Thursday, May 27, 2010

America's Kids [Kent State]

America's Kids

http://www.metrosantacruz.com/metro-santa-cruz/04.28.10/news-1017.html

On the 40th anniversary of Kent State, a Santa Cruz writer who was
there looks back on the military action that stunned the nation

By Lois Van Buren
4/28/10

"Everyone has a moment in history which belongs particularly to him.
It is the moment when his emotions achieve their most powerful sway
over him, and afterward when you say to this person, "the world
today" or "life" or "reality," he will assume that you meant this
moment, even if it is 50 years past." -- John Knowles, 'A Separate Peace'
--

A STRIKING feature of the natural world in Kent, Ohio, is its black
squirrels. Each fall, new students arriving at Kent State University
notice these uniquely colored little creatures within a day or two,
and inquiries soon follow. They're told that a dozen or so black
squirrels were conscripted from Canada by a university groundskeeper
in 1961. His reason for recruiting these rodents eludes the
inquisitive, since no one seems to know. What is known for sure is
that these lovable little varmints have proliferated to the point of
being ubiquitous, so much so that in 1981 an annual Black Squirrel
Festival was established as part of Kent State's welcoming
festivities for new students. That was long after my time at Kent
State. I was a new student at that Midwestern campus in the fall of
1969, and like everyone else I took note of the black squirrels.

Except for one prescient night, most of that year went merrily by, a
superbly orchestrated postponement of responsibility. That one night,
Dec. 1, a single serious moment peeking around the corner of all
those untroubled hours of university life, was the night the draft
lottery was held. I remember it clearly. All the girls in the dorm
huddled around a radio in the lobby to listen for our boyfriends'
birth dates to be called. Other than that, we displayed with casual
panache the blissful ignorance expected of college freshmen by taking
pleasure not only in the natural world but in the social and academic
worlds as well, all three fusing to make our one utopia. Then, a few
months later, I met up with my particular moment in history.

It was the evening of April 30, 1970, a Thursday. In the middle of a
film festival that had been going on all week, someone from the
projection room interrupted with the announcement, "We've just
learned that Nixon has sent troops into Cambodia." The atmosphere of
the auditorium had been quite the party, so the seriousness with
which the statement was made didn't register. We'd been acting like
kids, throwing popcorn and paper airplanes, applauding, hissing and
booing, and shouting out comments. The film we were watching, Bambi
Meets Godzilla, had sent our already high spirits over the top.

But when the projector was turned off and the statement was repeated,
my feelings changed from playful to shocked and hurt. I didn't know
it yet, but that announcement would fix the moment in my personal
history, much like the announcement of President Kennedy's
assassination had fixed the moment in many people's personal
histories seven years before, when I was 13. Following that incident,
I had seen stunned teachers and crying girls in the hall, but felt
nothing. Here, at 19, I did have feelings for my country, my
homeland. Something like Nixon going into Cambodia, a decision of
such magnitude, went straight to the heart.

The next morning I walked over to The Hub, a popular meeting place on
campus, to hear the latest news of the war. I ran into a young woman
professor. "What are we going to do?" I said. "Here. You can start
with these," she replied, handing me a stack of flyers. They were a
declaration by some of the professors who opposed entering Cambodia.
Included was an announcement that they were going to bury the U.S.
Constitution on the commons, near the Victory Bell, at noon that day,
Friday. As I walked away, already distributing the leaflets, she
called after me, "You know, something else you can do is play your
music loud. Jefferson Airplane. Loud." This I did. At noon I went
over to the commons. There was a speech or two, crowds of people, and
that was that.

I met up with friends in a third-floor apartment near town, in one of
those big old houses that get split up into rooms for students. We
were well into our usual Friday night revelries when a fellow
stumbled breathlessly up the stairs shouting, "The revolution's
started! The revolution's started!" Excited, we went down, all in a
bunch, to see what was going on.

A large group of students had gone into the town of Kent to stir the
pot of anti-war sentiment, it seemed. There was a lot of running and
yelling, and the police were out. For me, going into the streets,
observing the crowd, rekindled my desire to do something about the
war, but I had no bones to pick with the shopkeepers of Kent so I
went home and went to bed.

Very early Saturday morning, some friends who'd stayed up all night
shook me awake with the words, "You've got to see this." As we walked
across campus, we saw a soldier running with a cup of coffee. We
followed a short distance behind, like spies in a juicy novel. When
he mounted a small hill, we hid down low behind it. Then we crawled
over the rise and saw what looked like an encampment. We couldn't
believe our eyes. That was the first evidence of a military presence.
To my knowledge there hadn't been any outright rioting, but some
windows had been broken and the fear of what might happen had
obviously prompted a call for backup. Maybe the revolution is
starting, I thought.

On Saturday afternoon, the campus was in a state of nervous
anticipation­of what, no one was sure. Rumors circulated that there
was going to be another gathering that evening. Rumor became reality.
As we stood on the commons, waiting for something to happen, someone
near me, looking over at the ROTC building, got the idea to burn it
down. That sounded like fun. There was a motorcycle parked nearby,
and a couple of us thought, "Gee, you know, we could siphon some gas
out of the tank and splatter it all over the building." There was a
dumpster next to the ROTC building. Someone else thought we could get
the trash in it going with a rag soaked in gasoline from the
motorcycle, and then push it into the building to see if that would
do the job. I had not been what you'd call a radicalized student, but
in less than 24 hours I was swept up in the political current,
concocting the burning of buildings.

While we were thinking, others were acting, and the fire department
was called out. The crowd tried hard to cut the fire hose they had
placed on the field next to the ROTC building. It was pretty tough
stuff, but we pulled off some slashes. There was a photographer
present. By the look of his camera, he was a professional. He was
trying to take pictures of what we were doing when some of the
students struggled with him for the camera, got him to the ground,
and took it. An older woman saw this and cried out, "Let's keep it
calm. Please, let's keep it calm." I was moved by the pain in her
face. I had never experienced such violence before, but it seemed
maybe she had.

A line of people, the length of the field, held onto the fire hose,
trying to keep it from the firefighters as we continued trying to cut
it. It was heavy and we were clumsy, so our efforts were ineffectual.
The crowd, by now a mob, decided to march downtown, and by "decided"
I mean that they followed whoever had the loudest voice and the most
aggressive manner. A fellow I knew, who had literally starved himself
to get out of the draft, was leading the crowd downtown, creating a
path of destruction as he went. Some looted parking meters. Others
threatened cars that were in the wrong place at the wrong time. One,
with a family inside, was close enough for me to catch the mom's eye.
She hurriedly locked her door and had her children do the same. The
fear on her face startled me.

That night I returned to campus and saw that the ROTC building was
now in full blaze. Somehow, somebody had had success in the effort.
For several hours, everyone there stared, mesmerized by the fire.
When it was nothing more than a pile of burnt rubble, we were herded
back to the dorms. A group of us got caught in The Pit, the central
area of one of the dorm complexes. Jammed together and fearful of
more of the tear gas that had been directed our way that afternoon,
we could have succumbed to paranoia. Instead, guitars and drums
appeared and we partied. All night long helicopters flew by. They
were loud, and their searchlights in the dorm windows kept us awake.
We thought we were under siege, but it seemed more like a siege in a
toy war. Cowboys and Indians­this is how we spoke of it.

Sunday morning a convoy of trucks and army tanks­tanks!­moved slowly
down the main street of Kent. Now we were calling it the Boy Scout
Jamboree, but it was nothing of the sort. It was the National Guard,
our citizen soldiers, the ones we call to action during national
emergencies. But we were just America's kids. How could this be a
national emergency? In fact, while we waited outside of Kent Hall to
hear the outcome of the negotiations taking place that afternoon,
some of us girls flirted with the Guardsmen. They were from Akron,
only 10 miles from Kent. One of them was cute. As I put flowers in
the muzzle of his rifle, I looked into his eyes and realized that he
was as young as I.

In the evening, a group of us conducted a sit-in at an intersection
near the entrance to campus. For what seemed like hours, we waited
for an official who, we had been told, would come and talk to us.
Then I noticed Guardsmen at the back edges of the crowd, quietly
surrounding us. Others noticed it, too. Mayhem again. We'd run so
much over the weekend that the feeling of being chased became a
feeling of being hunted. At one point, we'd actually stampeded a
Cyclone fence down because it blocked the only way out. Unarmed, the
thought of fighting never arose.

A rally had been scheduled for Monday, and despite an injunction, it
took place. I don't know what we expected to come out of it or how we
were planning to resolve the situation. I went down to the commons
when all of a sudden we were running again, presumably just ahead of
the next barrage of gas vapors. But then I heard pinging and
something whoosh by my head. I looked to my left and saw a car window
shatter. I looked to my right and saw a student fall. I heard someone
yell, "They're shooting! Get down!" I felt something hit my leg. I
dove under a bush.

Panic was in the air. Though everyone was crying and calling out to
their friends, a strange silence had settled on the whole area. It
was then that I wanted to shoot whoever was behind me because that's
where the National Guard was, where Nixon was, where my country was,
and I hated them. I wanted to kill and I knew I could. If I'd had a
gun in my hand, I would have been shooting blindly, I'm certain of
it, and that moment stands by itself, separate from all else.
Turning, I stared in the direction of the onslaught, but the only
thing I could see was the movie screen of my mind. On it was footage
of me in third or fourth grade, standing with all of my classmates,
reciting the Pledge of Allegiance. But now, suddenly, I had been
stripped of everything, of all those beliefs that had protected me.

I watched one of the four die. Some people were stooping over her. A
guy wiped out her mouth, flinging pink and white matter from his
hand. Maybe she had vomited, or maybe it was flesh and guts, I wasn't
sure. He tried to give her mouth-to-mouth resuscitation. I watched,
but it was not a person I was watching. It was a biological organism.
It was a body straining hard to breathe, or maybe that was the futile
breaths of her rescuer, I wasn't sure. He lifted his head and said,
"She's gone." My first thought was that she'd fainted. Then I
understood she was dead.

In a daze, I also watched as a friend of mine, Scott, was taken away
on a stretcher. He had been shot in the neck.

Those of us left behind after the ambulances drove off tried to have
some kind of civil discussion about what to do next, but it was no
use. We disbanded. A bulletin went out over a loudspeaker telling
everyone to leave. We were to take only as many belongings as we
could carry and go home. No one wanted to get shot at again, so
orders were peacefully followed. Cars were packed. My friend Wendy
and I got a ride together. Once we got out of town, we hitchhiked the
rest of the way to our parents' homes in New Jersey. That was it for
the year at Kent. Campus closed. Exams were sent through the mail.

By 1998 I had become a respectable wife, mother, and small business
owner. That year my son Austin and I took a road trip across the
country, which included a visit to Kent so that I could see the May 4
Memorial and he could see the place so significant in his mom's life.
It had been almost 30 years since I'd been there, and at first
nothing looked the same. Then, as my mind adjusted, I began to
recognize many of my old haunts. After a nostalgic lunch at Jerry's
Diner, where I'd worked the graveyard shift, we drove up to campus.

I had been a part of what happened there, yet I felt a stranger to
its memorial. Uncertain of the way, I led my son tentatively along
the path leading to the plaza. There were granite tributes to the
dead here in Ohio, and daffodils had been planted in remembrance of
those lost in Vietnam, one for each of the fallen. The unyielding
rock, the yellow blossoms that came to life each spring­these
symbols, together here, linked the student and the soldier in the
ideals of their youth.

I caught sight of some pamphlets and took one. It included a
recounting of the weekend's events so similar to my own recollection
that I felt I'd been consulted on its writing. Suddenly, studying the
pamphlet's map of the site, I did not feel so alone in my pilgrimage.
As I arrived at the spot where I stood when the shooting stopped, I
looked at the map's 13 circled letters, A through M, denoting the
locations where the nine wounded and four dead had fallen. How close
I had been!

Now, at the 40-year mark, am I the only one who wonders if black
squirrels romp among the 58,175 daffodils on a hill in Kent, Ohio?
Can my memories be woven with others' into a cohesive story of
innocence, rage, sorrow, and healing? Or are they a heart-shaped
balloon, cut loose, drifting, lifting, floating higher and higher
into the atmosphere? Someone sees it. She points. The day goes on.
--

Lois Van Buren, a resident of Santa Cruz County since 1977, is a
first-time author. Read a longer version of this piece, an excerpt
from her novel 'Distraction,' online at http://news.santacruz.com/.

.

Cannes is at a loss for words

Cannes is at a loss for words

http://www.guardian.co.uk/commentisfree/2010/may/19/cannes-loss-words-film

Jean-Luc Godard's clever misuse of subtitles in his latest film
reveals our linguistical shorcomings

Agnès Poirier
20 May 2010

The world's critics, gathered in Cannes to see Jean-Luc Godard's
latest film, expected many things from cinema's imprecator-in-chief,
ranging from brilliance to ridicule by way of the obscure, but they
didn't expect this, and as always with Godard, he outwitted us all.
Godard's art of subtitles sent the monolinguistic hordes screaming
after three minutes. How dare he? How dare he translate only one word
in five? When a character on screen said, for instance, "L'argent est
un bien public", the English caption on the screen read "money public
good". With never more than three words on screen, widely spaced and
sometimes even joined together, no pronouns and no verbs, Godard does
what no other film director will ever dream of achieving: say merde
to reality. And it does take a truly Wild Bunch, the English-named
French film company which financed the film, to pay to watch an
oeuvre's own sabotage.

Like Zidane's head-butt as a way of adieu, Godard has just signed,
with his latest film ­ aptly named Film Socialisme ­ his own suicide
note. Both men, gods in their fields, can defy the world they live in
and deny reality: the privilege of tragic heroes. By refusing to play
the game of subtitles, Godard is making his film unexportable outside
the ever-shrinking francophone world. But even there, his film
requires from francophones to have a smatter of German, Italian and
Russian as whole scenes in those languages are not translated at all.

When Franco-German politician Daniel Cohn Bendit asked Godard two
weeks ago about translation, in a tête-à-tête engineered by the
French arts weekly Télérama, the Swiss film director replied that he
didn't believe in it. Jean-Luc Godard belongs to Old Europe, a world
where German philosophers, British playwrights, French writers,
Italian composers, Spanish poets, Dutch painters can converse, read
and write in their neighbours' languages. He belongs to a time in
which any enlightened European understood five languages, Latin not
included. Elitist? No, revolutionary.

Today, subtitles in cinema are as tricky as ever. Not only do they
need to translate words but also transfer a culture. When, in
Vincente Minelli's The Band Wagon, Fred Astaire says, " I declare my
independence, it's the new me, 1776", the French subtitle reads
"...Je déclare mon indépendance, le nouveau moi, 1789." But when in
Stephen Frears' latest film Tamara Drewe, recently shown in Cannes,
the writer played by Roger Allam talks ironically about Newsnight,
the French subtitles go awol. As a result, at the press screening,
British critics alone laughed on cue, leaving their foreign
colleagues dumfounded: they knew they had missed something, but
didn't know what.

Once in a while, however, a film finds its subtitles' hero. Remember
Cyrano. I often pondered the film's success in Britain and America. A
film in French verses, in a totally different metric system, surely
couldn't do well anywhere else but in French-speaking countries. That
was until I discovered that polyglot extraordinaire Anthony Burgess
had translated Edmond Rostand's Cyrano and written the film's
subtitles. Like Edgar Allan Poe translated by Baudelaire, here was
another literary and cultural marriage made in heaven.

It is perhaps no surprise that Godard fell for Lilliput subtitles for
a film which takes place on one of those anonymous Mediterranean
cruises where thousands of people of dozen different nationalities
are for ever crossing without meeting. Godard rejects a world
seemingly brought together by globalisation but which, in fact, has
created a new cultural Babel in which the new lingua franca, English,
doesn't pacify nor unify. "Don't translate, learn languages," said
Godard to Cohn-Bendit. The New Wave enfant terrible may well have a point.
--

Film Socialism
Production year: 2010
Country: France
Directors: Jean-Luc Godard

.

Tuesday, May 25, 2010

'Hair' lets the sunshine in

'Hair' lets the sunshine in

http://www.santacruzsentinel.com/ci_15123319

By KATIE HUGHES MCKEE
Posted: 05/20/2010

When one attends an opening night at the theater of a Friday night,
one plans to arrive shortly before 8 p.m., yes?

Surprise! Not in Santa Cruz. I arrived at UCSC's Mainstage Theater
Friday night just before 8 p.m. to find that the opening performance
of "Hair" was an hour into its performance. At intermission, I
ashamedly told the person who invited me that I would be back on
Sunday to see the first act.

This actually turned out to be a good thing, as I was able to discern
what issues were only "opening night" issues muddy sound that was
cleared up by Sunday and what weren't. Actually, I had no other issues.

"Hair" arrived on Broadway in 1969, the love child of composer Galt
MacDermot and librettists Gerome Ragni and James Rado. When he
encountered a long-haired hippie protestor on a college campus, one
time lyricist-librettist P. G. Wodehouse asked "Why don't you get a
haircut? You look like a chrysanthemum."

Other old school Broadway types had a different attitude toward
flower power. New York Times critic Clive Barnes gushed that "Hair"
was "the first Broadway musical in some time to have the authentic
voice of today rather than the day before yesterday." Charles
Marcowitz wrote, "Without Vietnam and the American repugnance to that
war, the show would never have come into being. It is almost entirely
nourished by the current generation's hatred of what its "senior
citizens" have allowed America to become."

It is now more than 40 years later, and I and a whole generation of
Boomers are the "senior citizens." Director Danny Scheie could have
taken this play into any number of directions. He has chosen not to
beat us over the head and set the play around Afghanistan or Iraq. He
lets us draw our own similes regarding those issues. Instead, he
focuses on the joy and freedom of young people who won't keep off the
grass, who have hope for the Age of Aquarius despite the body bags
coming home daily.

If you are familiar with Danny Scheie, you know what to expect from
this production: humor, cross-dressing and cross-gendering, and camp.
"Hair" is the perfect vehicle for this man. He uses the ceiling grid
stunningly in one scene. The choreography, by a five-member team,
ranges from exuberant to gripping. Scheie's "Hair" lets the sunshine
in, but also the darkness. The vibrant children in this play are well
aware that the party could be over any minute. Sixty-one actors are
in this ensemble. In the program, they are simply listed
alphabetically, even the ones who have character names. I left the
theater both days uplifted. Please go. But check the time.
--

if you go

'hair'
presented by: The UC Santa Cruz Theater Arts Department
When: Thursday, Friday, Saturday at 7 p.m., Sunday at 3 p.m., through May 30
where: Mainstage Theater on the campus of UC Santa Cruz
Cost: $11.50 general; $9.50 seniors and students
details: 420-5260 or 459-2159

.

A conversation with Eric Burdon

A conversation with Eric Burdon

http://www.santacruzsentinel.com/ci_15123332

By WALLACE BAINE
Posted: 05/20/2010

He's one of the most underrated pioneers of rock 'n' roll, but
hardcore rock fans are all too aware that Eric Burdon, frontman for
the seminal band the Animals, was one of the integral invaders of the
1960s British Invasion.

In an online conversation, Burdon, who plays with the New Animals May
30 at the Santa Cruz Blues Festival, reflected on his wide and varied career:

Q: You were, of course, at Monterey Pop, and released that great song
"Monterey," and obviously, you were a player in the emergence of the
San Francisco scene. Can you talk a bit about your personal history
with the Bay Area musical scene? Were there other Brits who part of that scene?

A: When I first came to the Bay Area in the mid-1960s, it was still a
beatnik scene. Everybody was dressed in silk suits and button down
collars. Everything and everybody was cool. It was the West Coast
jazz scene. When I returned 18 months later, it looked like the whole
place had been painted and the people were all wearing tie-dye. That
was the beginning of the Bay Area scene as we know it.

Of course, I was at Monterey and I did record a song which I named
after the event, but it got beaten to the punch on the radio by a
song called, "If You're Going to San Francisco" by Scott McKenzie.
They had the connections through the organizers and publishing and
the song reached No. 1.

As for other Brits, of course George Harrison was there. He left in a
hurry. I know he hated it. I think it was a shock to him that he was
being pursued by people wanting his autograph. Poor Beatles. They
were captives of their own success.

Q: There's a man who lives locally who was one of the pioneering
radio guys behind Radio Caroline in the U.K. He told me that young
kids growing up in Britain had no access to American rock, at least
on the radio, until Radio Caroline. I've always been curious about
how British kids turned on to American music. Did you first get drawn
to Chuck Berry and the rock 'n' rollers? Or to the old-line
delta/Chicago bluesmen? How did you find the records?

A: It's true that there was no music on the radio in the U.K., but
there was one BBC program on the radio for half an hour on Wednesday
nights called "Jazz Club." A friend of mine named Ronan O'Rahilly
launched his ship called "Caroline" and started broadcasting music to
the kids on the island. That put American music on the map. You had
to have a transistor when you were a kid and we all kept it tuned to
Radio Caroline.

Q: The Animals have always been considered one of the bluesiest of
the British Invasion groups. When you first got the chance to come to
the U.S., did you go to places where black musicians played the blues
to see it live and up close? If so, how were you perceived? And did
you form musical bonds with some of the older blues players?

A: In every major town that we went to, in order to escape the fans,
I'd tell the taxi driver to take me to the clubs and then I'd have
stories to tell the Beatles when I got back home. I went to Detroit
to John Lee Hooker's house, I did a television show in the UK with
Otis Redding. I don't know if you could say I formed a bond with him,
but Ray Charles even came to on of my shows in L.A. I've met Honey
Coles, who was the manager of the Apollo Theatre, Sammy Davis Jr.,
Memphis Slim, Bud Powell who played jazz saxophone, and Louisiana
Red. I did form bonds with some of the blues musicians and I'm still
close with some of them.

Q: I grew up in the '70s, and I remember well the "Rudely
Interrupted" album. It was a great record, but didn't seem to connect
with audiences of the era. This was roughly the same time that a
disco version of "Don't Let Me Be Misunderstood" was a big hit in the
clubs. That must have been a fish-out-of-water period for you, musically.

A: You grew up in the '70s? You poor guy, but I guess that's better
than growing up in the '80s or '90s I'm glad you like the "Rudely
Interrupted" album. I liked it, too. The disco version of "Don't Let
Me Be Misunderstood" was by Santa Esmeralda and it was 20 minutes
long, but I liked it. The disco era wasn't entirely bad -- it did
give us singers like the Bee Gees and Donna Summer, Bottom line is, I survived.

Q: Finally, can you tell me about the make-up of the Animals as they
now exist? And perhaps comment on your musical journey, now that you
are in your late 60s, are you still out there on the horizons
musically? Or have you come back to the basics of the blues? I guess
I'm asking what remains with you after a lifetime of exploring music?

A: My band currently consists of a group of talented musicians --
Billy Watts on guitar, Red Young on keyboards, Brannen Temple on
drums, Terry Wilson on bass. We have a lot of fun performing together.

As for what remains with me, that would be the power of music, and
it's still extremely strong. It crosses borders like nothing else
can. People thought that rock 'n' roll wouldn't last, but if you look
at the history, it's over 100 years old. Anybody can play it. Rock
'n' roll has been good to me.

.

Paul McCartney interview

Part 1 is here:
http://www.beatles-unlimited.com/2010/05/17/paul-mccartney-sunday-mail-exclusive-interview-part-1/


--

Sir Paul McCartney interview part 2:
I can't believe I'm now in history books of the 20th century

http://www.dailyrecord.co.uk/showbiz/celebrity-interviews/2010/05/17/sir-paul-mccartney-interview-part-2-i-can-t-believe-i-m-now-in-history-books-of-the-20th-century-86908-22264520/

May 17 2010
By Billy Sloan

WHEN Paul McCartney was a pupil at Liverpool Institute, he couldn't
wait to leave school to start a rock 'n' roll band with mates John
Lennon and George Harrison.

Now, music legend Macca can't believe children are being taught about
his phenomenal career in class as part of their studies.

"I've got a funny little paperback book at home called Who Were The
Beatles? Oh my God ... can you believe that?" said Paul, relaxing in
his London HQ.

"Imagine trying to teach five-year-old kids about us. If children are
studying the 20th century, I'm in their text books."

But the superstar is not consigned to the history books and is
limbering up for a gig at Hampden Park in Glasgow on June 20... his
first concert in Scotland for 20 years.

He's planning a 40-song set including Beatles classics All My Loving,
The Long And Winding Road, Eleanor Rigby, Lady Madonna and Hey Jude.

The 67-year-old singer admitted he views archive footage of the Fab
Four being mobbed by screaming girls with mixed emotions.

"I watch that stuff with a mix of pride and sorrow that those days
are gone. I think, look at us there ... we were just lads. It's like
seeing an old home movie.

"Then I get a feeling of sadness we've lost John and George.

"The further away you get from the heyday of The Beatles, the more
amazing it becomes. It's grown in stature. At the time, we thought
we'd be lucky to last for five years."

Macca will hit Hampden two days after celebrating his 68th birthday.
The legend who sang "Will you still need me when I'm 64?" has NO
plans to slow up.

If anything, he wants to do even more big gigs, stage an exhibition
of photographs and pursue his passion for painting.

"I think the pop industry is still a young man's game. But for me
still to be doing it... how can I say that? The early days of rock
'n' roll were dominated by young people," said Paul.

"In the 1960s, something else started to happen. You got groups like
The Beatles and The Rolling Stones who became so big but only because
they were good.

"Now when I go on tour, I've got an incredible audience with me.

"The Stones also still have a huge following. Mick Jagger leaps
around like a crazy dude. And Keith Richards, Ronnie Wood and Charlie
Watts are playing great too. So it's NOT a young man's game any more.

"When Led Zeppelin reformed in 2007, it was the most sought after
ticket of that year.

"Now you're getting older bands and as long as they can still play -
make a good noise - it can be a great show."

His massive stage set will be shipped to Glasgow in a fleet of trucks
by a 150-strong road crew.

Paul will slip into the city unnoticed... and he might even arrive at
Hampden by train or bus.

His £475million fortune has him fifth on the Sunday Times list of
musical millionaires but he goes to great pains to live as normal a
life as his fame allows.

"I didn't need grounded in Liverpool when I was growing up. I was
trying to do the opposite, I was hoping to get into clubs and they
were chucking me out," said Paul, laughing.

"Once fame arrived, it was decision time. What do I do if I don't
like this over-attention? I'm gonna have to get out. But I liked what
I do too much not to do it.

"I devised a strategy for dealing with life. I thought ... I'm gonna
go on the bus and see what happens.

"People would notice you but nobody would jump on you or go crazy. So
I've always used the tube in London."

On a recent trip to New York, however, Paul had a funny moment on a
Manhattan bus.

He told me: "New York is a big town for me. It's all 'Hey Beatle' on
the street. I got on the bus, paid my fare and knew the passengers
had noticed me sitting on my own.

"A black lady sitting up the back shouted. 'Hey, are you Paul
McCartney?' I replied, 'Yes I am.' She shouted back, 'What you doin'
on the bus?'

"I could see other people's shoulders going up and down as they were
laughing. So I said, 'I'm going Uptown just like you are but don't go
shouting across the bus ... come and sit here beside me.'

"I wanted her to know I was just an ordinary person like her. We had
a good chat."

Paul added: "I hate the idea of success robbing you of your private life.

"If I get asked for an autograph in the middle of a meal, I say, 'I
don't do that when I'm eating. I hope you understand. I'm out with my
girlfriend or my mates'.

"And most people do. They get it. I just have a few ground rules like
that. Fans respect you for it."

To buy tickets for Paul McCartney's gig at Hampden on June 20 call:
0844 481 1222 or log on to www.ticketsoup.com.

ON THE WRONG AND WINDING ROAD

Paul McCartney is praying he doesn't have a Spinal Tap moment when he
walks on stage at Hampden.

The superstar hopes he doesn't suffer a momentary mental block and
shout: "Hello Edinburgh."

That's what happened when Macca played one of the biggest shows on a US tour.

He said: "One of my most pear-shaped moments was when I played a
baseball stadium in Pittsburg. When you appear in such massive venues
instead of walking on stage and saying, 'Good evening everybody,' in
a normal voice, you've got to make everything bigger and shout it.

"I usually call out the name of each city which always gets a big
cheer. But my voice had gone during the soundcheck and I was worrying
if it would hold up.

"When I did my big stadium announcement and I shouted, 'People of
Detroit.' Normally I'd have got a huge cheer.

"But there was nothing. It all went quiet. My heart stopped.

"My mind started racing as I frantically thought of a way to get out of it.

"So I said, 'People of Detroit you are not. But people of Pittsburg
you are.' "Next day, a review in the local paper said, 'Oh, the old
wacky wit is still there.'

While I was thinking, 'If only you knew'."

BEST YET TO COME

He's written some of the greatest songs in pop history. But at the
age of 67, Paul McCartney hopes his finest composition is still
further along the long and winding road of his career.

The ex-Beatle can count Yesterday, Let It Be and Eleanor Rigby among
the jewels of his back catalogue and he wants to add to that incredible list.

"I have hobbies including painting and photography but my day job is
music and that's what I love doing best. So I've still got dreams,"
revealed Paul.

"I'm always trying to do better music. I don't know if I've written
my best song yet. That's the big question. It doesn't stop you trying.

"There's a scenario when I could look at The Beatles' career and
think, 'Wait a minute, we are talking Eleanor Rigby, Blackbird, Hey
Jude and Let It Be. I've probably written my best song so you've got
to give up.'

"At that point you say, 'Thank you very much,' and go on a long holiday'.

"But I love music too much. There's always this thought in the back
of my mind that... well, you never know.

"I might just come up with something else really good. That keeps you going.

"My recent album, Memory Almost Full was a good record with some nice
tracks and I was singing well. So you keep at it as long as you think
you're doing well."

.

OBIT: Rhonda Copelon, An Architect of Feminist Human Rights Law

Rhonda Copelon ­ An Architect of Feminist Human Rights Law

http://womensmediacenter.com/blog/2010/05/exclusive-rhonda-copelon%E2%80%94an-architect-of-feminist-human-rights-law/

By Charlotte Bunch
[May 2010]

When Rhonda Copelon died this month of ovarian cancer, she was 65 and
the influence of her ground-breaking legal career could be
appreciated around the world. Here, adapted from a tribute at an
awards ceremony last year, friend and colleague Charlotte Bunch
describes her extraordinary personal and professional contributions.
--

Feminist and human rights lawyer Rhonda Copelon often worked behind
the scenes, but her finger prints, or perhaps I should say brain
waves, are all over many of the most important breakthroughs in
progressive feminist advances both in the United States and globally.

Friends and colleagues long ago recognized her keen intellectual
acumen, her legal and political strategic brilliance, and her
unswerving advocacy in the pursuit of justice. It's true that her
perseverance could drive us crazy when, late at night in a women's
caucus for the UN World Conferences, she would raise a critical point
that clearly needed our attention after a document had already gone
to the printer. But her generosity of spirit would bring us around
more often than not­besides, she was usually conceptually right.

As a young lawyer, working for 12 years at the Center for
Constitutional Rights (CCR), Rhonda played a critical role in the
legal evolution of reproductive rights. She understood how gender
connected with race and class in determining women's access to these
rights in the United States. Recognizing the everyday realities of
poor women and women of color, she successfully argued in the U.S.
Supreme Court on behalf of African American teacher aides in
Mississippi fired for being unwed mothers. And she challenged the
federal "Hyde Amendment" cut-off of Medicaid funds for most abortions
as lead counsel in Harris v. McRae. To heal the wounds from losing
that case, she built with her own hands (and assistance from her many
friends) a home in Long Island­one that became a sanctuary for many
feminist activists to renew themselves. Yet her vision of
reproductive justice in the McRae brief changed, if not the law, then
the politics and strategies that profoundly link social and economic
rights to personal ones.

Rhonda was also co-counsel in other critical CCR cases challenging
racist practices, governmental misconduct and the Vietnam War. In
Filartiga v. Pena-Irala, the CCR team invoked the little-used 1789
"Alien Tort Claims Act" to encompass freedom from torture as an
international human rights norm and constitutionally part of the
"laws of the United States." Filartiga laid the foundation for her
continuing work in developing gender perspectives in numerous cases
involving war crimes, corporate abuses, and immigrant domestic
workers, as well as global women's human rights.

In 1983, Rhonda became part of the founding faculty of CUNY Law
School. She also directed its International Women's Human Rights Law
Clinic, which she co-founded with Celina Romany in l992. At this
point I began to work closely with her, as we discussed how she could
bring her legal expertise to the developing global women's human
rights movement. We also shared a passion for linking global women's
struggles to feminist and human rights issues in the United States­to
seeing ourselves and U.S. movements as part of global solidarity and
a common vision for change.

Together we traveled to Latin America to engage in feminist
encuentros­where Rhonda rapidly picked up a conversational Spanish
delivered with a French accent. We strategized with activists from
around the world on how to bring a feminist interpretation of human
rights to the UN World Conference on Human Rights in Vienna in 1993.
There the international community first fully recognized women's
rights as human rights, leading some to accuse women of "hijacking
the event." Our work continued at the Cairo population and
development conference, presenting women's reproductive rights as
human rights, and finally to full public awareness of this
perspective at the Beijing World Conference on Women in 1995.

Feminist scholar Ros Petchesky called Rhonda her "model of a life
fully realized." Even more than her brilliance, Ros cited her
friend's "practice of a truly feminist humanity in the everyday­her
devotion to younger generations, her fierce and loving presence for
her many friends; and her passionate embrace of both politics and
fun." Through the CUNY law clinic, Rhonda brought her students along
to participate in ground-breaking developments in human rights.

Her intellectual leadership was also reflected in her
writing­particularly a ground breaking l994 article on domestic
violence as torture, a view that was implemented by the UN Committee
Against Torture and the UN Special Rapporteur on Torture over a
decade later. It remains one of the favorite eye opening articles of
my students at Rutgers University. Her article on war crimes in
Bosnia contributed to the recognition of rape and sexualized violence
as torture generally and as genocide in the Rwanda Tribunal. UN
Special Rapporteurs sought out Rhonda for advice. She trained judges
in every continent and for the International Criminal Court (ICC). A
lasting mark of her leadership was co-founding the Women's Caucus for
Gender Justice, leading to the landmark codification of gender in the
ICC statute. She was unrelenting in the negotiations for this­just
ask some of the men in the Coalition for the ICC.

Rhonda was also always willing to tackle the difficult issues­early
on in the McRae case or more recently by representing in a U.S. court
Algerian journalists, feminists, and their families who had been
persecuted and murdered by armed Islamist groups. That case (Jane Doe
v. Islamic Salvation Front and Anouar Haddam) was so dangerous that
the clients­including people who had witnessed the killing of their
own children­had to remain anonymous. Arab American law professor
Karima Bennoune called Rhonda "a nearly legendary figure among
Algerians working to oppose religious extremism in their country." In
an era of the "War on Terror," said Bennoune, Rhonda understood the
importance of "concrete solidarity" with progressives in the Muslim world.

Perhaps above all, Rhonda built enduring personal friendships in her
work­making her as one Latin admirer said a "Tesoro," a treasure of
the women's human rights movement. As Lepa Mladjenovic, Women in
Black Belgrade, wrote when Rhonda received a prestigious human rights
award last year, "Rhonda Copelon is admired, read, discussed and
cared for all over the world." Feminists from the Balkans, she wrote,
needed "to have our Rhonda near," for her professional advice and "as
well her tender face that gives love and meaning to her feminist
theory and inspires us to cherish her."

.

Hidden history of the Black Panther Party

The power to decide our destiny

http://socialistworker.org/2010/05/13/power-to-decide-our-destiny

Helen Redmond reviews an exhibit about the hidden history of the
Black Panther Party.

May 13, 2010

THE BLACK Panther Party was one of the most vibrant and influential
revolutionary organizations in the U.S. It was also one of the most
feared and despised by the American government.

FBI head J. Edgar Hoover called the party "the greatest threat to the
internal security of the country." He oversaw the infamous program
"COINTELPRO," and one of its main objectives was eliminating the
influence and initiatives of the Black Panther Party. In city after
city, the forces of the state unleashed a vicious and racist
counter-organizing campaign of unlawful surveillance, eavesdropping,
infiltration, police harassment and targeted assassinations of Black
Panthers that ultimately brought the organization down.

A new exhibition at the DuSable Museum of African American History in
Chicago titled, The Black Panthers: Making Sense of History, invites
the viewer to learn about the politics and campaigns of the group
through Panther Party propaganda and a series of original and candid
photographs by Stephen Shames.

There are photos, lithographs, videos, official party newspapers and
posters. The first gallery contains a poster explaining the meaning
of the ubiquitous image of the Black Panther: The large black cat. It
symbolizes courage, determination and freedom.

Huey P. Newton, a prominent leader of the Black Panther Party, and
his brother Melvin composed the now iconic uniform the Panthers wore:
blue shirt, black pants, black leather jacket, black beret tilted to
the side and accessorized with an openly displayed, loaded shotgun.

There are courtroom sketches. Leaders and associates of the Black
Panthers--Newton, Angela Davis and Bobby Seale--were arrested and
tried in highly publicized trials. There was no Court TV in the
1960s, just an artist with paper and colored pencils. Much of the
exhibition's memorabilia is words and images describing the campaigns
to free Black Panther Party members from prison.
- - - - - - - - - - - - - - - -

THE PANTHERS are probably most famous for the battle they waged to
carry firearms openly. They argued that Blacks had the right to
defend themselves from police violence and racist attacks. Panthers
followed and monitored the police during arrests, and sometimes
intervened. The original name of the group was the Black Panther
Party for Self-Defense.

Photos show members patrolling neighborhoods. Other photos and
documents chronicle the infamous 1967 incident when members went to
the capital in Sacramento to protest the California State Assembly.
Legislators were discussing the Mulford Act, which proposed a ban on
public displays of loaded firearms. A group of Panthers walked into
the legislative session, some argue by mistake, carrying guns. But it
was perfectly legal at the time. Afterward, Bobby Seale and five
others were arrested.

A copy of the Panther's "Ten-Point Program" is on display. This
document lays out the social, political and economic demands of the
party and disproves the claim that the Panthers were solely about guns.

The 10 points address myriad aspects of how the capitalist system
oppresses Blacks. Number 1: We Want Freedom. We Want Power to
Determine the Destiny of Black and Oppressed Communities. Other
points demand full employment, decent housing and education, free
health care, reforms in the criminal justice system, and an end to
police brutality and wars of aggression abroad. It's a platform of
ideas and causes that are still being fought for today.

The poster of the iconic image of a defiant Huey Newton in an
oversized rattan chair with a spear in one hand and an M-1 rifle in
the other is on display. The photo is as powerful today as the day it
was taken and speaks volumes about the legacy of slavery and the
tension between being African and American in a country constructed on racism.

The Black community lacked a social service infrastructure to meet
the basic needs of people who were all too often refused services
outside of their neighborhoods. So the Panthers started free
breakfast programs to feed children and free health clinics. A
Panther poster titled, "A Program for Survival," addressed the health
care needs of people and included free medical, dental and optometry services.

Getting an ambulance in areas where poor Black people lived was a
constant, life-threatening problem. The Panthers answer was to start
an ambulance service. A leaflet explains: "The people's free
ambulance program provides free, rapid transport for sick or injured
people without time consuming checks into the financial status or means."

The cold-blooded assassination of Black Panther leader Fred Hampton
by Chicago police and the FBI is explored in the show. He was shot
and killed as he slept in his bed. Newspaper articles, gruesome
photos, a jacket and the bullet-riddled door to his apartment are on
display. The objects are a chilling, visceral reminder of how law
enforcement used violent and illegal tactics to instill terror and
wipe out the Black Panther Party.

No police officer or FBI agent was ever convicted. A video of a
Democracy Now! interview with Jeffrey Haas, author of the new book
The Assassination of Fred Hampton, reveals in full detail the
government plot to execute Hampton and the subsequent cover-up.

The exhibition is a small slice of people's history in the tradition
of the late radical historian Howard Zinn, which aims to challenge
and inspire viewers to learn more about the Black Panther Party's
rich, radical and controversial history. Check it out.
--

Review: Exhibit

The Black Panthers: Making Sense of History, at Chicago's DuSable
Museum of African American History, showing through August 6.
http://www.dusablemuseum.org/exhibits/details/the-black-panthers-making-sense-of-history/

.

Judy Collins Elektra Albums Set For Reissue

Judy Collins Elektra Albums Set For Reissue

http://www.antimusic.com/news/10/may/14Judy_Collins_Elektra_Albums_Set_For_Reissue.shtml

05/14/2010

Collectors' Choice Music will reissue nine albums by Judy Collins
representing a good portion of her Elektra Records years from 1966-97.

Collins' clear soprano, unerring taste and uncommon sensitivity to
her material has enriched songs by everybody from Bob Dylan to
Jacques Brel to Stephen Sondheim, and while she began her career by
interpreting the work of others, she would become an acclaimed
songwriter as well. Her fearless approach to trying new arrangements,
instrumentation and repertoire has made her albums among the most
absorbing and fulfilling of any singer-songwriter releases.

On July 27, 2010, Collectors' Choice will issue digitally remastered
CDs of nine of Collins' Elektra titles: Fifth Album (1965), In My
Life (1966), Whales & Nightingales (1970), True Stories & Other
Dreams (1973), Bread & Roses (1976), Running for My Life (1980),
Times of Our Lives (1982), Home Again (1984) and Christmas at the
Biltmore (1997). The albums contain newly commissioned liner notes by
Ritchie Unterberger that include interviews with Collins.

According to Collectors' Choice Senior Vice President Gordon
Anderson, "Judy Collins is one of those artists we always dreamed of
reissuing, but never dreamed we would get the chance. We are thrilled
to release these legendary albums on Collectors' Choice with the love
and respect they deserve."

• Fifth Album: This 1965 release, which charted #69 on the Billboard
album chart, cemented Collins' status as the foremost interpreter of
the best 1960s songwriters to emerge from the folk revival. In
addition to songs by Gordon Lightfoot, Phil Ochs, Eric Anderson, Tom
Paxton, John Phillips and Richard Fariña, the album contains three
Bob Dylan compositions, two of which ("Tomorrow Is a Long Time,"
"Daddy You've Been on My Mind") he didn't release on his own records
in the '60s. The Mark Abramson-produced recording featured John
Sebastian on harmonica, Danny Kalb and Eric Weissberg on guitars, and
Fariña on dulcimer.

• In My Life: Collins' 1966 album In My Life saw her make a bold leap
from the folk-grounded arrangements and material of her previous work
into a hybrid of folk, classical and pop that was dubbed "baroque
folk." Joshua Rifkin, fresh from the Baroque Beatles Book, arranged
and conducted. In addition to the first appearances of Leonard Cohen
songs on any release, this album, which reached #65 on the charts,
includes compositions by Bob Dylan, Donovan, the Beatles, Richard
Fariña, Jacues Brel (to whom she was turned on to by Elektra founder
Jac Holzman) and a then-unknown Randy Newman.

• Whales & Nightingales: For Collins' 1970 album Whales &
Nightingales, producer Abramson left the confines of the studio to
record at such locations as Carnegie Hall, the Manhattan Center and
St. Paul's Chapel at Columbia University. Holzman recalls in his book
Follow the Music: "We decided to pick locations that matched the
emotional ambience of the songs we were recording." The album
includes unusual treatments of traditional folk songs (the haunting
"Farewell to Tarwathie" includes recordings of whales), as well as
songs by Bob Dylan, Joan Baez and Jacques Brel. Collins' hit version
of "Amazing Grace," featuring her then-boyfriend Stacy Keach, is on
this release.

• True Stories & Other Dreams: Having exquisitely interpreted
virtually every songwriter of note from the '60s, Collins began
including a few of her own songs on her albums (beginning with 1967's
Wildflowers). She brought her own songwriting to the fore on this
1973 release, contributing over half the material. In addition to
five Collins originals, the album contains the Top 40 hit "Cook With
Honey," penned by Valerie Carter. Also featured is Tom Paxton's "The
Hostage," written in the wake of the Attica prison riots and a 7
1/12-minute song titled "Che" about revolutionary Che Guevara. The
album rose to #17 on the album chart.

• Bread & Roses: For the title track of this Top 30 1976 LP, Collins'
friend Mimi Fariña set to music the poem after which she'd named her
humanitarian organization Bread & Roses. The album also features an
eclectic group of composers including Leonard Cohen, Elton John, Duke
Ellington and Chilean singer-songwriter-activist Victor Jara, with
production by Arif Mardin and engineering by Phil Ramone. Players
included Hugh McCracken, guitar; David Sanborn, sax; and Tony Levin, bass.

• Running for My Life: This 1980 album marked the first occasion on
which Judy Collins claimed sole production credit for one of her LPs.
It was also notable for her spot-on performances of two songs from
Stephen Sondheim's Sweeney Todd (she was no stranger to Sondheim's
work, having had a hit with "Send in the Clowns" in the mid-'70s).
Songs also include a Jacques Brel composition ("Marieke," which
Collins had recorded previously but wanted to revisit), and one by
Larry Gatlin ("I've Done Enough Dyin' Today").

• Times of Our Lives: This album, released in '82, once again
demonstrates that Collins is a singer capable of covering just about
any kind of material as she deftly interprets three songs by country
hit songwriter Hugh Prestwood (author of Randy Travis' 1990 #1 hit
"Hard Rock Bottom of Your Hearty"), a tune by Anna McGarrigle ("Sun
Son") and five of her own. Featuring musicians Hugh McCracken, Tony
Levin and banjoist Bill Keith, Rolling Stone called this album her
best since 1973's True Stories & Other Dreams.

• Home Again: Collins' final studio album for Elektra, released in
1984, features her own composition "Shoot First," which benefited the
National Alliance Against Violence. It also features a duet with
country star T.G. Sheppard on the title track (with lyrics by Gerry
Goffin) and a co-write with Elton John, "Sweetheart on Parade," which
John never recorded on his own albums. The album contains the Henry
Gross composition "Everyone Works in China." Producers were the
jazz-steeped team of Dave Grusin and Larry Rosen.

• Christmas at the Biltmore: Following albums on such labels as
Geffen and Gold Castle, Collins returned to Elektra for the 1997
soundtrack to a holiday special on the A&E cable network. Recorded
live in an intimate setting at the Biltmore Estate in North Carolina,
this record proves once again that Collins' powers of interpretation
really know no time or season as she makes these familiar songs her
own. Includes "Joy to the World," "Silver Bells," "Santa Claus Is
Coming to Town," "Jingle Bells" and even a version of "The Night
Before Christmas" with new words penned by Collins.

.

Center a tribute to judge's lifetime pursuit of civil rights

Center a tribute to Judge Damon J. Keith's lifetime pursuit of civil rights

http://www.detnews.com/article/20100513/SCHOOLS/5130449/Center-a-tribute-to-Judge-Damon-J.-Keith-s-lifetime-pursuit-of-civil-rights

Michael H. Hodges
May 13. 2010

When Winnie and Nelson Mandela came to Detroit in 1990, Judge Damon
J. Keith called Rosa Parks to see if she needed a ride to the airport
for the welcome ceremony. Her caretaker, however, said the two of
them hadn't been invited.

"You're kidding!" said an astonished Keith, telling them he'd be by
shortly to pick them up. When the Mandelas got off the plane, they
made a beeline for Parks, bypassing the governor, the mayor and the
president of the United Auto Workers. "Rosa Parks!" they cried,
throwing their arms around her.

"You see," said the 87-year-old Keith with a smile, "that was the
face they knew."

On Monday, Wayne State University Law School will break ground on the
Damon J. Keith Center for Civil Rights. The tribute recognizes the
towering stature of the judge, whose landmark rulings over more than
42 years on the federal bench redefined civil rights and civil liberties law.

"The First Amendment is alive and well in no small part because of
Judge Keith's efforts," said Robert M. Ackerman, dean of Wayne
State's Law School.

Keith, who sits on the U.S. Court of Appeals, is the judge who
rebuked President Richard Nixon on wiretaps and stopped secret
deportation hearings under the Bush administration. He's the judge
who desegregated Pontiac public schools, leading to one of the first
mandatory busing programs outside the South.

Yet it is his many kindnesses to Detroit and its residents --
relocating Parks after she was mugged in her house, and saving the
Charles H. Wright Museum of African American History -- that may
constitute his most enduring legacy locally.

"Judge Keith is an amazing person who really cares about this
community and has worked tirelessly to make sure that it lives up to
its potential," said the Wright museum's executive director Juanita Moore.

Small wonder Keith's office is crowded with photos showing him with
presidents, senators and Supreme Court justices.

Worked his way up

Keith was born on the Fourth of July in 1922. His father worked in
the Ford Rouge foundry. Young Keith graduated from Detroit's
Northwestern High School, and then attended West Virginia State
College -- at the time, an all-black institution.

It was a life-changing choice.

"It wasn't till I got to West Virginia State that I saw black
professors," said Keith, who notes he'd never had a black teacher in
all his years in Detroit. "It took the cataracts off my eyes."

Upon graduating from Howard University Law School, his first job,
Keith said, was "cleaning the floors and toilets at The Detroit News"
while studying for the Michigan bar. His big break was a job with
Loomis, Jones, Piper and Colden, the African-American firm that would
train some of Detroit's best black attorneys in the '50s and '60s.

In 1967, President Lyndon Johnson appointed Keith -- whose
grandfathers were both slaves -- to the U.S. District Court. Ten
years later, President Jimmy Carter elevated him to the U.S. Court of
Appeals for the Sixth Circuit.

Keith is famous for old-fashioned graciousness. When one of his
clerks, a young woman, brings him a memo, he says, "Thank you,
darlin' " like any grandfather.

Many of his clerks have developed life-long relationships with the
judge, including Gov. Jennifer Granholm.

In an e-mail exchange, Granholm -- who will attend Monday's
groundbreaking, along with U.S. Attorney General Eric Holder -- told
The News she calls Keith "my mentor, friend, father and center of energy."

Historic decision

A number of Keith's decisions have entered the legal canon, said Mark
Rosenbaum, who teaches constitutional and civil-rights law at the
University of Michigan Law School.

"Judge Keith," Rosenbaum said, "is among a handful of the most
important federal district court judges in American history when it
comes to enforcing civil rights and civil liberties. He's a great man."

Ask Keith what his most important decision was, and he doesn't
hesitate -- U.S. v. Sinclair, or the "Keith Decision," as it's come
down in history. The 1971 case involved national security wiretaps
without a judge's warrant that the Nixon administration placed on the
radical White Panther party, headed by Detroiter John Sinclair.

"The case was about whether one person, even the president, can avoid
the demands of the U.S. Constitution," Keith said.

The U.S. Supreme Court agreed -- unanimously -- that such
surveillance is illegal. In a concurring opinion, Justice William O.
Douglas wrote that far more than mere privacy was involved: "Also at
stake is the reach of the government's power to intimidate its critics."

One of Keith's lines, from his 2002 decision thwarting the Bush-era
secret deportation hearings, has entered the language: "Democracies
die behind closed doors."

On civil rights, three cases cast looming shadows. A 1970 decision
found that Pontiac had deliberately segregated its schools -- one of
the first such judgments against a Northern district, and one that
led to what used to be called "forced busing." In 1971, Keith found
that Hamtramck, under the guise of urban renewal, had engaged in what
he tartly called "Negro removal." Two years later, he ruled that
Detroit Edison had systematically maneuvered to keep blacks out of
managerial jobs.

"I'm a great believer," said Keith, "in the four words inscribed on
the Supreme Court -- 'equal justice under law.' "

Help for Mother Parks

Yet Keith's passion for his hometown and the civil rights movement
has bulked every bit as large as his legal decisions. After "Mother
Parks," as he calls her, was mugged in her home in 1994, Keith
immediately called his friend, real-estate developer A. Alfred Taubman.

Taubman recalls the judge explained that Parks lived in a bad neighborhood.

"I said, 'All right, Damon -- do you think she'd like to live at the
Riverfront Apartments that Max Fisher and I own?' " Taubman said.
"And he said, 'Oh, she'd be delighted.' She moved in and spent the
rest of her life there."

When the Charles H. Wright Museum of African American History hit the
financial skids in 2004, it was Keith who called movers and shakers
across Metro Detroit to raise $1 million to put it back on track.

"He called community leaders to a meeting in his chambers," said the
museum's Moore. "And people showed up. They didn't dare not to. He
told them, 'We will not let this museum fail,' " adding that it was
too important to Detroit, the nation and all Americans.

The urgency of the situation apparently made the judge quite stern.

"It's my understanding," said Moore with a laugh, "that he didn't use
the most polite words either."

Impressive legacy

Wayne State's new Keith Center is hardly the first honor bestowed on
the legendary judge. In 1998 he won the Devitt Award, the highest
accolade a federal judge can receive, and in 1993 Wayne State
dedicated its seminal collection of African-American legal papers in his name.

The Keith Center, however, will cement the judge's legacy in brick
and mortar, with programs focused on civil rights. The
10,000-square-foot building will house conference space, the
university's Journal of Law in Society, a 60-seat lecture hall, an
exhibit on Keith's life and career, as well as the school's legal
clinics that offer free advice on issues from political asylum to
disability law.

"Through a variety of activities," said the Law School's Ackerman,
"we hope to promote the ideals of Judge Keith."

Those who've known him say there could be no worthier goal.

Said Taubman, whose $3 million gift to the law school will underwrite
much of the center's construction, "Damon's a wonderful man with
great ethics. I'd follow him to the end of the earth."
--

mhodges@detnews.com (313) 222-6021

.

Steve Noonan performs

Steve Noonan at Broad St. Bistro with Storm Session

http://www.theunion.com/article/20100513/PROSPECTOR/100519851/1018%26parentprofile=1055

May 13, 2010

Performing at the Broad Street Bistro on Saturday is singer and
songwriter Steve Noonan.

Sitting in with Steve that night will be Nevada County band Storm
Session, consisting of Maggie McKaig, Luke Wilson and Murray
Campbell. The trio will accompany on vocals, guitar, accordion,
dobro, violin, banjo, oboe and English horn, as both Noonan and
McKaig present their original Americana songs.

Noonan is a musician whose history is as intriguing as his songs. He
began performing in the 1960s in Orange County.

Out of a dizzying array of beats, picks, poems and protests, emerged
a triad of talent hailed by Cheetah Magazine as "The Orange County
Three." Playing in clubs like The Paradox and The Golden Bear,
singer-songwriters Tim Buckley, Jackson Browne and Noonan were
crowned "the ones to watch" by insiders, as the '60s folk music scene
unfolded. Buckley signed with Elektra in '67, while Jackson Browne
embarked on a legacy career (later crediting Noonan as a mentor and
early influence).

Noonan, who also recorded with Elektra, became a hit songwriter when
"Buy for Me the Rain" hit pay dirt for The Nitty Gritty Dirt Band.

A classic from the Dirt Band's first album, Noonan co-wrote the
romantic ballad with high school friend and fellow songwriter Greg
Copeland. Noonan went on to perform with many stars, including Bonnie
Raitt, Emmylou Harris, Buckley, Browne, David Lindley, Arlo Guthrie,
Phil Ochs and Tom Paxton.

McKaig and Wilson have been performing together for more than 30
years, since meeting in Alberta, Canada. Frequently performing their
unique brand of European Café music in town, Saturday night will give
audiences a chance to hear the pair's Americana side, with music from
their soon-to-be released sixth CD, "Cumberland Suite."

Based on the Civil War era journal of McKaig's great-great-great
grandmother, these songs have generated a fantastic response in
previews so far, as recently demonstrated at a concert for the Nevada
County Composers Cooperative.

Multi-instrumentalist Murray Campbell, who hails from Scotland, has
played with McKaig and Wilson for the past five years.
--

Know & Go

What: Steve Noonan concert, with the Storm Session Band ­­ Maggie
McKaig, Luke Wilson and Murray Campbell
When: 7:30 p.m. Saturday
Where: Broad Street Bistro and Gallery, 426 Broad St., Nevada City
Information: Call (530) 265-4204 or visit www.stevenoonan.co

.

Vietnam-era students finally get to graduate

[2 articles]

Vietnam-era students finally get to graduate

http://news.bbc.co.uk/2/hi/education/10096189.stm

4 May 2010
By Sean Coughlan

Students in the United States caught up in the campus protests
against the Vietnam War are going to re-stage graduation ceremonies
cancelled in 1970.

Fearing violence on campuses, some US universities shut early that
summer and cancelled leaving ceremonies.

Forty years later, students who missed out are now returning to hold
the events that were cancelled.

Boston University says students in 1970 missed an "important milestone".

It will mean that former students, who are now grandparents in their
sixties, will be able take part in the rites of passage that were
interrupted 40 years ago.
Shootings

"What memories, I remember getting my diploma in the mail, the world
was upside down then," says an entry on Facebook about the returning
students at Boston University.

At other universities, there is talk of "closure" for the "class that
never graduated".

In 1970, the symbolic end-of-term events for students leaving
universities were overtaken by political protests about the Vietnam War.

In May 1970, the shooting dead of four student protestors at Kent
State University in Ohio by national guardsmen sparked a wave of
campus disruption.

Many universities shut down, cancelling the end of term speeches,
photographs and the caps and gowns of graduation ceremonies.

There were occupations, sit-ins, protest concerts and stand-offs with
the authorities, and fearing violence, many universities cleared
their campuses.

Boston University was one of the campuses that closed in the summer
of 1970, in what it described as a time of "national turmoil".

It meant cancelling the "commencement" ceremonies for those leaving
university that summer.
'Reclaiming'

Now it is asking back the Class of 1970 for a weekend of events to be
held later this month.

They will join the current year group of students leaving the
university this summer.

However there will also be a remembrance for more than 150 students
from the university's class of 1970 who have since died.

The University of Cincinnati is also holding events for the students
who missed out on leaving events in 1970.

An event this summer is intended to give these students an
"opportunity to symbolically reclaim their lost commencement".

The university says it will give the students of 1970 the chance "to
finally walk across the stage to well deserved applause".

---------

40 Years Later, a Proper Graduation

http://www.nytimes.com/2010/05/17/us/17grads.html

By KATHARINE Q. SEELYE
Published: May 16, 2010

BOSTON ­ The telltale clues at this weekend's festivities, 40 years
late, included the tie-dye T-shirt on a woman who also wore a peace
symbol necklace and a garland in her hair ("I thought everyone would
be dressed like this," she said).

When the group stood for its class picture, even those in suits and
ties made the peace sign. Others raised clenched fists.

And one of them marched in the commencement processional with an
antiwar poster slung around his neck.

The accouterment and spirit of their era still radiate from the class
of 1970, despite the harsh and abrupt ending to their years at Boston
University.

That spring was supposed to bring a flowery conclusion to their four
years of academe. But President Richard M. Nixon had invaded
Cambodia. National Guardsmen had gunned down students at Kent State,
killing four and wounding nine. Young men still faced the draft. And
this campus, like many across the country, was in turmoil, with
strikes, sit-ins, building takeovers and fire-bombings.

The situation became so incendiary that, for safety's sake,
university officials called off final exams, canceled graduation and
sent students packing.

This weekend, on what would have been the 40th anniversary of that
ceremony, the university sought to make amends with a proper graduation.

But more than pomp and circumstance, the university wanted to give
the students ­ now in their early 60s, many of them grandparents ­ a
chance to heal the wounds, reflect on what their time here had meant
and feel better about their alma matter.

"This is not an apology," Robert A. Brown, the president of the
university, said in an interview beforehand. "We did exactly the
right thing by calling off exams. It's an opportunity to reach out to
this cadre of alums and say, 'Come, be with us.' "

About 300 of the 3,000-member class showed up, many with their grown
children in tow, not to mention unfinished business.

"That was a big deal," Dr. Marcia Wells Avery, one of three black
nursing students in the class of 1970, said of her canceled
graduation. "It was worse for the parents and the grandparents, many
of whom are dead now and were robbed of that opportunity to see their
child march across that stage."

"My father vowed that B.U. would never get a penny from him," added
Dr. Avery, who is now a nursing professor at Northwestern State
University in Louisiana.

Still, Dr. Avery was enjoying the weekend. She decided to drop by the
bookstore and "buy up all the B.U. paraphernalia" she could find. She
said she would even consider making a future donation to the school.

And by the end of the ceremonies on Sunday, she was beaming. "It's
O.K.," she said. "I feel complete."

Although officials avoided any mention of fund-raising during the
weekend, many class members assumed that this was one of the
university's long-term goals as it sought to strengthen its bonds
with this class, many of them professionals, many on the verge of retirement.

Scott Nichols, the university's chief fund-raiser, said that "there
is no plan afterward to swoop in." However, he added: "These students
had this strange moment in time. Why not treat them nicely? In a
fund-raising sense, you never go wrong treating people nicely and
there's always payback, but we have no solicitation strategy."

On Saturday the class began trickling back to the urban campus. The
ice-breaking social event was an extensive slide show of photographs
taken by Peter Simon, a member of the class and brother of Carly Simon.

"Forty years ago I probably never would have gone to graduation
because I was such a hippie," Mr. Simon said to chuckles and
applause. But now, he said, "time has mellowed me."

Mr. Simon said that when he speaks about his photography around the
country, students frequently say to him, "God, I wish I'd been alive
and been part of your generation because it's really boring now." He
said he responds by saying: "But you have all this texting! You have
cellphones!"

"And they say they'd give all that stuff away for the kind of
experiences we had," he said. "And I have to say, I agree."

Many of those who came said some classmates had no interest in
attending. "They felt like what's done is done and it has no
relevance to their lives anymore," said Amy Weiner Nathans, a retired
foreign language teacher who lives in Ohio.

But many came just for the fun of it. George Watson, who is now
chairman of the foreign language department at a local high school,
said he came back "to rekindle that passion that I felt back then."

Kit Coffey, who worked in medical sales and lives on Boston's South
Shore, said she came because she thought it would be "a hoot" to
remember her origins as a rebellious college student.

"How did I become a suburban housewife?" she asked. This era, she
said, "is hard to explain to people, then you forget about it because
you're in your everyday life. And then you look back at this time and
think, wow, what was that all about?"

This would not be a gathering of baby boomers without elaborate
attention paid to the music. As the class moved quietly to the pews
of Marsh Chapel for a Service of Remembrance, Jan Hill, a pianist,
played the soundtrack of their era: "Fire and Rain," "The Long and
Winding Road" and "Both Sides Now." Jessica Tardy, a soloist, backed
by an acoustic guitar, sang "Bridge Over Troubled Water."

From the lectern, James Carroll, who was the Catholic chaplain of
the university at the time, vividly recalled the vigil here for Kent
State students, when American soldiers, dressed in combat gear and
carrying rifles, encircled the students at a sit-in. "The real
meaning of that trauma sank in," he said of Kent State. "Our
government, having killed legions of Vietnamese, was now prepared to
kill you. Us."

Ms. Tardy, the soloist, led the class in singing "Let It Be," during
which many wiped away tears.

That sharp emotional reminiscence over, the events of the weekend
took a more joyful turn.

At their own convocation on Sunday morning, class members ­ with
their gray hair tucked under their caps and lifetimes of experience
under their belts ­ strode across the stage in their fire-engine-red
gowns and received their diplomas (actually, certificates, since
their real diplomas had been mailed to them at the time).

Swaying back and forth, they spontaneously sang "All we are saying,
is give peace a chance." They bopped and shimmied off the stage to
"Ain't No Mountain High Enough."

In the afternoon, they were given pride of place among 25,000 other
graduates, family and friends at the sun-splashed commencement
ceremonies on Nickerson Field. Younger graduates cheered them on.
Several speakers paid them homage as the big video screens featured
photos of their demonstrations, their love-ins and their long hair.

And the commencement speaker, Attorney General Eric H. Holder Jr.,
singled them out.

"I love you all," he told the crowd. But gesturing to the class of
1970, sitting right in front of him, he said, "But these are my people."

For a day, at least, the establishment was honoring them, a turnabout
from 40 years ago.

.

Event honors Vietnam vets

[2 articles]

Lambeau Field event honors Vietnam vets

http://www.leadertelegram.com/news/daily_updates/article_2bb28076-100f-5f98-8354-6f5841017843.html

LZ Lambeau marks overdue recognition

May 16, 2010
By Steven Verburg

MADISON - When Jim Kurtz returned to Madison in 1967, he saw how
strong the anti-war feelings were and decided not to talk about his
years as an Army officer in Vietnam.

He went to work for state government not knowing that many of his
co-workers were keeping the same secret. Kurtz discovered how much
they had in common when he read their obituaries.

"You go to war and it's the single dominant experience you've had,
but you don't talk about it," Kurtz said. "People I worked with
closely for 20 years, and we never talked about it because in
Madison, being a veteran was just not the thing to be."

After serving in Vietnam in the 1960s and early 1970s, Kurtz and
other veterans returned home to a country torn apart by mounting
death tolls, reports of atrocities and revelations of government
lies. In Madison, the anti-war movement was among the biggest and
loudest in the country, and many veterans who re-entered civilian
life here kept their heads down.

So it's a measure of how attitudes have changed that thousands of
Vietnam veterans are expected to attend LZ Lambeau in Green Bay next
weekend, an event designed to publicly express overdue thanks for
their service, said lead organizer Don Jones of Madison.

"I can't count the number of veterans who've said this is the first
time that anybody had ever mentioned the word 'thank you' to them," Jones said.

The weekend at Lambeau Field is sponsored by the Wisconsin Department
of Veterans Affairs, the Wisconsin Historical Society and Wisconsin
Public Television, which is airing a related documentary.

State veterans groups say it may be the largest event in the nation
to honor Vietnam veterans. Between 50,000 and 70,000 people are
expected to attend, Jones said.

Kurtz has interviewed 125 Vietnam veterans for a Wisconsin Veterans
Museum oral history collection. A common thread is a feeling of isolation.

"Nobody was interested or nobody cared and they thought you were a
fool for doing it, or worse yet, a criminal," he said.

Said Jones: "A lot of the soldiers felt that the anger was being
directed against them when it could have been more positively
directed against the political folks who were driving the war forward."

Jones, an Army officer who landed in Madison after a tour in Vietnam,
said he was offended by those who blamed low-ranking soldiers for
reporting for duty instead of resisting or fleeing to Canada, and for
obeying unlawful orders that led to civilian deaths.

"There's no place for a private to stand against an officer," he
said, "and the draft was a very coercive law."

David Shaw said he plans to take part in LZ Lambeau, but only because
missing it would be rude now that organizers are trying to do the
right thing. The ex-Marine never expected a welcome home parade,
especially since military men and women came home in ones and twos,
not in large groups like the National Guard units fighting today in
Iraq and Afghanistan.

He said he still feels anger and bitterness about what he came to see
as the pointlessness of the war effort, and how nobody at home wanted
to hear about what he experienced.

At parties in Madison in the 1970s, Shaw liked to tell a story he
found humorous about a fellow Marine in Vietnam who was left
wide-eyed, black-faced and with a broken cigarette dangling from his
lips after someone in his land mine repair unit accidently detonated
a charge in his face.

"I tried to tell it at parties, and I lost my audience," said Shaw,
today a retired lawyer living near Madison. "The fact that I was
laughing caused them to look askance at me. For the people at home,
there just wasn't anything funny about the war."

Kurtz, the Army officer who returned to Madison to work for state
government, said that near the end of his service in Vietnam he
disobeyed orders to inflate enemy body counts for commanders. They
wanted to give Washington news that might calm opposition at home by
indicating the U.S. was winning.

But Kurtz didn't talk about that when he got home. He kept quiet,
figuring there was nothing he could say that would make the people
around him accept a Vietnam veteran.

He made up his mind one day near campus as he stood behind police who
were lined up against an anti-war rally.

"They started vilifying the police for being on the side of the
baby-killers, and that just put me off into a shell," Kurtz said. "In
the Madison community, at least with some people, there was a higher
value put on being a protester."

Over the years, as attitudes softened, Kurtz and others revealed
themselves. They began to join veterans groups or find former war
buddies through the Internet.

Now, more of the public has come to support troops, even if they
disagree with government military actions, said Mike Demske,
president of the Wisconsin Council of the Vietnam Veterans of America.

In the 1960s and 1970s, if you put Vietnam veterans and war opponents
in the same room, the veterans might have faced a few - probably very
few - questions about why they hadn't tried to undermine the war by
resisting the draft, said Paul Soglin, a student leader on Madison's
anti-war front before he became mayor for 14 years in two terms
spread over three decades.

But most people knew there was much disillusionment in the military,
he said, and anti-war activists simply would have felt uncomfortable
if they didn't know whether a veteran was for or against the war.

"I think it's a tension that everybody felt," Soglin said. "Here we
are 40 years later, and we still don't know what one another thinks
of each other."
--

If You Go

What: LZ Lambeau, a thank you to Vietnam War and Vietnam-era
veterans. Among events and activities are concerts, reunions, vehicle
displays and exhibits, including The Moving Wall.

When: Thursday through Sunday, May 23. Featured event is a tribute
ceremony at 7:30 p.m. Saturday.

Where: Lambeau Field, Lombardi Avenue at South Oneida Street, Green Bay.

Cost: Free for all events, except for Saturday tribute, which is free
to all Vietnam veterans but $10 for all others.

Tickets: They are required only for the Saturday tribute, even for
Vietnam veterans who are admitted free. Order at www.lzlambeau.org or
800-895-0071.

Schedule of events: www.lzlambeau.org.
--

Madison and Vietnam

Madison was one of the key hot spots in the nation for anti-Vietnam
War protests. Some significant dates and events:

Oct. 16, 1965: Eleven Vietnam War protesters are arrested at Truax
Field, then an Army air base, after sitting in the road and refusing to leave.

Feb. 22, 1967: Seventeen demonstrators are arrested as hundreds
protest UW-Madison campus recruiting by Dow Chemical Co., which
supplied the military with napalm. Police forcibly remove
demonstrators from a university building as a crowd of 2,000 to 3,000
outside becomes involved. Violence erupts between the crowd and police.

October 1967: Violence marks several demonstrations on the campus.

Oct. 1, 1968: Some draft records are destroyed when a small fire is
set in the state Selective Service headquarters.

Aug. 24, 1970: The Army Math Research Center in Sterling Hall on
campus is bombed, killing researcher Robert Fassnacht.

April 6, 1971: By a ratio of more than 2-to-1, city voters call for
an immediate cease-fire in Vietnam and withdrawal of troops.

April-May, 1972: Protests occur on campus in response to the renewed
bombing of North Vietnam and the mining and blockading of North
Vietnamese harbors.

Jan. 18, 1973: The Dane County Board votes 22-17 on a war resolution
calling for an immediate withdrawal of all U.S. personnel and
military material from Indochina.

Jan. 27, 1973: Church bells ring signaling the cease-fire in Vietnam.

Source: Wisconsin State Journal archives
--

War Facts

- Out of 2.59 million Americans who served in Vietnam, 58,148 were
killed and 304,000 wounded.

- The average age of those killed was 23.

- One out of every 10 Americans who served was a casualty. Although
the percentage who died is similar to other wars, amputations or
crippling wounds were 300 percent higher than in World War II. Today,
75,000 Vietnam veterans are severely disabled.

- The average infantryman in the South Pacific during World War II
saw about 40 days of combat in four years. The average infantryman in
Vietnam saw about 240 days of combat in one year, thanks to the
mobility of the helicopter.

- Of Vietnam veterans, 91 percent say they are glad they served; 74
percent say they would serve again, even knowing the outcome.

- Two-thirds of the men who served in Vietnam were volunteers;
two-thirds who served in World War II were draftees.

Source: www.vietnam-war.info

--------

Wisconsin veterans are finally telling their Vietnam War stories

http://www.kenoshanews.com/news/wisconsin_veterans_are_finally_telling_their_vietnam_war_stories_7941281.html

May 15, 2010
BY JILL TATGE-ROZELL
jrozell@kenoshanews.com

Michael Falbo sits exhausted, back against a tree in the heavy
Vietnam bush, head turned toward the camera with a "put that thing
away look" on his face.

"That day still stays with me," said Falbo, a member of the
University of Wisconsin Board of Regents and a former Kenosha
resident, as he looked at the photograph.

Falbo, a medic, had just put four wounded comrades on a helicopter
and couldn't figure out why someone would be taking pictures at a
time like that. When he learned the camera belonged to one of the
wounded he quickly understood the importance of those photos.

He recalls the moments before the snapshot was taken in an interview
as part of the Wisconsin Vietnam War Stories project. The documentary
airs May 24-26. While not all the interviews conducted are part of
the documentary, each of the 100 stories will be archived for
posterity in the Wisconsin Veterans Museum.

"Anyone who was there was permanently changed," Falbo said. "I went
to Vietnam and I came back not quite the same person. In fact,
nowhere near the same person."

Telling emotional stories that haven't been heard before, Wisconsin
Vietnam War veterans recount their experiences in the three-hour
television documentary. Wisconsin Vietnam War Stories features dozens
of veterans from all regions of Wisconsin who reflect on their
memories of the Vietnam War and their experiences during and after
the conflict.

Telling their stories

Falbo said as he gets older he sees the importance of sharing war
stories with family and believes all veterans, "in their own way and
own time," need to tell their stories. It is important, at the very
least, to family members, he said.

"It may explain to them, in some cases, why you are the way you are ­
your actions and values," he said.

Falbo admits he and his brother, also a Vietnam War veteran, never
really talked to one another about their experiences. Being involved
in this project has given them the opportunity to start that dialogue.

If it wasn't for the Vietnam War Stories project, Kenosha resident
Dennis Aldrich may never have opened up to his wife, Bonnie, and his
children about his experiences there.

"He and I never talked about it ­ not until he did the interview,"
Bonnie said. "I remember his mother telling me when we got married I
should never wake him up when he's sleeping."

Bonnie has shared a copy of the interview with their children, though
Dennis has yet to watch it.

"I'm content with where I'm at with Vietnam," he said.

Veterans from all branches of service were interviewed by producer
Mik Derks as part of the effort that went into the documentary,
developed in partnership with Wisconsin Public Television, the
Wisconsin Historical Society and the state Department of Veterans Affairs.

"Each veteran shared moving stories of triumph and loss in the field
of duty, brotherhood and companionship in the ranks, and of the
welcome home they never received after sacrificing nearly everything
on the battlefield," Derks said.

The archival video, historical photographs and maps included in the
documentary present stark imagery of the war and help bring the
viewer into the veterans' stories.

Traveling exhibit

The project also includes: upcoming screenings and discussions at
local libraries; a traveling portrait exhibit; an extensive
curriculum to aid teachers in presenting the state's connection to
the war to middle and high school students; and a companion book to
the documentary authored by Sarah A. Larsen and Jennifer M. Miller,
published by the Wisconsin Historical Society.

The book shares 40 firsthand accounts of Wisconsin veterans'
experiences in the Vietnam War. The interviews expand on stories told
in the film. Told in chronological order, chapters focus on
involvement prior to the war, Army and Marine ground combat with the
Vietcong, the Tet Offensive, key battles, medical units, firefights,
the prisoner of war experience and life after Vietnam.

"Chronicling their physical and spiritual endurance through the
horrors of war and its aftermath, it gives the veterans the voice
they did not have when they returned home during antiwar protests,"
said Melanie Roth, of the Wisconsin Historical Society Press.

It also explores the bonds created there, said Falbo.

"There was no racism at all," he said. "When you stood shoulder to
shoulder and your life depended on each other, there was no color."

.

Monday, May 24, 2010

Hunter S. Thompson work eyed for film

Hunter S. Thompson work eyed for film

http://www.hollywoodreporter.com/hr/content_display/film/news/e3i7b2c50df9c8f86ff28b5fa0eb8407293

By Borys Kit
May 3, 2010

One of Hunter S. Thompson's last works has been picked up for feature
treatment that could see Thompson onscreen again, this time as a
crusader for justice.

Motion Picture Corporation of America, led by CEO Brad Krevoy, has
acquired rights to "Prisoner of Denver," a June 2004 Vanity Fair
article co-written by Thompson and the magazine's contributing editor
Mark Seal.

"Prisoner" focused on the injustice and abuse of Colorado's legal
system that saw 21-year-old Lisl Auman charged with murder when the
crime occurred while she was in the back of a patrol car, already in
police custody. She was handed a life sentence with no possibility of parole.

While behind bars, she began a correspondence with Thompson. His
unrelenting grass-roots activism -- which included enlisting
celebrity pals including Johnny Depp, Jack Nicholson, Benicio Del
Toro and Woody Harrelson -- and the Vanity Fair piece helped overturn
Auman's sentence in 2005.

Seal started out as a police reporter in the 1970s who idolized
Thompson and his writing. After he wrote a piece on Aspen, Colo.,
Thompson called him and told him about the case and asked him to
help. Seal soon found himself on the road in what he could only
describe as a "Hunter Thompson world," dealing with skinheads, speed
freaks and angry cops.

"My first day I was in a female correctional institution, saying a
line I had been waiting my entire life to say: 'Hunter Thompson sent
me,' " Seal said. "He made being a reporter glamorous and exciting in
the 1970s. It was one of the best experiences in my whole
journalistic career, and it was one of the best causes of his life."

Thompson committed suicide before the case was overturned.

Krevoy will be producing along with MPCA's Mike Callaghan and Reuben
Liber, and Seal. They are looking for writers to adapt the material,
with a focus on Thompson and Seal acting as a couple of gonzo
Woodward and Bernsteins.

Depp created a version of the man, named Raoul Duke, in Terry
Gilliam's "Fear and Loathing in Las Vegas," and Bill Murray played
him in 1980s "Where the Buffalo Roam." (Could Depp play the writer
again, and play himself at the same time, in "Prisoner"?)

The acquisition of "Prisoner" comes from the MPCA Film Fund, which is
backrolling the company's "Deathgames," starring Samuel L. Jackson,
Kellan Lutz and Daniel Dae Kim.

.