about what is going
on. They focus on surface things. They do not focus enough on the
fact that the Fourth Amendment is on life support and that we need a
return to transparency in government. The media ignores what is
really going on. But I am optimistic. I have to be optimistic, as I
know you are. That is why you keep writing and keep doing what you
do. You have to do this because we have been through very dark
periods before. There are enough people who are starting to be
actively involved that we can turn things around. And we need to
encourage others to become involved.

.

Monday, December 28, 2009

The Phantom Bomb Plot of 1969

The Phantom Bomb Plot of 1969

http://www.philadelphiaweekly.com/news-and-opinion/The-Liberty-Bell-Bomb-Plot-76-79949692.html

Forty years later, the fallout remains from a notorious case.

By Jonathan Valania
Dec. 22, 2009

In the spring of 1969, four activists from the Philadelphia chapter
of the Students for a Democratic Society (SDS) were arrested for
plotting to blow up the Liberty Bell after the police found
bomb-making materials in the refrigerator of a West Philly apartment.
According to the police, the planned destruction of the Liberty Bell
was part of a larger plot hatched by a network of student radicals to
destroy national landmarks across the country.

The shocking news spread quickly when footage of the police search of
the apartment surfaced­captured by a KYW film crew invited in by
police to document the raid­and the ensuing arrests made the evening
news. The Daily News trumpeted details of the plot in two separate
cover stories with the blaring headlines "College Rebels Held as
Raiders Find 'Makings of Bomb'" and "Rebel Student Plot to Blow Up
Phila. Historical Shrines Revealed by Police."

A potentially tragic incident of domestic terrorism was narrowly
averted, it seemed, thanks to the aggressive due diligence of the
Philadelphia Police Department and its take-no-bull commissioner
Frank Rizzo. There was just one problem: There was no plot to blow up
the Liberty Bell and no evidence that the four activists had acquired
any bomb-making materials. None of that really mattered, though.

For two long years the case kicked around the courts­long enough to
put the SDS out of business in Philadelphia.

Forty years later, Rizzo and just about everyone on the police and
prosecution side of the case are dead and buried. But all four of the
accused SDS activists­Steve Fraser, Richard Borghmann, Jane "Muffin"
Friedman and Paul Milkman­continue to insist there never was a plot
to blow up the Liberty Bell, that the Philadelphia SDS was loudly and
proudly nonviolent and that the cops planted the bomb-making
materials to discredit the activists' politics and scare off
potential sympathizers.

The judge overseeing the case seemed inclined to agree, and
eventually threw the case out after two years of pretrial hearings.
But by then it was too late: The Philadelphia SDS, having been
successfully tarred and feathered as a dangerous terrorist
organization, was dead in the water, and so was their ambitious
social-justice agenda for improving schools, housing and job
prospects for the city's downtrodden.

"The backlash happened very quickly; by the time I got out of jail
and went back to the Penn campus, people were scared of me," says
Friedman, one of the four SDS members arrested that day. "When I
tried to organize a rally in support of us, people would back away
from me when they saw me coming like I was some kind of mad bomber."

On the face of it, the plot to blow up the Liberty Bell seems like an
historical curiosity, a lurid footnote from the Age of Aquarius in
the City of Brotherly Love, an incident indicative of then but
irrelevant to now. But in the Age of Terror, with its never-ending
string of shadowy, violent conspiracies in low places, vastly
expanded police powers, diminished transparency and accountability
and prevailing air of "just trust us," the story of the bogus plot to
blow up the Liberty Bell serves as a tragicomic cautionary tale.

To fully understand the significance of the case, it must be placed
in the wider context of the Philadelphia Police Department's war on
per- ceived subversives in the late '60s­the way they systematically
harassed, intimidated and brutalized blacks and white college-boy
troublemakers­under Frank Rizzo's leadership. Rizzo had been known to
routinely invent or exaggerate these threats to scare the public and
amass political power, resulting in two contentious and deeply
divisive terms as mayor in the 1970s.

The bogus Liberty Bell Bomb Plot bust was just the latest in a series
of trumped-up arrests of activists by the police department's Civil
Disobedience Unit, which was created in the early '60s to protect the
constitutional rights of demonstrators while keeping the peace. Upon
the appointment of Rizzo as police commissioner in 1967, the CDU
became a blunt instrument of surveillance, intimidation and
infiltration used to neutralize political dissent.

Steve Fraser, then 23 years old, was the chief organizer of SDS
activities in Philadelphia. Fraser had been active in the Civil
Rights movement since high school, having gone to Mississippi during
the Freedom Summer of 1964, when white, Northern liberals flooded the
South, registering blacks to vote and ensuring that they got to
exercise that right. He arrived shortly after three activists were
murdered by white racists, events that were portrayed in the film
Mississippi Burning .

Prior to Fraser's arrival as a student at Temple in 1967, the SDS had
struggled to gain a foothold in Philly, but it's a testament to his
charismatic leadership, tenacious organizing and persuasive public
speaking that the ranks of the Philly SDS swelled from a few handfuls
to hundreds during his tenure.

Among these new converts was Richard Borghmann, who prior to meeting
Fraser had little to show for his two semesters at Swarthmore spent
majoring in dope-smoking and birddogging. Fraser opened Borghmann's
eyes to the gross inequities and social injustices of the American
system, and to the power of committed activists to bring about
substantive change.

Another key Philly SDS member was Jane "Muffin" Friedman, a
19-year-old sophomore at Penn who manned the SDS mimeograph machine,
cranking out the leaflets the group used to get their message out and
lure new recruits to the cause of change.

In February of 1969, the Philly SDS spearheaded a sit-in at Penn,
where hundreds of students took over College Hall for six days to
protest the construction of the universities Science Center, in which
it was rumored biological- and chemical-weapon research was to be
conducted. Although nobody realized it at the time, the Penn sit-in
would prove to be the high point of SDS activism in Philadelphia and
the beginning of the end.

The Philly SDS developed an offshoot which attempted to engage
high-school students in the city's poorest precincts. "We were
forming a movement called the Alliance for Jobs, Housing and
Education, which was addressing deprivation that many parts of the
city suffered, not only with job opportunities and housing, but with
the lousy education that the students were getting," says Fraser. "We
would picket and hand out leaflets outside the high schools, and
that's how we forged an alliance with a number of smart, young,
committed black students, and some of them were self-styled Black Panthers."

Such an alliance was anathema to Rizzo, and in March of 1969 he
floated a story in the local media that the SDS was planning to blow
up schools and was distributing leaflets explaining how to make
Molotov cocktails in the ghettos of North and West Philly.

Fraser went on TV and radio and denied any plan to blow up schools or
disseminate bomb-making leaflets. Still, the word was out: the SDS
was dangerous. "This was clearly designed, in hindsight, to provide a
pretext to the arrests that followed," says Fraser.

In late March of 1969, emboldened by their success at Penn, the
Philly SDS members attempted a similar sit-in at Temple, in part to
bring media attention to the deplorable quality of life in the ghetto
that surrounded the university. Roughly 50 protesters took over the
administration building at Temple, assuming that, as with the Penn
sit-in, word would spread and reinforcements would come. But they
never did. "The sit-in failed to attract wide attention and wasn't
heavily supported on the campus," says Fraser. "The consequence was
that it showed us to be vulnerable. And it's right after that, just
days after, that the police did their things with us."

The leader of the Philadelphia Police Department's Civil Disobedience
Unit was Lt. George Fencl, a thick-necked man with slicked-back
salt-and-pepper hair. Fencl was a regular fixture at protests and
demonstrations in the '60s and '70s. It was his job to monitor,
identify, photograph and track dissident groups and their
sympathizers. Fencl, dressed in his trademark black overcoat with a
white armband emblazoned with the word POLICE, and his CDU boys would
show up at demonstrations and photograph everyone in the crowd,
taking down names and license-plate numbers of those participating.
Sometimes Fencl's men would brandish cameras that had no film,
snapping away nonexistent pictures to intimidate and disperse protesters.

On a 1970 episode of NBC news program First Tuesday , Fencl bragged
that the police had a list of over 18,000 names. He also enlisted an
army of informers, some of which were criminals cooperating in
exchange for charges being dropped and others the wives of police
officers encouraged to join activist groups and report back to the
CDU in exchange for "pin money." By 1969, the Philly SDS was
well-acquainted with Fencl and vice versa.

There were three people in the West Philly apartment Fraser and
Borghmann shared on the night of April 9, 1969: Fraser, Friedman and
Fraser's friend Paul Milkman, an SDS member from New York who worked
as a librarian at Columbia University. Milkman was sweet on Friedman
and had come to Philadelphia with hopes of romance.

As Milkman recalls, all three were about to leave for the movies when
Lt. Fencl and his boys­10 cops all told­showed up around 8 p.m. "The
first thing that struck me as odd was that they were all wearing
these big heavy overcoats and it was unseasonably warm that day, I
remember going in and out of the apartment in shirtsleeves," recalls
Milkman. Fencl instructed Milkman and Friedman to remain seated in
the living room and assigned two officers to watch them. Fraser was
allowed to follow the rest of the cops as they searched the
five-room, two-floor apartment. Shortly thereafter, the doorbell
rang; Fencl stopped Fraser from answering sending one of his officers
instead. It was a camera crew from KYW, which had somehow gotten word
of the raid, and they were invited in despite Fraser's protests.

"The whole thing took about an hour, and the weird thing was that the
kitchen was right in the middle of the apartment, but they made a
point of searching there last," Fraser recalls. "When they finally
got to the kitchen, I remember three or four of them forming a
semicircle around the refrigerator with their backs effectively
walling it off from view, and then they were like, 'Aha! What's
this?' and they pulled out this big tin can of C-4 plastic explosives."

Pulling the refrigerator out from the wall, the cops then produced
three lengths of pipe, some blasting caps and a small quantity of gunpowder.

Fraser believes the bomb-making material must have been planted
earlier in the day, but Milkman disagrees. "I don't see how," he
says. "We were in and out of the refrigerator all day. No, they must
have smuggled it in under those big coats they were wearing."

As the group was being ushered into the paddy wagon, Fraser began
shouting into the cameras that this was a frame-up. At this point,
Borghmann showed up, and shortly afterward joined his friends in the
paddy wagon. Once they got to jail, Friedman was ushered into the
women's wing, where she was issued a prison dress so short it barely
covered her backside. "When I protested that my butt was hanging out,
they made me scrub the floor on my hands and knees," she says.

"I remember I began to get depressed [in jail]," says Milkman. "Not
really for myself, because I knew I had been framed, but for the
others, most of whom were black. One had been arrested for breaking
into his own house because he didn't have a key, and cops were in
such hurry to arrest him they didn't let him provide ID. Another guy
had told a story about how he went to a used-car lot and took a car
out for a test drive and the car died; he was in the middle of the
street waiting for help when the cops arrested him for trying to
steal the car. They told these stories not with outrage but as matter
of fact, that this is what it is like to be a black man in
Philadelphia in the spring of 1969."

The SDS could not have asked for more effective and sympathetic legal
representation than they got from Bernard Segal, a high-profile
defense lawyer who commanded the respect of the city's legal
establishment, and David Rudovsky, a bright young civil-rights lawyer
fresh out of law school. Segal and Rudovsky managed to get the bail
reduced for everyone in the group and, eventually, charges dropped
against Milkman and Friedman, because they were merely visitors on
the premises where the bomb-making materials were found. They also
got a break when Judge Edmund B. Spaeth was assigned the case. "He
was very intelligent and a Quaker, a man of conscience," says
Friedman. "[The lawyers] told us that he was pretty much the only
judge in town we had a chance of convincing."

The prosecution's case stumbled at the start when Fencl acknowledged
in court that he had no proof of Fraser or Borghmann's involvement in
any plot to blow of national landmarks, or that such a plot existed.
Futhermore, under questioning by Segal, he said that the police had
never dusted the bomb-making materials for fingerprints that would
prove Fraser or Borghmann handled them, nor did they take precautions
not to leave their own fingerprints on the materials when they
collected them. Also, the KYW footage of the search mysteriously went
missing from the station's archives when the defense requested copies.

Shortly after his arrest, Fraser flew out to San Francisco to meet
with The Black Panther Party in hopes of forging an SDS/Panther
alliance. "They were so paranoid, I remember they picked us up and
blindfolded us so we wouldn't know where their hideout was," says
Fraser. "In the end, they just didn't trust us."

Although a unified front with the Panthers was not to be, the meeting
would, in a roundabout way, provide the foundation for their defense.
Fencl let it slip at a City Hall rally in support of Fraser and
Borghmann that he knew all about Fraser's trip to meet the Panthers,
and it became apparent that authorities had wiretaps in place,
something they were loath to admit.

Segal and Rudovsky argued that their clients had a right to know if
Philadelphia Police or the FBI had tapped their phones (if the
wiretaps had violated the Fourth Amendment, all evidence gathered as
a result would be inadmissible in court) and that the defense had a
right to know the identity of any moles or informers employed by the
authorities, as they would prove to be crucial witnesses for the defense.

Judge Spaeth agreed, but prosecutors dragged their heels on both
motions during the nearly two years of pre-trial hearings until
Spaeth finally issued an ultimatum: Either provide the details of any
wiretapping and provide the names of any informers or he was throwing
out the charges. Which is exactly what happened in April of 1971.

The decison not to disclose on the wiretaps and informants went all
the way up to FBI director J. Edgar Hoover and then-Attorney General
John Mitchell, who discussed the case on several occasions, as Fraser
would later learn when he secured his voluminous FBI file with a
Freedom of Information Act request. Curiously, the prosecution never
appealed Judge Spaeth's ruling or re-filed charges despite its
prerogative to do so.

Forty years later, the four SDS members look back on the experience
with a mixture of resignation and disillusionment. They agree that,
while the SDS might have won the court battle, the authorities won
the war. "You know, you see a guy on the front page of the newspaper
in handcuffs accused of planning to bomb the Liberty Bell and it
mortally wounds your cause," says Fraser. "That's the whole point of
these kind of frame-ups, is to do political damage. Whether we went
to jail or not was ultimately beside the point. They accomplished
what they set out to do."

Fraser went on to become a respected author and academic. He is
currently a visiting professor at Columbia University in New York
City, where he resides. Last year he was a senior lecturer at Penn,
where he occupied an office in the same building he helped take over
four decades earlier.

Milkman went on to become a high-school English teacher in New York
City, where he also currently resides.

Friedman remained in the area and went on to marry David Rudovsky
(they divorced in 1991) and is associate director of A Better Start­a
preventive-health-care program which teaches nutrition to low-income
residents for Albert Einstein HealthCare Network.

Richard Borghmann abandoned politics and went off the grid, working
as a rancher in Colorado. Last year Borghmann voted for the first
time since his arrest, casting his vote for Obama on behalf of his
sister, a big-time Obama supporter who died shortly before the election.

Bernard Segal currently teaches law at Golden Gate University in San
Francisco. David Rudovsky went on to become a highly respected
civil-rights lawyer and was recently awarded the ACLU's Keystone of
Civil Liberties Award.

Lieutenant Fencl was eventually promoted to inspector and led the
first raid on MOVE. The much-coveted Fencl Award­"bestowed on a
police officer who brings a unique blend of courage, integrity and
determination to the job," according to the Daily News , which
co-sponsors the award­was named in his honor after his death 24 years ago.

Fraser rolls his eyes when told of the Fencl Award. "He was a guy of
bottomless unscrupulousness, and constantly involved in the
harassment and intimidation of groups fighting for social justice,"
says Fraser. "I think Fencl was very cynical about all this. Although
he was not the smartest guy in the world, I am sure he knew, because
everybody knew ... that the SDS Labor Committee was avowedly
anti-violent and in some corners of the SDS we were criticized,
severely, for condemning Weatherman-like behavior, because it was
destined to isolate the organization, it was immoral and it was
politically suicidal. We said all these things publicly and he knew that."

.

What It Takes to Build a Movement [by Mark Rudd]

When Spontaneity Fails ...

What It Takes to Build a Movement

http://www.counterpunch.org/rudd12252009.html

By MARK RUDD
December 25-27, 2009

Since the summer of 2003, I've crisscrossed the country speaking at
colleges and theaters and bookstores, first with The Weather
Underground documentary and, starting in March of this year, with my
book, Underground: My Life with SDS and the Weathermen (William
Morrow, 2009). In discussions with young people, they often tell me,
"Nothing anyone does can ever make a difference."

The words still sound strange: it's a phrase I never once heard forty
years ago, a sentiment obviously false on its surface. Growing up in
the Fifties and Sixties, I ­ and the rest of the country ­ knew about
the civil rights movement in the South, and what was most evident was
that individuals, joining with others, actually were making a
difference. The labor movement of the Thirties to the Sixties had
improved the lives of millions; the anti-war movement had brought
down a sitting president ­ LBJ, March 1968 ­ and was actively engaged
in stopping the Vietnam War. In the forty years since, the women's
movement, gay rights, disability rights, animal rights, and
environmental movements have all registered enormous social and
political gains. To old new lefties, such as myself, this is all self-evident.

So, why the defeatism? In the absence of knowledge of how these
historical movements were built, young people assume that they arose
spontaneously, or, perhaps, charismatic leaders suddenly called them
into existence. On the third Monday of every January we celebrate
Martin Luther King Jr. having had a dream; knowledge of the movement
itself is lost.

The current anti-war movement's weakness, however, is very much alive
in young people's experience. They cite the fact that millions turned
out in the streets in the early spring of 2003 to oppose the pending
U.S. attack on Iraq, but that these demonstrations had no effect. "We
demonstrated, and they didn't listen to us." Even the activists among
them became demoralized as numbers at demonstrations dropped off very
quickly, street demonstrations becoming cliches, and, despite a big
shift in public opinion in 2006, the wars in Iraq and Afghanistan
droned on to today. The very success of the spontaneous early
mobilization seems to have contributed to the anti-war movement's
long-term weakness.

Something's missing. I first got an insight into articulating what it
is when I picked up Letters from Young Activists: Today's Rebels
Speak Out, edited by Dan Berger, Chesa Boudin and Kenyon Farrow
(Nation Books, 2005). Andy Cornell, in a letter to the movement that
first radicalized him, "Dear Punk Rock Activism," criticizes the
conflation of the terms "activism" and "organizing." He writes,
"activists are individuals who dedicate their time and energy to
various efforts they hope will contribute to social, political, or
economic change. Organizers are activists who, in addition to their
own participation, work to move other people to take action and help
them develop skills, political analysis and confidence within the
context of organizations. Organizing is a process ­ creating
long-term campaigns that mobilize a certain constituency to press for
specific demands from a particular target, using a defined strategy
and escalating tactics." In other words, it's not enough for punks to
continually express their contempt for mainstream values through
their alternate identity; they've got to move toward "organizing
masses of people."

Aha! Activism = self-expression; organizing = movement-building.

Until recently, I'd rarely heard young people call themselves
"organizers." The common term for years has been "activists."
Organizing was reduced to the behind the scenes nuts-and-bolts work
needed to pull off a specific event, such as a concert or
demonstration. But forty years ago, we only used the word "activist"
to mock our enemies' view of us, as when a university administrator
or newspaper editorial writer would call us "mindless activists." We
were organizers, our work was building a mass movement, and that took
constant discussion of goals, strategy and tactics (and, later,
contributing to our downfall ideology).

Thinking back over my own experience, I realized that I had inherited
this organizer's identity from the red diaper babies I fell in with
at the Columbia chapter of Students for a Democratic Society, SDS.
Raised by parents in the labor and civil rights and communist or
socialist movements, they had naturally learned the organizing method
as other kids learned how to throw footballs or bake pineapple
upside-down cakes. "Build the base!" was the constant strategy of
Columbia SDS for years.

Yet, young activists I met were surprised to learn that major events,
such as the Columbia rebellion of April 1968, did not happen
spontaneously, that they took years of prior education, relationship
building, reconsideration on the part of individuals of their role in
the institution. I.e., organizing. It seemed to me that they believed
that movements happen as a sort of dramatic or spectator sport: after
a small group of people express themselves, large numbers of
bystanders see the truth in what they're saying and join in. The mass
anti-war mobilization of the Spring 2003, which failed to stop the
war, was the only model they knew.

I began looking for a literature that would show how successful
historical movements were built. Not the outcomes or triumphs, such
as the great civil rights March on Washington in 1963, but the many
streams that eventually created the floods. I wanted to know who said
what to whom and how did they respond. One book was recommended to me
repeatedly by friends, I've Got the Light of Freedom: the Organizing
Tradition and the Mississippi Freedom Struggle by Charles M. Payne
(University of California Press, 1995). Payne, an African-American
sociologist, now at the University of Chicago, asked the question how
young student organizers of the Student Nonviolent Coordinating
Committee, SNCC, had successfully organized voter registration and
related campaigns in one town, Greenwood, Mississippi, in the years
1961-1964. The Mississippi Delta region was one of the most benighted
areas of the South, with conditions for black cotton sharecroppers
and plantation workers not much above the level of slavery. Despite
the fact that illiteracy and economic dependency were the norm among
black people in the Delta, and that they were the target of years of
violent terror tactics, including murder, SNCC miraculously organized
these same people to take the steps toward their own freedom, through
attaining voting rights and education. How did they do it?

What Payne uncovers through his investigation into SNCC in Greenwood
is an organizing method that has no name but is solidly rooted in the
traditions of church women of the rural South. Black churches usually
had charismatic male ministers, who, as a consequence of their
positions, led in an authoritarian manner. The work of the
congregations themselves, however, the social events and education
and mutual aid were organized at the base level by women, who were
democratic and relational in style. Martin Luther King's Southern
Christian Leadership Council, SCLC, used the ministerial model in
their mobilizing for events, while the young people of SNCC ­
informed by the teaching and examples of freedom movement veterans
Ella Baker and Septima Clark ­ concentrated on building relationships
with local people and helping them develop into leaders within
democratic structures. SNCC's central organizing principle,"
participatory democracy," was a direct inheritance from Ella Baker.

Payne writes, "SNCC preached a gospel of individual efficacy. What
you do matters. In order to move politically, people had to believe
that. In Greenwood, the movement was able to exploit communal and
familial traditions that encouraged people to believe in their own light."

The features of the method, sometimes called "developmental" or
"transformational organizing," involve long-term strategy, patient
base-building, personal engagement between people, full democratic
participation, education and the development of people's leadership
capabilities, and coalition-building. The developmental method is
often juxtaposed to Alinsky-style organizing, which is usually
characterized as top-down and manipulative.

For a first-hand view of Alinsky organizing ­ though it's never named
as such ­ by a trained and seasoned practitioner, see Barack Obama's
book, Dreams from My Father (Three Rivers Press, 1995 and 2004). In
the middle section of the book, "Chicago," Obama describes his three
years organizing on the streets and housing projects of South
Chicago. He beautifully invokes his motives ­ improving young
people's lives ­ but at the same time draws a murky picture of
organizing. Questions abound: Who trained him? What was his training?
Who paid him? What is the guiding ideology? What is his relationship
to the people he calls "my leaders?" Are they above him or are they
manipulated by him? Who are calling whose shots? What are the
long-term consequences? It's a great piece to start a discussion with
young organizers.

While reading I've Got the Light of Freedom, I realized that much of
what we had practiced in SDS was derived from SNCC and this
developmental organizing tradition, up to and including the vision of
"participatory democracy," which was incorporated in the 1962 SDS
founding document, "The Port Huron Statement.» Columbia SDS's work
was patient, strategic, base-building, using both confrontation and
education. I, myself, had been nurtured and developed into a
leadership position through years of close friendship with older organizers.

However, my clique's downfall came post-1968, when, under the spell
of the illusion of revolution, we abandoned organizing, first for
militant confrontation (Weatherman and the Days of Rage, Oct. 1969)
and then armed urban guerilla warfare (the Weather Underground,
1970-1976). We had, in effect, moved backward from organizing to
self-expression, believing, ridiculously, that that would build the
movement. At the moment when more organizing was needed to build a
permanent anti-imperialist mass movement, we abandoned organizing.

This is the story I tell in my book, Underground. It's about good
organizing (Columbia), leading to worse (Weatherman), leading to
horrible (the Weather Underground). I hope it's useful to
contemporary organizers, as they contemplate how to build the coming
mass movement(s).
--

Mark Rudd lives and teaches in Albuquerque, N.M. He can be reached at
www.markrudd.com.

.