Re: [Marxism] GONE WITH THE WIND

[Ken Hiebert via Marxism]

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"When even people 
with college education talk about cinema,
we post movie reviews from pedestrian 
hacks like James Agee…”

It seemed clear to me when Louis posted the Agee review, it was not to further 
our understanding of the movie, or intended to serve as a review, but rather to 
illustrate the racist support for the movie.  With that purpose in mind, it was 
useful to post it.

ken h

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Re: [Marxism] GONE WITH THE WIND

[Andrew Stewart via Marxism]

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What we are witnessing now, both here on this ListServ with respondents to the 
original message and in the wider public discourse, is demonstrative of a 
larger issue, our nationwide refusal to engage with a serious media literacy 
that is commonplace worldwide. I don’t want to say this to sound like a 
self-righteous pedantic ass but it really is a serious issue. When even people 
with college education talk about cinema, we post movie reviews from pedestrian 
hacks like James Agee and Roger Ebert. If you were to contrast what the French 
said about a particular film from the Classical Hollywood Cinema era with a 
contemporaneous review from the States, you’d be embarrassed. We don’t discuss 
serious issues in our critique of cinema, we engage in shallow gossip. I have a 
BA in Film Studies (want fries with that?) and it’s an all-encompassing vacuum 
of nonsense impersonating journalism in the mainstream. 

GONE WITH THE WIND, BIRTH OF A NATION, and TRIUMPH OF THE WILL are tremendously 
important texts for both their craftsmanship and because, perhaps more 
importantly, they succeeded in pushing the viewing public to embrace a 
genocidal politics. To shove them down the memory hole in the name of a 
nihilistic impulse is to actually engage with the maintenance of those hateful 
ideologies  

-precisely- 

because it prevents the public from seeing demonstrations of that which we 
otherwise have enough critical distance from in order to recognize their 
hatefulness. The success of the genocide is predicated upon hiding from public 
view that which is unpalatable. 

Look at the current uprising against police brutality for such an example. It’s 
not that the police started being maniacs just in the past decade, it was 
because everyone has a powerful video camera and internet platform in their 
pocket that the broad public was awakened from its ignorance and forced to see 
that Rodney King-like events were not the exception but rather the rule. 

So I agree with the preservation of cinema that is socially grounded in mature 
politics and historical exegesis. Is TCM up to the challenge? I honestly cannot 
comment, I have never been a subscriber and I have been tuned out of cable for 
years. I like what the Criterion Channel does, which actually is mature and 
coherent film scholarship.

Best regards,
Andrew Stewart 
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Message: 1
Date: Fri, 26 Jun 2020 12:12:42 -0700
From: John A Imani 
To: Activists and scholars in Marxist tradition
   
Subject: [Marxism] Gone With the Wind
Message-ID:
   
Content-Type: text/plain; charset="UTF-8"

Comrades,

I am black.  72 years old.  An anarcho-Marxian.  And, as an adult, have
logged 50+ years of participation in many many movements always to be found
in the same place: on the front line.  I make those statements because I
have never sought nor accepted the privileges of race, age, my grasp of
politico-economics and/or the braggadocio resulting from  "Jaws"-like
comparisons of battle scars.

And because of these experiences and this disposition I invite criticism as
I have never feared being wrong only of being incorrect.  And, on this,
especially at this special time.

"GWTW" is beautifully filmed, finely acted, magnificently scored, if
historically inaccurate, depiction of the ante-, inter- and post-bellum
South.  It is a work of art even if also an agent of racism.  It--like
statues and monuments klan outfittings and speeches--belongs with those
brethren in a museum.  And alongside these mementos explanations and
criticisms giving these their proper contexts.  In this case that museum's
name is TCM.

I recently saw for the first time Hattie McDaniels' acceptance speech
 for winning the Acad Award
for Best Supporting Actor.  It was as magnificent as it was short,
emotional and uplifting.  It was as grand as her portrayal of 'Mammy' in
the film wherein I have never seen an actor so embody the conscious as well
as the subconsciousness of the character portrayed.  Do we burn that film
as some have burned books?

JAI


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[Marxism] Gone With the Wind

[Richard Modiano via Marxism]

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"[GWTW] like statues and monuments klan outfittings and speeches--belongs
with those
brethren in a museum.  And alongside these mementos explanations
and criticisms giving these their proper contexts.  In this case that
museum's name is TCM. "

I concur comrade. Putting the movie in context is entirely reasonable and
in no way is a form of censorship. At the time of the movie's release in
1939 a minority of critics took it to task for its historical fallacies and
its generic racism, but mainstream critics and movie goers overlooked those
historical distortions, something that is no longer possible today.

Richard Modiano
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Re: [Marxism] Gone With the Wind

[A.R. G via Marxism]

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I would distinguish between racial elements and a wholly racist propaganda
plotline. GWTW and BoN didn't just have racism, they *were* racism.

On Fri, Jun 26, 2020, 4:35 PM wytheholt--- via Marxism <
marxism@lists.csbs.utah.edu> wrote:

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> *
>
> Most movies made before the 1960s, that come close to dealing with race or
> with having racial or racialized components or figures in them, are going
> to be suspect on these grounds. This is going to be a case-by-case search
> and decision-making process, and there will be many close calls, though all
> movies should have a copy at a central museum of film. I am for keeping
> "Casablanca" in regular use, as I deem its racist components too minor to
> cause such a good and classic film to disappear from public availability.
> But that sort of judgment must be applied to many films; some will be put
> away, most (I suspect) will survive. WH
>
> > On June 26, 2020 at 5:40 PM John A Imani via Marxism <
> marxism@lists.csbs.utah.edu mailto:marxism@lists.csbs.utah.edu > wrote:
> >
> >
> >  POSTING RULES & NOTES 
> > #1 YOU MUST clip all extraneous text when replying to a message.
> > #2 This mail-list, like most, is publicly & permanently archived.
> > #3 Subscribe and post under an alias if #2 is a concern.
> > *
> >
> > Did not assert that. Museumed is what needs to be done with these,
> as I
> > wrote, with a critique. As, I believe, that TCM is going to do
> exactly
> > that with GWTW, i.e. shown with a socio-political analysis preceding
> and
> > following the film. And TCM is such a museum open to all.
> >
> > What about "Casablanca" with Dooley Wilson's 'Sam' and Ingrid
> Bergman's
> > 'Elsa' asking 'Renault', the Vichy official, about the "boy" playing
> the
> > piano? With its magnificent music accompanying. Not only "As Time
> Goes
> > By" but with the stirring anti-fascist rendition of "La Marseillaise"
> > conjured up by the courage of 'Victor Laszlo'? Yet another
> remarkable and
> > classic piece of film only to be available "to be studied in film
> classes"?
> >
> > Etc., etc., etc.
> >
> > JAI
> >
> > On Fri, Jun 26, 2020 at 2:10 PM A.R. G  mailto:amithrgu...@gmail.com > wrote:
> >
> > > > Even Birth of a Nation, to my understanding, was treated as
> a cinematic
> > > accomplishment. Maybe both should be studied in film classes
> but they need
> > > not be treated as normal/socially acceptable films to be
> screened just for
> > > entertainment.
> > >
> > > >
> > > > On Fri, Jun 26, 2020, 12:34 PM John A Imani via Marxism <
> > > marxism@lists.csbs.utah.edu mailto:marxism@lists.csbs.utah.edu
> > wrote:
> > >
> > > > >>
> > >> I am black. 72 years old. An anarcho-Marxian. And, as an adult,
> have
> > >> logged 50+ years of participation in many many movements always
> to be found
> > >> in the same place: on the front line. I make those statements
> because I
> > >> have never sought nor accepted the privileges of race, age, my
> grasp of
> > >> politico-economics and/or the braggadocio resulting from
> "Jaws"-like
> > >> comparisons of battle scars.
> > >>
> > >> And because of these experiences and this disposition I invite
> criticism
> > >> as I have never feared being wrong only of being incorrect. And,
> on this,
> > >> especially at this special time.
> > >>
> > >> "GWTW" is beautifully filmed, finely acted, magnificently scored,
> if
> > >> historically inaccurate, depiction of the ante-, inter- and
> post-bellum
> > >> South. It is a work of art even if also an agent of racism.
> It--like
> > >> statues and monuments klan outfittings and speeches--belongs with
> those
> > >> brethren in a museum. And alongside these mementos explanations
> and
> > >> criticisms giving these their proper contexts. In this case that
> museum's
> > >> name is TCM.
> > >>
> > >> I recently saw for the first time Hattie McDaniels' acceptance
> speech
> > >>  for winning the
> Acad Award
> > >> for Best Supporting Actor. It was as magnificent as it was short,
> > >> 

[Marxism] Fwd: Gone With the Wind

[John A Imani via Marxism]

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Good comrade,

Have seen both movies at least 10 times.  They are favorites of me and my
girlfriend of almost 34 years.  Know many of the lines by heart.

There is a film, "Cabin in the Cotton" with Bette Davis and Richard
Barthelmess (who was a silent big star whose transition to 'talkies' led to
some of the most unfortunate portrayals).

It is a class film as she is a planter's daughter socialite and he a
sharecropper.  They are at a gala and she invites him to lead "The
Peckerwood Polka".  Might be wrong about the word polka but dead on it
about the "peckerwood" part.  See IMDB info below last comment:

Do we ban this too on a 'class', not racial bias?  It's like being a
'little pregnant'.  When is enough enough.  This very slight difference
with you, good friend, is of no 'nevermind' to me, whatsoever.

With *Richard Barthelmess*, *Bette Davis*, Dorothy Jordan, Hardie Albright.
... *Bette Davis and Richard Barthelmess* in The *Cabin in the Cotton*
(1932) Richard ... Played by the jazz band for the* "Peckerwood Wiggle" *dance
at Madge's party
Rating: 6.8/10 - ‎1,420 votes
The Cabin in the Cotton (1932) - IMDb

With *Richard Barthelmess*, *Bette Davis*, Dorothy Jordan, Hardie Albright.
... *Richard Barthelmess* in The *Cabin in the Cotton* (1932) *Bette Davis
and Richard* ... known as planters and the *poor cotton pickers, known as
tenants or '**peckerwoods'*.

JAI


On Fri, Jun 26, 2020 at 4:09 PM  wrote:

> Most movies made before the 1960s, that come close to dealing with race or
> with having racial or racialized components or figures in them, are going
> to be suspect on these grounds. This is going to be a case-by-case search
> and decision-making process, and there will be many close calls, though all
> movies should have a copy at a central museum of film. I am for keeping
> "Casablanca" in regular use, as I deem its racist components too minor to
> cause such a good and classic film to disappear from public availability.
> But that sort of judgment must be applied to many films; some will be put
> away, most (I suspect) will survive. WH
>
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Re: [Marxism] Gone With the Wind

[Michael Meeropol via Marxism]

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Here's an example --- In many Marx brothers films, there are incredibly
stereotyped blacks hanging around, dancing, etc. --- Groucho would often
refer to them as "darkies" --- You have to be inured to those elements but
I expect that the more sensitive one is, the less likely is one to be
willing to ignore that shit and focus on the incredibly clever humor ---

I wonder if I could stomach watching "A Day at the Races" again ...Maybe
just stop watching near the end!!!


> Most movies made before the 1960s, that come close to dealing with race or
> with having racial or racialized components or figures in them, are going
> to be suspect on these grounds. This is going to be a case-by-case search
> and decision-making process, and there will be many close calls, though all
> movies should have a copy at a central museum of film. I am for keeping
> "Casablanca" in regular use, as I deem its racist components too minor to
> cause such a good and classic film to disappear from public availability.
> But that sort of judgment must be applied to many films; some will be put
> away, most (I suspect) will survive. WH
>
> >
>
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[Marxism] Birth of a Nation

[Glenn Kissack via Marxism]

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> These are complex questions. When James Agee was the film critic for the NY 
> Times, he wrote a tribute to D.W. Griffith when he died in 1947. His "Birth 
> of a Nation" was much worse than "Gone With the Wind". Agee understood what a 
> great director Griffith was (so was Leni Riefenstahl), but was far too 
> lenient to him politically.

I own a copy of The Birth of a Nation and have watched it. I don’t recognize 
the film Agee is describing. A friend of mine who teaches Film Studies sent me 
this a while ago.

This is how one film reviewer described the film:

"The film begins with scenes of contented black slaves labouring happily in 
cotton fields, watched over by benevolent masters. After the ensuing war, the 
state government is taken over by blacks who swarm the chamber like monkeys in 
a zoo -- boozing, munching on chicken legs and playing with their feet. 
Encouraged by evil Northerners, the blacks then go on a rampage -- a white 
woman, pursued by a slavering black man, throws herself off a cliff; in the 
town the whites cower indoors, while in the country a gang of black soldiers, 
with rape in mind, beseige a farmhouse. At this point, the Klan gather and ride 
to the rescue of the beleaguered whites."

Griffith's film was a conscious paean to the KKK, which he greatly admired. The 
KKK in turn used the film as a recruiting tool. The Birth of a Natiion is based 
on racist novel by Thomas Dixon, The Clanman: An Historical Romance of the Ku 
Klux Klan, which Dixon dedicated to his uncle, a grand titan of the KKK.  D.W. 
Griffith came from a family of Southern plantation and slave owners in 
Kentucky, who fought for the Confederacy. Griffith's father, Jacob Griffith, 
was a colonel in the Confederate Army and later an active member of the Klan 
and a participant in the infamous KKK "night rides" during which they murdered 
and intimidated blacks and white supporters.

It should be remembered that The Birth of a Nation was received with open arms 
by leading members of the ruling class of the day. President Woodrow Wilson 
requested that the film be shown in the White House, with Wilson and his 
cabinet (and their wives) in attendance. Thomas Dixon, the author of the racist 
novel upon which the film is based, presented the film, and the following night 
also showed it to Supreme Court Chief Justice Edward White (who proudly told 
Dixon that he had been a KKK firebrand in New Orleans) and to members of 
Congress at the luxurious Raleigh Hotel in Washington, D.Ç. Wilson famously 
declared of the film, "It's like writing history with lightning." 

It's important also to remember that the view of history that Griffith and 
Dixon presented -- especially that of Reconstruction -- was standard history at 
the time the film was released. But they were interested in more than just 
history. They aggressively presented a racist view of the inferiority of 
blacks. Dixon wrote that "no amount of education of any kind, industrial, 
classical or religious, can make a negro a white man or bridge the chasm of the 
centuries which separate him from the white man in the evolution of human 
civilization." The Birth of a Nation was one of the more effective tools in 
winning whites to see blacks as inferior and deserving of continued oppression.

A good source is Bruce M. Tyler, "Racist Art and Politics at the Turn of the 
Century," the Journal of Ethnic Studies 15:4 (Winter 1988)


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Re: [Marxism] Gone With the Wind

[wytheholt--- via Marxism]

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Most movies made before the 1960s, that come close to dealing with race or with 
having racial or racialized components or figures in them, are going to be 
suspect on these grounds. This is going to be a case-by-case search and 
decision-making process, and there will be many close calls, though all movies 
should have a copy at a central museum of film. I am for keeping "Casablanca" 
in regular use, as I deem its racist components too minor to cause such a good 
and classic film to disappear from public availability. But that sort of 
judgment must be applied to many films; some will be put away, most (I suspect) 
will survive. WH

> On June 26, 2020 at 5:40 PM John A Imani via Marxism 
> mailto:marxism@lists.csbs.utah.edu > wrote:
> 
> 
>  POSTING RULES & NOTES 
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> *
> 
> Did not assert that. Museumed is what needs to be done with these, as I
> wrote, with a critique. As, I believe, that TCM is going to do exactly
> that with GWTW, i.e. shown with a socio-political analysis preceding and
> following the film. And TCM is such a museum open to all.
> 
> What about "Casablanca" with Dooley Wilson's 'Sam' and Ingrid Bergman's
> 'Elsa' asking 'Renault', the Vichy official, about the "boy" playing the
> piano? With its magnificent music accompanying. Not only "As Time Goes
> By" but with the stirring anti-fascist rendition of "La Marseillaise"
> conjured up by the courage of 'Victor Laszlo'? Yet another remarkable and
> classic piece of film only to be available "to be studied in film 
> classes"?
> 
> Etc., etc., etc.
> 
> JAI
> 
> On Fri, Jun 26, 2020 at 2:10 PM A.R. G  mailto:amithrgu...@gmail.com > wrote:
> 
> > > Even Birth of a Nation, to my understanding, was treated as a 
> cinematic
> > accomplishment. Maybe both should be studied in film classes but 
> > they need
> > not be treated as normal/socially acceptable films to be screened 
> > just for
> > entertainment.
> > 
> > > 
> > > On Fri, Jun 26, 2020, 12:34 PM John A Imani via Marxism <
> > marxism@lists.csbs.utah.edu mailto:marxism@lists.csbs.utah.edu > 
> > wrote:
> > 
> > > >>
> >> I am black. 72 years old. An anarcho-Marxian. And, as an adult, have
> >> logged 50+ years of participation in many many movements always to be 
> found
> >> in the same place: on the front line. I make those statements because I
> >> have never sought nor accepted the privileges of race, age, my grasp of
> >> politico-economics and/or the braggadocio resulting from "Jaws"-like
> >> comparisons of battle scars.
> >>
> >> And because of these experiences and this disposition I invite 
> criticism
> >> as I have never feared being wrong only of being incorrect. And, on 
> this,
> >> especially at this special time.
> >>
> >> "GWTW" is beautifully filmed, finely acted, magnificently scored, if
> >> historically inaccurate, depiction of the ante-, inter- and post-bellum
> >> South. It is a work of art even if also an agent of racism. It--like
> >> statues and monuments klan outfittings and speeches--belongs with those
> >> brethren in a museum. And alongside these mementos explanations and
> >> criticisms giving these their proper contexts. In this case that 
> museum's
> >> name is TCM.
> >>
> >> I recently saw for the first time Hattie McDaniels' acceptance speech
> >>  for winning the Acad 
> Award
> >> for Best Supporting Actor. It was as magnificent as it was short,
> >> emotional and uplifting. It was as grand as her portrayal of 'Mammy' in
> >> the film wherein I have never seen an actor so embody the conscious as 
> well
> >> as the subconsciousness of the character portrayed. Do we burn that 
> film
> >> as some have burned books?
> >>
> >> JAI
> >> _
> >> Full posting guidelines at: http://www.marxmail.org/sub.htm
> >> Set your options at:
> >> https://lists.csbs.utah.edu/options/marxism/amithrgupta%40gmail.com
> >>
> >
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[Marxism] From a journal kept by Hans Christian Heg

[Louis Proyect via Marxism]

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In Madison, Wisconsin protestors tore down the statue of Col. Hans 
Christian Heg and threw it into Lake Monona. Heg was a Norwegian migrant 
who fought for the Union in the Civil War. Rahul Mahajan, a subscriber 
to the Marxism list that preceded Marxmail 25 years ago and a U. of 
Wisconsin professor, posted this excerpt from Heg's journal on FB:


DEAR WIFE

We came here yesterday morning on board the steamboat Continental, and 
landed our men at this place, got them all into good comfortable 
quarters, and I am now in command of this place. I live in the house 
occupied and owned by Bird. I have him now in my charge as a prisoner of 
War. Also 3 of his sons. Besides our own Regiment, there is one Illinois 
Regiment, the 22d and one Artillery Company with a few fragments of 
companies that are left here sick. I have probably in all about twenty 
five Hundred men under my command.


The boys are feeling good and enjoying themselves first rate. Mathews is 
sick to day. Dr Himoe did not leave Madison till Monday and came here 
today. Ole and Nanna lives upstairs in this house, and they keep house 
for me.


I have got me a negro that does all my hard work. He is about 16 years 
old, says his master died in St Louis some time ago as prisoner. He used 
to live on a farm up in Missouri, he seems to be a good Nigger. I got 
him a pair of pants and he struts around as big as a Monkey. I find that 
I have a great deal to do — more than I had at Madison. Col. Jones took 
command of the Regiment, but to day the papers came mustering him out of 
the services, and I told Reese12 to take charge. Jones has come back 
again to night, and still claims to be Lt. Col. To morrow I am going 
over to Cairo to see Genl. Pain and have the matter decided.


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Re: [Marxism] Gone With the Wind

[John A Imani via Marxism]

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Did not assert that.  Museumed is what needs to be done with these, as I
wrote, with a critique.  As, I believe, that TCM is going to do exactly
that with GWTW, i.e. shown with a socio-political analysis preceding and
following the film.  And TCM is such a museum open to all.

What about "Casablanca" with Dooley Wilson's 'Sam' and Ingrid Bergman's
'Elsa' asking 'Renault', the Vichy official, about the "boy" playing the
piano?  With its magnificent music accompanying.  Not only "As Time Goes
By" but with the stirring anti-fascist rendition of "La Marseillaise"
conjured up by the courage of 'Victor Laszlo'?  Yet another remarkable and
classic piece of film only to be available "to be studied in film classes"?

Etc., etc., etc.

JAI

On Fri, Jun 26, 2020 at 2:10 PM A.R. G  wrote:

> Even Birth of a Nation, to my understanding, was treated as a cinematic
> accomplishment. Maybe both should be studied in film classes but they need
> not be treated as normal/socially acceptable films to be screened just for
> entertainment.
>
> On Fri, Jun 26, 2020, 12:34 PM John A Imani via Marxism <
> marxism@lists.csbs.utah.edu> wrote:
>
>>
>> I am black.  72 years old.  An anarcho-Marxian.  And, as an adult, have
>> logged 50+ years of participation in many many movements always to be found
>> in the same place: on the front line.  I make those statements because I
>> have never sought nor accepted the privileges of race, age, my grasp of
>> politico-economics and/or the braggadocio resulting from  "Jaws"-like
>> comparisons of battle scars.
>>
>> And because of these experiences and this disposition I invite criticism
>> as I have never feared being wrong only of being incorrect.  And, on this,
>> especially at this special time.
>>
>> "GWTW" is beautifully filmed, finely acted, magnificently scored, if
>> historically inaccurate, depiction of the ante-, inter- and post-bellum
>> South.  It is a work of art even if also an agent of racism.  It--like
>> statues and monuments klan outfittings and speeches--belongs with those
>> brethren in a museum.  And alongside these mementos explanations and
>> criticisms giving these their proper contexts.  In this case that museum's
>> name is TCM.
>>
>> I recently saw for the first time Hattie McDaniels' acceptance speech
>>  for winning the Acad Award
>> for Best Supporting Actor.  It was as magnificent as it was short,
>> emotional and uplifting.  It was as grand as her portrayal of 'Mammy' in
>> the film wherein I have never seen an actor so embody the conscious as well
>> as the subconsciousness of the character portrayed.  Do we burn that film
>> as some have burned books?
>>
>> JAI
>> _
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Re: [Marxism] Gone With the Wind

[A.R. G via Marxism]

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Even Birth of a Nation, to my understanding, was treated as a cinematic
accomplishment. Maybe both should be studied in film classes but they need
not be treated as normal/socially acceptable films to be screened just for
entertainment.

On Fri, Jun 26, 2020, 12:34 PM John A Imani via Marxism <
marxism@lists.csbs.utah.edu> wrote:

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>
> Comrades,
>
> I am black.  72 years old.  An anarcho-Marxian.  And, as an adult, have
> logged 50+ years of participation in many many movements always to be found
> in the same place: on the front line.  I make those statements because I
> have never sought nor accepted the privileges of race, age, my grasp of
> politico-economics and/or the braggadocio resulting from  "Jaws"-like
> comparisons of battle scars.
>
> And because of these experiences and this disposition I invite criticism as
> I have never feared being wrong only of being incorrect.  And, on this,
> especially at this special time.
>
> "GWTW" is beautifully filmed, finely acted, magnificently scored, if
> historically inaccurate, depiction of the ante-, inter- and post-bellum
> South.  It is a work of art even if also an agent of racism.  It--like
> statues and monuments klan outfittings and speeches--belongs with those
> brethren in a museum.  And alongside these mementos explanations and
> criticisms giving these their proper contexts.  In this case that museum's
> name is TCM.
>
> I recently saw for the first time Hattie McDaniels' acceptance speech
>  for winning the Acad Award
> for Best Supporting Actor.  It was as magnificent as it was short,
> emotional and uplifting.  It was as grand as her portrayal of 'Mammy' in
> the film wherein I have never seen an actor so embody the conscious as well
> as the subconsciousness of the character portrayed.  Do we burn that film
> as some have burned books?
>
> JAI
> _
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[Marxism] From GWTW to Birth of a Nation

[Michael Meeropol via Marxism]

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First of all, James Agee must have been crazy to write those words.   Even
ignoring the historical inaccuracies about the "misbehavior" of the
Reconstruction governments (including the portrayal of the Lt. Gov. of
South Carolina) the scene where the bug-eyed black guy (a white actor in
blackface because Griffith couldn't risk having a REAL black man attempt to
ravish Lillian Gish) causes the "sweet little white girl" to commit suicide
rather than be dishonored by him is an incredible atrocity feeding the
racist images of blacks that pervaded white society in "Progressive Era"
America. But there's much more --- the KKK with its hoods is the HERO of
the film --- how is that "pro-Negro"?   the whole thrust of the film with
the title BIrth of a Nation starts with the Civil War -- making sure we
were a united nation -- and the redemption by white southerners from the
horrors of black Reconstruction (as stereotyped in the film) with the final
scene the birth of the (WHITE) nation when the KKK makes sure that all the
blacks coming out of their shacks on election day (ELECTION DAY!!) just see
the dangerous white hooded guys and go back into their shacks -- KNOWING
THEIR PLACE. --

I taught a course on Comparative Race Relations (comparing the US to South
AFrica) for a bunch of years (first time about 25 years ago).  First thing
we did to teach the students how BAD things were for African Americans in
the "Progressive Era" was to have them watch the SECOND half of BIRTH OF A
NATION -- But we made sure to contextualize it -- identify it as
unabashedly racist and ask the students to imagine that this was the IMAGE
that most whites --- not necessarilly white southerners but white
northerners who knew virtually no blacks --- had.

I think that's how one uses racist images and literature -- you put it in
context.   Even then, it's tough.  We had a class on Minstrelcey and some
of the cartoons that went with the reading were so offensive the black
students in the class were really wounded --- (they told us after) --- we
had tried to warn students in advance but there's no question that this was
a tough one ... I think we did okay with Birth of a Nation (none of the
black students complained about showing it while being quite forceful about
the images from minstrel shows).

>
>
>
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Re: [Marxism] Gone With the Wind

[Louis Proyect via Marxism]

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On 6/26/20 3:54 PM, Louis Proyect via Marxism wrote:


These are complex questions. When James Agee was the film critic for the 
NY Times,


That was The Nation, not the NY Times.

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[Marxism] Gone With the Wind

[Ken Hiebert via Marxism]

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Decades ago I saw a one-person performance of something I recall as Scarlett 
Fever.  The performer grew up in Georgia and gave us a lesson on racism in that 
state.  He suggested that the crowd that turned out to the premiere of Gone 
With the Wind was bigger than the population of Atlanta itself.  I’m not sure 
he was right, but the massive crowd meant that every human being living in 
Atlanta was there or, as he said, people flooded into Atlanta.  He said it was 
one of the biggest celebrations of white supremacy since the Civil War.  See 
the account below.
ken h

http://www.aboutnorthgeorgia.com/ang/Atlanta_Premiere_of_Gone_With_The_Wind 


Noticeably absent were Hattie McDaniel (Mammy) and Butterfly McQueen (Prissy), 
black actresses with major roles who were not welcome in the white side of the 
segregated Atlanta society. Noticeably present was a young Martin Luther King, 
Jr., who sang in a "negro boys choir" from his father's church, Ebenezer 
Baptist.

* * * * * *

Spotlights swept the sky with huge beacons of light. Peachtree at Pryor Street 
was closed to traffic. An enormous crowd, numbering 300,000 people according to 
the Atlanta Constitution, lined the streets on this ice-cold night in Atlanta. 
Car after car paused at Lowe's Grand Theater as the stars came out. Wild cheers 
greeted each celebrity as they braved the cold to participate in a brief radio 
interview.

A rousing ovation greeted a group Confederate veterans who were guests of honor.
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Re: [Marxism] Gone With the Wind

[Louis Proyect via Marxism]

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On 6/26/20 3:12 PM, John A Imani via Marxism wrote:

I recently saw for the first time Hattie McDaniels' acceptance speech
  for winning the Acad Award
for Best Supporting Actor.  It was as magnificent as it was short,
emotional and uplifting.  It was as grand as her portrayal of 'Mammy' in
the film wherein I have never seen an actor so embody the conscious as well
as the subconsciousness of the character portrayed.  Do we burn that film
as some have burned books?

JAI


These are complex questions. When James Agee was the film critic for the 
NY Times, he wrote a tribute to D.W. Griffith when he died in 1947. His 
"Birth of a Nation" was much worse than "Gone With the Wind". Agee 
understood what a great director Griffith was (so was Lenin 
Riefenstahl), but was far too lenient to him politically.


James Agee:
Today, The Birth of it Nation is boycotted or shown piecemeal; too many 
more or less well-meaning people still accuse Griffith of having made it 
an anti-Negro movie. At best, this is nonsense, and at worst, it is 
vicious nonsense. Even if it were an anti-Negro movie, a work of such 
quality should be shown, and shown whole. But the accusation is unjust. 
Griffith went to almost preposterous lengths to be fair to the Negroes 
as he understood them, and he understood them as a good type of 
Southerner does. I don’t entirely agree with him; nor can I be sure that 
the film wouldn’t cause trouble and misunderstanding, especially as 
advertised and exacerbated by contemporary abolitionists; but Griffith’s 
absolute desire to be fair, and understandable, is written all over the 
picture; so are degrees of understanding, honesty, and compassion far 
beyond the capacity of his accusers. So, of course, are the salient 
facts of the so-called Reconstruction years.



https://www.thenation.com/article/archive/dw-griffith-remembered/

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Re: [Marxism] The demand for reparation from US banks for a long racist tradition

[Louis Proyect via Marxism]

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On 6/26/20 3:23 PM, Dennis Brasky via Marxism wrote:


White-owned banks refused to serve black people who left the South escaping
brutality and seeking opportunity during the Great Migration of the early
and mid-20th century. Bank policies and practices contributed to
segregating every major city and denying black families the two most
important toeholds to the middle class — ownership of homes and of
businesses.

https://www.nytimes.com/2020/06/26/opinion/banks-reparations-racism-inequality.html


Don't forget that Sunkara and Reed are opposed to reparations.

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[Marxism] The demand for reparation from US banks for a long racist tradition

[Dennis Brasky via Marxism]

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clip - Banks have been underwriters of American racism — no industry has
played a bigger or more enduring role in black oppression, exploitation and
exclusion. Banks financed the slave trade and in some cases “repossessed”
humans in bondage.

White-owned banks refused to serve black people who left the South escaping
brutality and seeking opportunity during the Great Migration of the early
and mid-20th century. Bank policies and practices contributed to
segregating every major city and denying black families the two most
important toeholds to the middle class — ownership of homes and of
businesses.

https://www.nytimes.com/2020/06/26/opinion/banks-reparations-racism-inequality.html
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[Marxism] Gone With the Wind

[John A Imani via Marxism]

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Comrades,

I am black.  72 years old.  An anarcho-Marxian.  And, as an adult, have
logged 50+ years of participation in many many movements always to be found
in the same place: on the front line.  I make those statements because I
have never sought nor accepted the privileges of race, age, my grasp of
politico-economics and/or the braggadocio resulting from  "Jaws"-like
comparisons of battle scars.

And because of these experiences and this disposition I invite criticism as
I have never feared being wrong only of being incorrect.  And, on this,
especially at this special time.

"GWTW" is beautifully filmed, finely acted, magnificently scored, if
historically inaccurate, depiction of the ante-, inter- and post-bellum
South.  It is a work of art even if also an agent of racism.  It--like
statues and monuments klan outfittings and speeches--belongs with those
brethren in a museum.  And alongside these mementos explanations and
criticisms giving these their proper contexts.  In this case that museum's
name is TCM.

I recently saw for the first time Hattie McDaniels' acceptance speech
 for winning the Acad Award
for Best Supporting Actor.  It was as magnificent as it was short,
emotional and uplifting.  It was as grand as her portrayal of 'Mammy' in
the film wherein I have never seen an actor so embody the conscious as well
as the subconsciousness of the character portrayed.  Do we burn that film
as some have burned books?

JAI
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[Marxism] NYTimes.com: How Richard Pryor Changed the Way Comedy Sees Police Brutality

[Dennis Brasky via Marxism]

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>
>
>> His best-selling albums reflected a lived-in experience that comedy,
>> going back to silent films, had often taken up and just as often dismissed.
>>
>>
>> https://www.nytimes.com/2020/06/17/arts/richard-pryor-police-brutality.html?smid=em-share
>>
>>
>>
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[Marxism] Opinion: Want to tear down insidious monuments to racism and segregation? Bulldoze L.A. freeways

[Dennis Brasky via Marxism]

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The aftermath of George Floyd’s death while in police custody has created a
moment for radical truth-telling. So here’s some ugly truth about the city
of Los Angeles: Our freeway system is one of the most noxious monuments to
racism and segregation in the country.

Most Angelenos don’t think about it as we spew carbon monoxide across the
city on our way from Point A to Point B, but our toxic exhaust fumes feed
into a pot of racism that’s been stewing for nearly a century. To
understand exactly how that works, you have to know what things were like
here before freeways came to dominate L.A.’s landscape.

https://www.latimes.com/opinion/story/2020-06-24/bulldoze-la-freeways-racism-monument
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[Marxism] Paul Buhle on toppling of progressive statues in Madison

[Louis Proyect via Marxism]

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(I would only add that Hawaiian shirts are worn by boogaloo fascists.)

The attack on two important statues around the Square in Madison is part 
of a regressive impulse of mass violence and police unwillingness to 
stand by in ways/places that would avoid violence.


The two statues, nearly across from each other with the Capitol in 
between, marked the route of marchers during the Wisconsin Uprising of 
2011-12, sometimes as many as 150,000 of us. Heg was of course a  noted 
Abolitionist, prison reformer and Union army officer. Lady Liberty meant 
a lot more than the women's vote. (A fund is being created for LL to be 
restored, the fund for the Heg statue has not yet begun.)


An African American demonstrator if not a presumed leader said to the 
press that Wisconsin pretends to be progressive when it is truly racist, 
so this act was strategic. Which is foolish.


The Madison police, drastically reformed in the 1970s, have fallen back, 
if not back to the John Birch Society days of the 1950s-60s. Then 
provocateurs were common and overtime pay was the reward. But today's 
cops felt unsupported by the mayor and city council in a recent fracas 
and most definitely stood back from events unfolding.


Meanwhile, a young woman of color, Madison native, in EMT training, was 
assaulted overnight, driving around the Capitol, sprayed with lighter 
fluid then lit, in her car, but managing to get help. The perps wore 
Hawaiian shirts and she said they had the look for Wis frat boys, which 
sounds about right.


This is Madison at its best. She said she hoped these young jerks would 
learn something, and she urged people to support BLM.




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Re: [Marxism] If You Want to Let Freedom Ring, Hammer on Economic Injustice

[Alan Ginsberg via Marxism]

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Louis Proyect wrote: This must be a first. A NYT op-ed that cites James
Boggs, a black Marxist auto worker.

I don't know about New York Times op-eds citing James Boggs. But, on Sept.
23, 1972, the Times published "Beyond Rebellion", an op-ed _by_ James Boggs.

DETROIT—The black movement has gone through a number of stages in the last
15 years. First, there was the civil rights movement which reached a
critical stage with the Birmingham confrontations of 1963, and which fi
nally collapsed with the assassination of the Rev. Martin Luther King Jr.
in 1968. Then, there has been the black power movement which began to rise
with Malcolm in 1963–4; and which mushroomed into a national movement
following the Watts uprising of 1965 and the Newark and Detroit rebellions
of 1967.

Today we are still in the stage of trying to clarify what black power
means. At the present time most “movement” people are still in the purely
nationalist stage of black power. That is to say, most of those who call
themselves black power advocates are trying to find a solution for blacks
separate from a solution for the contradictions of the entire United
States. Actually this is impossible. Therefore, many black nationalists are
going off into all kinds of fantasies and dreams about what black power
means — like heading for Africa, or isolating themselves in a few states,
or whites just vanishing into thin air and leaving this country to blacks.

We have yet to come face to face with our contradiction that just as it has
been on the backs of the black masses that this country has advanced
economically, so it is only under the revolutionary political leadership of
black people that this country will be able to get out of its
contradictions. We are hesitant to face up to this truth because it is too
challenging. We have the fear which always haunts the revolutionary social
forces, the fear of not knowing whether they can win, the lack of
confidence in themselves and in their ability to create a better society.

This is not a fear that is unique to blacks. All revolutionary social
forces have this fear as they come face to face with their real conditions
of life and the growing realization that they must assume the revolutionary
responsibility of changing the whole society, so that their lives as well,
as those of others in the society can be funda mentally changed. Because
the task is so great, it becomes much easier to evade the tremendous
challenge and responsibility for disciplined scientific thinking and
disciplined political organization which are necessary to lead
revolutionary struggle.

Confronted with this political choice, many of those who have been
frustrated by the failure of the civil rights movement and the succeeding
rebellions to solve all our problems have begun to put forward all kinds of
fantastic ideas as to what we should now do. Some say we should separate
and return to Africa. Some say we should separate but should remain here
and try to build a new black capitalist economy from scratch inside the
most advanced and powerful capitalist economy in the world! Some say we
should join the Pan‐African movement of the African peoples in Africa and
build a military base in Africa from which we will eventually be able to
attack the U.S.A.

Others say we should just struggle for survival from day to day, doing
whatever has to be done for survival. And finally, others have just given
up struggling for anything at all, and have turned to astrology or drugs or
religion in the old‐time belief that some metaphysical force out there in
the twilight zone will rescue us from our dilemma.

We have to examine all these theories realistically and scientifically
—whatever their origin and whosoever is proposing them—whether they are our
friends or our relatives; whether or not they are old comrades with whom we
have demonstrated and gone to jail in the past; whether or not we admire
them for their past deeds or for their charismatic personalities or because
they make us feel good when we hear them rapping against “the man.” All
these personal considerations are irrelevant measured against the real
miseries of our present conditions in this country and the real future
which we must create for ourselves and our posterity in this country. We
live in this country, our labors have laid the foundation for the growth of
this country. Our contradictions are rooted in this country's unique
development and can only be resolved by struggles under our leadership to
eliminate the roots of these contradictions in this country.

As we look at our communities, looking more and more each day like
wastelands and fortresses, as we look at 

[Marxism] If You Want to Let Freedom Ring, Hammer on Economic Injustice

[Louis Proyect via Marxism]

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(This must be a first. A NYT op-ed that cites James Boggs, a black 
Marxist auto worker.)


NY Times Op-Ed, June 26, 2020
If You Want to Let Freedom Ring, Hammer on Economic Injustice
There’s far more work to do than changing the way we police.
By Jamelle Bouie

Since it emerged seven years ago in response to the acquittal of George 
Zimmerman in the shooting of Trayvon Martin, the Black Lives Matter 
movement has produced a sea change in attitudes, politics and policy.


In 2016, 43 percent of Americans supported Black Lives Matter and its 
claims about the criminal justice system; now, it’s up to 67 percent, 
with 60 percent support among white Americans, compared with 40 percent 
four years ago. Whereas Democratic politicians once stumbled over the 
issue, now even Republicans are falling over themselves to say that 
“black lives matter.” And where the policy conversation was formerly 
focused on body cameras and chokehold bans, now mainstream outlets are 
debating and taking seriously calls to demilitarize and defund police 
departments or to abolish them outright.


But the Black Lives Matter platform isn’t just about criminal justice. 
From the start, activists have articulated a broad, inclusive vision 
for the entire country. This, in fact, has been true of each of the 
nation’s major movements for racial equality. Among black Americans and 
their Radical Republican allies, Reconstruction — which was still 
ongoing as of 150 years ago — was as much a fight to fundamentally 
reorder Southern economic life as it was a struggle for political 
inclusion. The struggle against Jim Crow, likewise, was also a struggle 
for economic equality and the transformation of society.


“The black revolution is much more than a struggle for the rights of 
Negroes,” the Rev. Martin Luther King Jr. wrote in “A Testament of Hope”:


It is forcing America to face all its interrelated flaws — racism, 
poverty, militarism and materialism. It is exposing evils that are 
rooted deeply in the whole structure of our society. It reveals systemic 
rather than superficial flaws and suggests that radical reconstruction 
of society itself is the real issue to be faced.


Our society was built on the racial segmentation of personhood. Some 
people were full humans, guaranteed non-enslavement, secured from 
expropriation and given the protection of law, and some people — blacks, 
Natives and other nonwhites — were not. That unequal distribution of 
personhood was an economic reality as well. It shaped your access to 
employment and capital; determined whether you would be doomed to the 
margins of labor or given access to its elevated ranks; marked who might 
share in the bounty of capitalist production and who would most likely 
be cast out as disposable.


In our society, in other words, the fight for equal personhood can’t 
help but also be a struggle for economic justice. And what we see, past 
and present, is how that fight against the privileges and distinctions 
of race can also lay the foundations for a broader assault on the 
privileges and distinctions of class.


As soon as the Civil War came to a close, it was clear there could be no 
actual freedom for the formerly enslaved without a fundamental 
transformation of economic relations. “We must see that the freedman are 
established on the soil, and that they may become proprietors,” Charles 
Sumner, the Radical Republican senator from Massachusetts, wrote in 
March 1865. “The great plantations, which have been so many nurseries of 
the rebellion, must be broken up, and the freedmen must have the 
pieces.” Likewise, said the Radical Republican congressman Thaddeus 
Stevens in September 1865, “The whole fabric of Southern society must be 
changed, and never can it be done if this opportunity is lost.” The 
foundations of their institutions, he continued, “must be broken up and 
re-laid, or all of our blood and treasure have been spent in vain.”


Presidential Reconstruction under Andrew Johnson, a Democrat, would 
immediately undermine any means to this end, as he restored defeated 
Confederates to citizenship and gave them free rein to impose laws, like 
the Black Codes, which sought to reestablish the economic and social 
conditions of slavery. But Republicans in Congress were eventually able 
to wrest control of Reconstruction from the administration, and just as 
importantly, black Americans were actively taking steps to secure their 
political freedom against white reactionary opposition. Working through 
the Union Army, postwar Union Leagues and the Republican Party, freed 
and free blacks worked toward a common goal of political equality. And 
once 

[Marxism] The Last Tree, Madagasikara | Louis Proyect: The Unrepentant Marxist

[Louis Proyect via Marxism]

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Two new films debut as Virtual Cinema today. Both address the hopes and 
the suffering of Africans, both in diaspora and on the continent.


“The Last Tree” is a coming-of-age story about Femi, a Nigerian boy 
growing up in a British housing estate. Despite the word “estate”, these 
buildings have much in common with housing projects in the USA and 
Paris’s banlieues. Grenfell Tower, where 72 people died in a fire as a 
result of negligence, was part of a housing estate. Coming-of-age films 
are not my favorite genre. “The Last Tree” soars above any I have seen 
since the sixties and is sure to be one of my picks for best films of 2020.


“Madagasikara,” the Malagasy name for Madagascar, documents the struggle 
for survival in an island nation just 250 miles off the east coast of 
Africa. This is a country of 26 million people with a per capita GDP of 
$471 per year, about half of Haiti’s. Although most people are aware of 
how Haiti became so poor, very little is known about Madagascar’s steep 
decline. Real income is only a third of what it was fifty years ago and 
imperialism is to blame.


full: https://louisproyect.org/2020/06/26/the-last-tree-madagasikara/

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Re: [Marxism] Obamacare Must 'Fall, ' Trump Administration Tells Supreme Court : NPR

[Michael Meeropol via Marxism]

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The response of the Supreme Court will be very revealing --- By their
previous "arguments" even Roberts should now be a vote to declare the act
unconstitutional because the ONLY basis for its constitutionality according
to Roberts (who was the swing vote last time -- Kennedy siding with the
right wing shits) was the ability of the US government to tax.

Unless Roberts can figure out a way to wiggle out of his previous written
opinion, it will fall to Gorsuch or Kavanaugh to determine the
"constitutionality" of the ACA ---

Given their predilections I would guess that as a matter of law (as they
see it) they have to vote with Thomas and Alito.

SOOO --- if Roberts decides that for political reasons, the ACA
must be upheld  it will be a perfect example of what Mr. Dooley said,
"The Supreme Court listens to the illection [sic!] returns!"

FROM A PRACTICAL POINT OF VIEW, the Court may just DELAY ruling until after
the election --- in the light of the disruption that such a change would
entail --- they might even figure out a way to kick the can all the way
till a vaccine for COVID-19 becomes available ...
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[Marxism] Obamacare Must 'Fall, ' Trump Administration Tells Supreme Court : NPR

[Louis Proyect via Marxism]

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It's entirely possible that the Trump gang has figured out that he won't 
have a second term. So, that being the case, they are willing to push 
for a measure that would make that even more of a certainty. If they 
lose the White House, they might as well dismantle Obamacare on their 
way out.


https://www.npr.org/2020/06/26/883819835/obamacare-must-fall-trump-administration-tells-supreme-court

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[Marxism] US Drinking Beer, Producing Cars and Military Tech at the Expense of Mexican lives - CounterPunch.org

[Louis Proyect via Marxism]

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Fridges in Mexico are empty of beer because production has ceased as the 
product isn’t considered essential. However, US company Constellation 
Brands is defying local orders and forcing Mexican workers to continuing 
producing its Corona and Modelo beers for export to US consumers.


The company is just one of thousands of US-owned brands operating on the 
Mexican side of the border so they can plunder Mexican resources and 
take advantage of extremely low Mexican and migrant wages, while sending 
all the goods north.


Together these companies form vast factory-scapes of cities where they 
hog the water and leave locals without. The operations of these 
companies take on an even more sinister tone in a country where deaths 
due to the pandemic are only continuing to increase amid poverty and 
insufficient healthcare.


https://www.counterpunch.org/2020/06/26/us-drinking-beer-producing-cars-and-military-tech-at-the-expense-of-mexican-lives/

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[Marxism] The Second Coronavirus Surge Is Here - The Atlantic

[Louis Proyect via Marxism]

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https://www.theatlantic.com/science/archive/2020/06/second-coronavirus-surge-here/613522/

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[Marxism] John Brown's Body Today - CounterPunch.org

[Louis Proyect via Marxism]

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By Paul Buhle.

https://www.counterpunch.org/2020/06/26/john-browns-body-today/

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[Marxism] U.S. Attorney Geoffrey Berman’s Ouster: the Untold Story - CounterPunch.org

[Louis Proyect via Marxism]

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Great investigative reporting.

https://www.counterpunch.org/2020/06/26/u-s-attorney-geoffrey-bermans-ouster-the-untold-story/

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[Marxism] CORONA VIRUS STATS – 6/25

[David Berger via Marxism]

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CORONA

 

WORLD

 HIGH (JUNE 24) NEW CASES: 182,996*

HIGH (JUNE 21) DEATHS: 9,796

* TODAY

 

(JUNE 21) NEW CASES: 182,996 –DEATHS: 4,742

(JUNE 22) NEW CASES: 152,323 –DEATHS: 4,025 

(JUNE 23) NEW CASES: 133,328 –DEATHS: 3,847

(JUNE 24) NEW CASES: 135,487 –DEATHS: 4,210

 INDIA

 HIGH (JUNE 24) NEW CASES: 15,968*

HIGH (JUNE 17) DEATHS: 2,003

* TODAY

 

(JUNE 21) NEW CASES: 15,413 – DEATHS:306

(JUNE 22) NEW CASES: 14,821 – DEATHS:445 

(JUNE 23) NEW CASES: 14,933 – DEATHS:312

(JUNE 24) NEW CASES: 15,968 – DEATHS:465

 BRAZIL

 HIGH (JUNE 19) NEW CASES: 54,771

HIGH () DEATHS: 

 (JUNE 21) NEW CASES: 17,459 – DEATHS:

(JUNE 22) NEW CASES:  21,432 – DEATHS:  

(JUNE 23) NEW CASES:  39,436 – DEATHS: 

(JUNE 24) NEW CASES:  42,725 – DEATHS: 

 NOT YET REPORTED

 USA

 HIGH (JUNE 24) NEW CASES: 37,945*

HIGH (MAY 6) DEATHS: 2,701

* TODAY

 (JUNE 21) NEW CASES: 31,963 – DEATHS:550

(JUNE 22) NEW CASES: 33,315 – DEATHS:776 

(JUNE 23) NEW CASES: 33,315 – DEATHS:776

(JUNE 24) NEW CASES: 37,945 – DEATHS:688

 NEW YORK

 

HIGH (APRIL 14) NEW CASES: 11,575 

HIGH (MAY 5) DEATHS: 952 

 (JUNE 21) NEW CASES: 664 – DEATHS: 15

(JUNE 22) NEW CASES: 664 – DEATHS: 15

(JUNE 23) NEW CASES: 581 – DEATHS: 27

(JUNE 24) NEW CASES: 581 – DEATHS: 27

 FLORIDA 

 HIGH (JUNE 24) NEW CASES: 5,511

HIGH (APRIL 28) DEATHS: 83 

 

(JUNE 21) NEW CASES: 3,494 – DEATHS: 17

(JUNE 22) NEW CASES: 2,926 – DEATHS:12 

(JUNE 23) NEW CASES: 3,286 – DEATHS:65 

(JUNE 24) NEW CASES: 5,511 – DEATHS: 43

 TEXAS 

 HIGH (JUNE 24) NEW CASES: 5,511*

HIGH (MAY 14) DEATHS: 58 

* TODAY

 (JUNE 21) NEW CASES: 3,866 – DEATHS:17 

(JUNE 22) NEW CASES: 3,280 – DEATHS: 10

(JUNE 23) NEW CASES: 5,489 – DEATHS:28 

(JUNE 24) NEW CASES: 5,551 – DEATHS:29

 CALIFORNIA

 HIGH (JUNE 23) NEW CASES: 7,149*

HIGH (APRIL 22) DEATHS: 115 

* TODAY

 

(JUNE 21) NEW CASES: 4,230 – DEATHS:20    

(JUNE 22) NEW CASES: 5,019 – DEATHS:65

(JUNE 23) NEW CASES: 7,149 – DEATHS:52

(JUNE 24) NEW CASES: – DEATHS: 

 NOT YET REPORTED

 SOURCE:

 corona figures in usa

  
 
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[Marxism] Wendy’s Chairman and Top Owner Is Trump Donor, Fundraiser and Friend

[Louis Proyect via Marxism]

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https://truthout.org/articles/wendys-chairman-and-top-owner-is-trump-donor-fundraiser-and-friend/

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[Marxism] bellingcat - Crisis Actors As Defense Witnesses: Pulatov's Defense Strategy In The MH17 Trial - bellingcat

[Louis Proyect via Marxism]

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https://www.bellingcat.com/news/uk-and-europe/2020/06/25/crisis-actors-as-defense-witnesses-pulatovs-defense-strategy-in-the-mh17-trial/

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[Marxism] Tear them down? "White Jesus" statues have an Unsavory History in Aryan Racial Theory that also Influenced Nazi Theology

[Louis Proyect via Marxism]

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https://www.juancole.com/2020/06/unsavory-influenced-theology.html

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[Marxism] Is hell Christian? - Michael Robbins - Bookforum Magazine

[Louis Proyect via Marxism]

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The Eastern Orthodox theologian David Bentley Hart is bemused. Nowhere 
in Christian scripture, he writes in last year’s brief for universal 
salvation, That All Shall Be Saved, “is there any description of a 
kingdom of perpetual cruelty presided over by Satan, as though he were a 
kind of chthonian god.” Hart regards it as a historical tragedy that the 
early church evolved into an institution of secular power and social 
domination, too often reinforced by an elaborate mythology of perdition 
based on the scantest scriptural hints and metaphors. The fear of 
damnation can serve as a potent means of social control.


https://www.bookforum.com/print/2702/against-damnation-24038

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