Olivier Azam and Daniel Mermet: 'Howard Zinn, une histoire populaire américaine’ (2015)

Olivier Azam and Daniel Mermet: Howard Zinn, une histoire populaire américaine (2015). First part: Bread and Roses. I first caught this on Free Speech TV. It provides a good sampling, focusing in good part on the Robber Baron period and the impact of the First World War.

Howard Zinn (1922-2010) devoted much of his energy on consciousness raising, building up an appreciation of the history of people and clashes and changes often forgotten or -- like the eight hour work day -- taken for granted. His work is influential; and he was a sweet person.   

"Between 1900 and 1920, like Howard Zinn’s parents, more than 14 million immigrants arrived in the United States. They came fleeing poverty or war, racism or religious persecution. They dreamed of a promised land, of wealth, or simply of a better life. The New World opened its arms wide to the poor and huddled masses of the Old: its unwanted, its fugitives, and even a few utopians . . . After all, the rapidly expanding industries of the time required cheap labor, and immigrant workers - men, women and children - were easy to exploit. But the same period also saw the birth of organized labor, with its strikes and conflicts, and the appearance of great figures like Emma Goldman, Mother Jones, Eugene Debs and the Wobblies."  (Source here). 

Olivier Azam and Daniel Mermet: Howard Zinn, une histoire populaire américaine (2015). Zinn's A People's History of the United States was originally published in 1980.

Zinn Education Project: link here.

Les mutins de Pangée est une coopérative audiovisuelle et cinématographique de production, d’édition et de distribution (en salles, DVD, VOD). Here is a a link.

Today's Rune: Initiation.  

Francis Fukuyama: 'Identity: The Demand for Dignity and the Politics of Resentment' (2018)

Francis Fukuyama: Identity: The Demand for Dignity and the Politics of Resentment. New York: Farrar, Straus and Giroux, 2018.

On this centenary of the end of the First World War, Identity is relevant to an understanding of that conflict and today's world.

"The great struggles in American political history -- over slavery and segregation, workers' rights, women's equality -- were ultimately demands that the political system expand the circle of individuals it recognized as having equal rights." (p. 22)

With identity politics in the 21st century, however, "desire for equal recognition can easily slide . . . into a demand for recognition of the group's superiority" -- for example, among nations, tribes, religious sects and ethnic groups. (p. 22)  

"Individuals come to believe that they have a true or authentic identity hiding within themselves that is somehow at odds with the role they are assigned by their surrounding society. The modern concept of identity places a supreme value on authenticity . . . (p. [25])

The "Arab Spring" begins in Tunisia on December 17, 2010. (p. [42])

Various uprisings sparked by desire for dignity. (pp. 44-48). Scapegoating used by rulers to divide opposition. 

"The desire for the state to recognize one's basic dignity has been at the core of democratic movements since the French Revolution." (p. 49)

Gemeinschaft (village) to Gesellschaft (urban) demographic shift over time, especially since 1900. "The dislocation . . . laid the basis for an ideology of nationalism based on an intense nostalgia for an imagined past of strong community in which the divisions and confusions of a pluralist society did not exist." (p. 65)

Deterioration of "middle-class status may then explain the rise of populist nationalism in many parts of the world in the second decade of the twenty-first century." In the USA, "the working class, defined as people with a high school education and less, has not been doing well over the past generation." (p. 87)

". . . resentful citizens fearing loss of middle-class status point an accusatory finger upward to the elites . . . but also downward to the poor, whom they feel are undeserving and . . . unfairly favored." (p. 88).

"White nationalism has a long history in Europe, where it is called fascism." (p. 121) Ethno-nationalism, ethnic cleansing. Anti-immigrant sentiment is back on the rise due to refugee crises, especially since the Arab Spring, blaming the refugees rather than the causes. 

"National identity begins with a shared belief in the legitimacy of the country's political system, whether that system is democratic or not . . . [It] also extends into the realm of culture and values. . . what it takes to become a genuine member of the community." (p. 126). Diversity. Resilience. Resistance to complete homogenization. (p. 127) 

"National identities can be built around liberal and democratic political values, and the common experiences that provide connective tissue around which diverse communities can thrive." (p. 128)

"Citizenship is a two-way street: it endows citizens with rights that are protected by the state, but it also enjoins duties on them, above all, the duty of loyalty to the country's principles and laws." (p. 148)

Results of the American Civil War. XIII, XIV and XV Amendments. "Identity has to be related to substantive ideas such as constitutionalism, rule of law, and human equality." (p. 171)

A thoughtful book.

Today's Rune: Strength. 

Yi T'aejun, 'Dust and Other Stories' (2018), Part I

Yi T'aejun, Dust and Other Stories. Translated by Janet Poole. New York: Columbia University Press, 2018.

Fascinating glimpse into Korean life, bridging the period between Imperial Japanese dominance (1910-1945) and the Korean War (1950-1953). Publications by Yi T'aejun (1904-circa 1956) were banned in South Korea until 1988. 

Banned books are often the best ones to read, naturally.

From "The Broker's Office:" "Is this world only good to you if you have money?" (p. 58)

"When government officials buy, even country bumpkins notice something's up, don't they?" (p. 59)

From "A Tale of Rabbits:" "His library was not large, but Hyŏn could not help but feel awe whenever he leisurely perused his bookshelves. He could appreciate the saying, 'To see a thousand years at one glance.' Every day new books appear." (p. 88)

"The Hunt:" "At midnight they had a simple but tasty snack of pheasant and buckwheat with a cold radish soup that made their teeth tingle. and then they stayed up past two o'clock sharing stories of goblins that had appeared on midnight trips to eat noodles or go fishing, or on the way home from visiting girls in nearby villages." (p. 100)

"Evening Sun:" "A stone pagoda stood to the right-hand side as he came out of the station, which bore the contours of a Korean house. . . The cracked and crumbling pagoda was yellowed and bumpy, like the spine of some beast extracted from a layer of earth tens of thousands of years old rather than something made from stone. Surrounded by mountains and stretching out quietly, the streets seemed too fragmented for a town." (p. 109)

"'What kind of feeling could there be without fear?'" (p. 114) 

"'I try not to feel too alone. When you think about it, is there anyone who isn't alone?'" (p. 119)

"The scene evoked the same kind of eternal nihilism as the Five Burial Mounds. On closer inspection there were small hills, woods, twisting roads, winding streams, small villages in the folds of each mountain, rice paddies, and dry fields, and above them all floated the clouds, which cast shadows on the villages and the streams . . . but at a casual glance there was merely the green earth and the misty air, and nothing else." (p. 123)

"Although they stood up quickly, it was already dusk as they walked back down the path. Maehŏn accompanied her to the stations and sent his precious companion away in the dark on the evening train." (p. 125)

"Yi dynasty white porcelain . . . vessels from eternity that provide quiet comfort and refreshment and never exhaust." (p. 128)

Today's Rune: Partnership. 

Allen Ginsberg: 'The Best Minds of My Generation' (2017). Part I

Allen Ginsberg, The Best Minds of My Generation: A Literary History of the Beats, edited by Bill Morgan. New York: Grove Press, 2017. Foreword by Anne Waldman. 

Anne Waldman: "Denver, the place of all possible crossroads." (p. x)  "The Jack Kerouac School of Disembodied Poetics. (p. xi)

Each core member of the Beats "literarily had had some form of break in the ordinary nature of consciousness . . . as the central preoccupation, concern with the very nature of consciousness and with what you would call visions or visionary  experience." (P. 26)

"The element of aggression, of ideological insistency, was considered unhip and by unhip I mean lacking in awareness." (p. 29)

"I'm thinking of 'salt peanuts, salt peanuts,' or some squiggle of rhythm in [Jack] Kerouac's head that follows that off accenting, the irregular accenting, the noniambic accenting of [Dizzy] Gillespie." (p. 35)

With the death of his father, Kerouac "got interested in becoming the recording angel of the dream scene, and began recording his dreams, literally, as well as the dream of life itself." (p. 44) 

"The world hanging in space, the skyscrapers hanging in space . . . you'd realize you were not standing in New York City but you were standing in the middle of the universe, the vast open sky . . . It was the first discovery [by the main Beats, in the 1940s] of a crack in consciousness, that we were made of the same suchness, that we were ghosts. ' ' There's this early hint in On the Road of mind which is already Buddhist-oriented. Appreciating the phantom nature of things, of ourselves, an awareness of the mortal . . ." (p. 52)   

On meeting Jack: "Kerouac was a very mellow, shrewd, observant, tolerant person, so there was mutual curiosity." (p. 55)

Kerouac later "used to stand in the backyards at night when everybody was eating supper and realized that everybody was a ghost eating ghost food. Or that he was a ghost watching living people." (p. 56)

On meeting William S. Burroughs: "When we all went to see Burroughs, it was for that laconic, mellowed-out, cooled-out experience." (p. 86) 

Louis-Ferdinand Céline as a major influence. "I think it's one of the great moments of Western literature, when the hero wakes up in the middle of the battle and realizes that everyone around him is crazy and figures he better get out of there. I would say that is hipness, that attitude . . ." (p. 88)  

". . . little puppets of eternity, clawing each other in their vanity, with great clouds brewing overhead in the empty sky." (p. 96)

". . . panoramic consciousness or time consciousness . . ." (p. 98)

Kerouac: ". . . the flitting ghost-ends of a brood who will grow . . ." (p. 99)

Today's Rune: Wholeness. 

Jon Meacham's 'The Soul of America: The Battle for Our Better Angels' (2018), Part I

Jon Meacham, The Soul of America: The Battle for Our Better Angels. New York: Random House, 2018.

A thoughtful overview and discussion that helps put crazy times in perspective. Well-documented. 

In the introduction, Meacham brings up Richard Hofstadter's concept of "the paranoid style in American politics," a phenomenon even more widespread in 2018 than it was in 1963. There is always grand conspiracy, the End Times approach! "Time is forever running out." (page 17)

Just a few days ago, I came across a perfect example of the paranoid style in American society: TV evangelist Jim Bakker (born January 2, 1940), now broadcasting from Branson, Missouri. 

Jim continues to shriek about the End Times, but meanwhile, audience, send lots of money, buy containers of dried food, buy books and recordings. 

It doesn't add up. Bakker claims that Christians are persecuted and suppressed in the USA, even while he continues broadcasting away, one of legions of dedicated channels that spotlight tax-free Trump-supporting Christian evangelicals. 

Bakker's show is a perfect combination of paranoid, crazy, greedy and delusional, and somehow it's also crudely entertaining.

In The Soul of America, Meacham provides plenty of excellent quotations. Here's a snippet of Ike Eisenhower: "you do not lead by hitting people over the head. Any damn fool can do that, but it's usually called 'assault' - not 'leadership' . . . I'll tell you what leadership is. It's persuasion -- and conciliation -- and education -- and patience. It's long, slow, tough work." (page 39). 

From Robert Penn Warren: "a crazy man is a large-scale menace only in a crazy society." (page 53).  That's Trump in a tiny American nutshell.

One of the most perceptive of American thinkers that Meacham cites is Frederick Douglass (1818-1895), who comes across as more 21st century than 19th century in his outlook. Douglass' analysis of Robert E. Lee and Abraham Lincoln within an American context is brilliant. 

The current president, thinking Douglass still among the living, claimed early last year that "Frederick Douglass is an example of somebody who's done an amazing job and is being recognized more and more, I notice."

Early on Douglass came to understand the value of reading and learning -- a good role model for all. Meacham gets it, too, even if a man named Trump never will. 

Today's Rune: Wholeness.    

Michelle Tea's 'Against Memoir: Complaints, Confessions & Criticisms' (2018)

Michelle Tea, Against Memoir: Complaints, Confessions & Criticisms. New York: Feminist Press at the City University of New York, 2018. 

An eclectic collection of essays and memoir, or anti-memoir. The CONTENTS may give some idea of its scope.

"ART & MUSIC
On Valerie Solanas; Andy Warhol's Self-Portrait; Times Square; On Erin Markey; On Chelsea Girls; Gene Loves Jezebel; Purple Rain; Minor Threat; Sonic Youth's Magic.

LOVE & QUEERNESS
Transmissions from Camp Trans [and the Michigan Womyn's Music Fest]; How Not to Be a Queer Douchebag; Polishness; Hard Times; HAGS in Your Face; How to Refer to My Husband-Wife.

WRITING & LIFE
The City to a Young Girl; Pigeon Manifesto; Summer of Lost Jobs; Telling Your Friends You're Sober; Sister Spit Feminism; I Had a Miscarriage; Baba; Dire Straits; Against Memoir."

In the first section, Tea, though she's younger than I am, covers music, movies and books with which I'm mostly familiar. At some point in my early twenties I even picked up a copy of the soundtrack to Times Square, from a cutout bin for maybe a dollar or two, though to this day I haven't seen the movie yet. 

From "Times Square:" "We queers, artists, activists, intellectuals, misfits, know with the instinct of any migrating animal that we must go to the city to find ourselves, our lives, and our people. Times Square shows beautifully what is lost to us when we lose our cities, our scruffy, scuzzy, cheap, and accessible cities; our inspiring, cultured, miraculous, dangerous, spontaneous, surprising cities."  (pages 37-38).

In the second section, I found two pieces particularly interesting, "Transmissions" and "HAGS in Your Face." 

From "HAGS in Your Face:" "'We always wanted to be next to each other.'" (page 180). A nice turn of phrase.

In the final section, all are absorbing to varying degrees. "Pigeon Manifesto" is just plain sweet. 

From "The City to a Young Girl:" "I'm feeling it, the purpose and point of our political writings, our personal struggles. It's not to change the world that can't or won't be changed. It's to leave traces of ourselves for others to hold on to, a lifeline of solidarity that spans time, that passes on strength like a baton from person to person, generation to generation." (page 234). Amen to that. 

From "Sister Spit Feminism:" "The thing about being a poet, a writer, an artist, is, you can't be good. You shouldn't have to be good. You should, for the sake of your art, your soul, and your life, go through significant periods of time where you are defying many notions of goodness. As female artists, we required the same opportunities to fuck up and get fucked up as dudes have always had and been forgiven for; we needed access to the same hard road of trial and error our male peers and literary inspirations stumbled down . . ." (page 268). 

Can you dig? 

Today's Rune: Partnership. 

Spike Lee: 'BlacKkKlansman' (2018)

When all the smoke clears from our current Trump era, Spike Lee's BlacKkKlansman (2018) will endure as a cultural document, a permanent indictment of White Power racism and other forms of atrocious stupidity. At some point, Trump will be long gone and the world will be looking back aghast and in amazement. In the meantime, this film is well-worth seeing on the big screen for maximum impact here and now.

With BlacKkKlansman, there's a lot to respond to, but for the time being, here are only a few observations. One is digging the way Lee shows consciousness raising in the 1970s. During a Black Power meeting featuring Kwame Ture (aka Stokeley Carmichael, played by Corey Hawkins), we see "floating faces" absorbing Ture's incisive analysis of race relations and power imbalances. In its sequel, Stallworth (John David Washington) and Dumas (Laura Harrier) advance in the direction of a burning cross, pistols drawn, ready for direct action as needed. (I've seen the latter technique referred to as a "People Mover" shot).

Also, we see a range of White Power behavior, institutional (as Ture termed it) within the Colorado Springs Police Department and personal; we also see a range of intensity of commitment and engagement in both the White Power and Black Power movements. Within the KKK, there's a local men's club figurehead, a clown, and a terrifying psycho (played by Ryan Eggold, Paul Walter Hauser and Jasper Pääkkönen, respectively). Somewhere in between these three at the national level is David Duke (Topher Grace). There are other characters to consider, too, such as the one played by Adam Driver (Flip Zimmerman). Dig it! 

Today's Rune: Possessions. 

John Gibney's 'A Short History of Ireland, 1500-2000' (2017)

John Gibney's A Short History of Ireland, 1500-2000 (New Haven: Yale University Press, 2017) provides an overview of modern Irish history and concludes each chapter with a "Where Historians Disagree" section.

After reading this and Thomas Bartlett's Ireland: A History (Cambridge University Press, 2010), one thing's clear: the state of affairs in Ireland at the beginning of the 21st century would seem to be far preferable to those of the 1500s and 1600s.  

Anyone who's delved into Irish history will probably know something of the horrors of Oliver Cromwell's activities in the 1600s, but the preceding Elizabethan period was also quite devastating to the Irish people, lands and ecology. Let's dive in, shall we?

In the 1500s, "Ireland offered scope for the unscrupulous to enrich themselves in ways that undermined any claim by the [English] authorities to be acting as honest and impartial brokers . . ." (page 27)

There was "a rise in the levels of violence employed by the Tudor state . . . increasing use of martial law from the 1550s onward . . . In July 1575 the earl of Essex . . . had six hundred men, women, and children killed on Rathlin Island, the stronghold of the MacDonnells, under a commission of martial law. This was gradually extended across Ireland as the reign of Elizabeth wore on . . . summary execution became a widespread practice, and decapitated heads became a common feature of conflict, whether as trophies of war or grisly receipts for rewards."  (page 27)

And pity anyone who found themselves shipwrecked. "[T]housands of survivors of the Spanish Armada were executed in 1588 by [order of Sir Richard] Bingham on the coasts of Galway, Mayo, and Sligo . . ." (pages 27-28)     

"[I]n June 1602 [Charles Blount] Mountjoy embarked on a scorched-earth campaign whose systematic nature and sheer scale marked it out as distinctive . . . livestock, crops, buildings, and people were simply eradicated across the north of the island." (pages 40-41) 

By the time Gibney reaches the 20th century, one is not at all surprised by the Easter Rising of 1916, the Irish Civil War, the Emergency (World War II period), nor the Troubles, nor by mass emigration in the wake of the Potato Famine in the mid-19th century.   

With the arrival of the 21st century, there is peace at last -- but also a looming Brexit and its attendant fallout. Still, much better than martial law and mass beheadings -- and Ireland finally wins.

Today's Rune: Breakthrough. 

Chapel Hill Daze: Pictures of Another Gone World: West Franklin Street, 1968-2018

Along West Franklin Street, starting at the Columbia Street intersection and heading toward Carrboro, there are still some vestiges of the Chapel Hill of 1968. There were more when I was a student at the University of North Carolina.

Of the "south" side of West Franklin, I've previously discussed University Square in another post. Next was Hardee's at 213 West Franklin (now there's a Panera at that address); Union Bus Station at 311 (the Franklin Hotel is now at that address) and the Chapel Hill Weekly newspaper at 501.

I certainly remember the Hardee's and the newspaper building, having eaten at the former and worked immediately next to the latter (at Algonquin Books of Chapel Hill).

The bus station building I remember vaguely. Having been completed in 1946, it soon thereafter became part of the history of the civil rights movement:

"On April 9, 1947, eight African American and eight white members of CORE (known as the Freedom Riders) set out from Washington, D.C. on Greyhound and Trailways buses; on April 12, both buses arrived in Chapel Hill. As the buses departed Chapel Hill for Greensboro on April 13, four of the riders were arrested. The commotion aboard the buses drew a large crowd of spectators, including several white taxi drivers. 

The men were taken to the police station, with a fifty dollar bond placed on each man. As white rider James Peck got off the bus to pay their bonds, a taxi driver struck him in the head.  

In May 1947, those members who had been arrested went on trial and were sentenced. The riders unsuccessfully appealed their sentences. On March 21, 1949, they surrendered at the courthouse in Hillsborough and were sent to segregated chain gangs." 

The bus station's food service desegregated in the early 1960s, under pressure.  Source: "Trailways Bus Station," Open Orange. Website link here.

Of the "north" side of West Franklin, an earlier post covered the first block off from Columbia Street, heading toward Carrboro. If you crossed Church Street going in the same direction in 1968, there was a Belk-Leggett department store at 206 West Franklin, Fowler's meats at 306, Carolina Grill at 312, Village Pharmacy at 318 and The Cavern at 452 1/2.  

The Bookshop (pictured above) came into being in 1985 at 400 West Franklin, a merger of Keith Martin Bookshop and Bookends (both Chapel Hill book shops). I remember all three of them, having bought books at each. The Bookshop closed in the summer of 2017, having lasted close to thirty-two years in that location.

Belk-Leggett was gone from its 206 location by the time I came to Chapel Hill. Fowler's was still at 306 for a while and then folded. There was one in Durham, too. 

I loved the Carolina Grill -- you could eat like a king on the budget of a college student. Which may be why they eventually had to close. I remember flat steaks there, excellent meat and potatoes type staples, probably requisitioned from next-door Fowler's. It was sort of like a large hall with tables, for some reason making me think of a Bavarian beer hall in memory. 

Village Pharmacy, 318 West Franklin, "Home of the Big O." This place was around for a while but must have eventually died on the vine. Browsing issues of the Daily Tar Heel, I came across an advertisement for Village Pharmacy from the September 28, 1949 issue: "Opposite Bus Station - Phone F-3966."  In "land line" telephone exchanges of the twentieth century, "F" might be named Flanders, Fleetwood, Factory, etcetera.  In any case, when I was working at Algonquin Books, I'd occasionally walk to Village Pharmacy for its soda fountain features. They served fresh lemonade, orangeade, milkshakes and grill food. No longer.

The Cave is a long-standing underground bar and music venue. Because I have detailed location notes from college journals dating to the 1980s, I'll devote more time to The Cave in a later post. It nearly folded after fifty years (1968-2018), but was saved by Melissa Swingle and Autumn Spencer in the summer of 2018 -- thank God! Here's a link to their website. Dig it!

Invaluable resource to cross-check memories, places:  OCCUPANTS AND STRUCTURES OF FRANKLIN STREET, CHAPEL HILL, NORTH CAROLINA AT 5-YEAR INTERVALS, 1793-1998, by Bernard Lee Bryant, Jr. Chapel Hill Historical Society, printed out by J.D. Eyre in 1999. Link here.

Today's Rune: Partnership. 

Boots Riley: 'Sorry to Bother You' (2018)

Boots Riley's first film, Sorry to Bother You (2018), takes the side of workers against one-percenters, the proletariat vs. late capitalism. The movie is satirical and surreal with a variety of sometimes bizarre comic elements. It's not all fun and games, certainly. During a first watch, one may feel anxious and uprooted by dread. After experiencing Sorry to Bother You, who will engage in direct action? Who will think about culture and economics a little more deeply?    

The tone of Sorry to Bother You very much reminds me of Lindsay Anderson's O Lucky Man! (1973) and, to a lesser extent, Anderson's Britannia Hospital (1982). The music is at times as eerie as the soundtrack of Liquid Sky (1982). It could have also been accompanied by a few choice Gang of Four cuts.  

In addition to its lively critique of capitalism, Sorry to Bother You takes into consideration interrelated variables of race/culture, gender, possibility, technology/communications, art/production/consumption and location (in this case, Oakland) -- among other things.   

Boots Riley is a music dude, too -- check out The Coup and Street Sweeper Social Club if you want to sample some. 

This kaleidoscope of modern American life is creating a stir, for sure. Actors in Sorry to Bother You include Lakeith Stanfield (Cassius "Cash" Green), Tessa Thompson (Detroit), Danny Glover, Armie Hammer, Omari Hardwick and Stven Yeun. 

Today's Rune: Separation (Reversed). 

Gloria Naylor: 'The Women of Brewster Place' (1982)

The Women of Brewster Place: A Novel in Seven Stories (New York: Viking Penguin, 1982), Gloria Naylor's first book, was adapted into a mini-series in 1989 that was filmed in Chicago. The setting for the novel is vaguer -- maybe Cleveland, or maybe a smaller Midwestern or "Northern" city.  

In the course of the novel, Naylor (1950-2016) follows several interconnected women in their tatty neighborhood, an effective organizing principle that combines place, time and character. How did they get there? How do they live? What will happen to them? About most of the main characters, we learn the answers by the end of the book.

What is more important in determining a person's arc -- gender, race, class, sexual orientation, geography, or time period? The Women of Brewster Place posits that all are important, and all have some variability. Also, existential choice plays a role regardless of one's station in life, not to mention chance, or luck of the draw. Some give up, some go with the flow, some become casualties, some organize, some try somewhere or something else.

The main characters are: Mattie Michael, Etta Mae Johnson, Lucielia "Ciel" Turner, Melanie "Kiswana" Browne, Cora Lee, Theresa and Lorraine. 

"Sometimes being a friend means mastering the art of timing. There is a time for silence. A time to let go and allow people to hurl themselves into their own destiny. And a time to prepare to pick up the pieces when it's all over. Mattie realized that this moment called for all three." (page 70).

A couple of expressions I particularly like: "She smiled warmly into Cora Lee's eyes." And: "She sincerely liked Mattie because unlike the others, Mattie never found the time to do jury duty on other people's lives." (page 123).

The novel earned a National Book Award for Naylor in 1983.

Today's Rune: Gateway. 

Michael Schultz: 'Cooley High' (1975)

Cooley High (1975). Directed by Michael Schultz, who also directed Car Wash (1976), covered here last month. Here's a link. 

The setting for Cooley High is Chicago in the year 1964. A fairly low-budget film, it was a hit in the mid-1970s, an exciting time for cultural offerings. Scripted by Eric Monte, who also worked on What's Happening!! (which shifted the Cooley High setting to Los Angeles). 

Main actors include Glynn Turman as Preach, Lawrence Hilton-Jacobs as Cochise, Cynthia Davis as Brenda and Garret Morris as Mr. Mason, a teacher-mentor who looks out for them. Hilton-Jacobs was also in Welcome Back, Kotter, a 1970s series that co-starred John Travolta. 

Preach shows the initially dubious Brenda that they have a shared interest in poetry. He's got a sort of Thelonius Monk-Dizzy Gillespie-Spike Lee kind of look with those glasses and, when roaming around, his cap. 

Cooley High isn't all fun and games. There's a sense of mortality hovering in the background, with a couple of poignant drinking salutes to the dead -- a custom with which I am quite familiar.

Cooley High is also nicely enriched with a Motown-powered soundtrack.

Today's Rune: Partnership.    

María Paz Moreno's 'Madrid: A Culinary History' (2018)

María Paz Moreno, Madrid: A Culinary History (Big City Food Biography Series). Lanham, Maryland: Rowman & Littlefield, 2018.

"Matrice, Mayrit, Magerit, Madrid. The city's many names over the centuries bear witness to its long history and rich cultural heritage. Madrid has seen a fascinating succession of peoples come and go, from prehistoric inhabitants to Iberians, Celts, Greeks, Romans, Visigoths, Moors, and Christians." (page 7).

"'[M]uch of what we think of today as being typically Spanish were, in fact, the staples of the Roman diet. Bread, cheese, olives, and olive oil, wine, and roasted meat . . . were the standard fare of the Roman soldiers in Hispania.'" (page 13).

Jewish and Islamic cuisine has survived, also, despite the expulsions from 1492 onward. "[T]he use of mint and spices such as saffron - an essential ingredient to paella, the iconic Spanish dish -- cinnamon, cumin, coriander, and caraway is common in many Spanish recipes and reflects a distinctly Arab touch." (page 22).

Moreno's progression through Madrid's food history is fascinating and hunger-inducing. She discusses cookbooks written over the centuries, tabernas, fondas, tapas, the impact of war, mercados, recipes and various eateries and marketplaces that are still operating after one or two hundred years - astonishing. 

The Big City Food Biography Series looks to be rewarding in the spirit of Anthony Bourdain. There's already a baker's dozen of these either already available or soon to be published, ranging from food biographies of New Orleans, San Francisco, New York City and Paris to upcoming tomes on Tapei and Seattle. 

P.S. "María Paz Moreno es poeta, ensayista y crítica literaria." See her website here.

Today's Rune: Strength. 

Michael Schultz: 'Car Wash' (1976)

Car Wash (1976). Director, Michael Schultz (born 1938), African American director of Waiting for Godot (1966), Cooley High (1975) and Black-ish (2015-2017). Writing credit (with Schultz helping refine the script): Joel Schumacher (born 1939), director of St. Elmo's Fire (1985), The Lost Boys (1987), Batman Forever (1995) and House of Cards (2013).

Car Wash is a workers' movie, a kind we ought to see more of, a kind that had a strong showing in the rough and tumble 1970s. In many ways, the decade of the 1970s was a high water mark for positive change aspirations, certainly a peak period for introspection and multicultural expression. 

Spanish subtitle: Un Mundo Aparte / "A World Apart." It's a Marxian delectable: follow the money trail. Who owns the means of production? 

Speaking of money, Richard Pryor plays Daddy Rich of the Church of Divine Economic Spirituality, certainly not a caricature when you consider that even today, in 2018, Jesse Duplantis, "televangelist and prosperity gospel preacher," wants his followers to supply him with a new fifty-four million dollar jet. (See Tim Morris, "Jesse Duplantis just wants a jet for Jesus," Nola.com and Times-Picayune, June 3, 2018. Link here).

Other characters (all of them memorable) include Antonio Fargas (Huggy Bear in Starsky & Hutch, 1975-1979) as cross-dressing and apparently gay Lindy; T.C., "The Fly" (Franklin Ajaye); Lauren Jones as Marleen, a hooker; George Carlin as "the Taxi Driver;" Ivan Dixon as the gruff-voiced, cigar-smoking Lonnie; and Bill Duke as Abdullah Mohamed Akbar. The last two characters provide moral gravity for the film, which largely through them transcends itself from light commentary into incisive, still way too pertinent social commentary.

Abdullah: "I don't know, man, I don't know. I know I'm not crazy. But every day I have to come here and watch this clown show, man. Sometimes . . . just can't take it."

Lonnie: "I know."

Abdullah has these lines, too, which seem to have been cut from the version I saw: "[to camera] If you are watching this in the future, know that time has had its way with us, and that we knew it would. And it will with you. There is no escaping this. In a strange way, it's what makes life so beautiful and strange, that nothing alive stays the same."  (See IMDB link here).

Today's Rune: Possessions. 

Jim Jarmusch's 'Ghost Dog: The Way of the Samurai' (1999)

Jim Jarmusch's Ghost Dog: The Way of the Samurai (1999), shot in New Jersey with Japanese dreams. Stars Forest Whitaker in the title role, as a retainer of low-level mobster Louie (John Tormey). 

The film is a most excellent fantasy piece revolving around Ghost Dog, the quiet assassin; aging gangsters; Raymond, a French-speaking Haitian ice cream truck man (Isaach De Bakolé); Pearline (Camille Winbush), a very young reader of books; and active carrier / messenger pigeons, also known as war pigeons.  

The character Ghost Dog filters the world through Yamamoto Tsunetomo's Hagakure / Hidden Leaves (from the early 1700s), which strictly and philosophically lays out the samurai way of life.  Many of its "leaves" are read aloud by Ghost Dog over intertitles that show the corresponding text, in English. 

Ghost Dog: The Way of the Samurai. Totally hip flick with a groovy soundtrack courtesy of RZA of the Wu-Tang Clan. Throughout the film, there are lots of allusions to books, other movies, mixed genres and alternate codes of naming and living. There may be a sequel forthcoming. 

Today's Rune: Protection. 

Jim Jarmusch: 'Permanent Vacation' (1980)

Permanent Vacation (1980): the first completed effort by Jim Jarmusch, a rudimentary one shot on a shoestring budget, telegraphs his future batch of films. 

I found it interesting and fun, whereas most "regular people" would probably find it aimless and pointless. Permanent Vacation serves partly as a semi-documentary tour of bits of the New York City cityscape in the late 1970s -- shabby and in disarray.

Ali (Chris Parker), the main character, would be quite comfortable in 2018 America as a millennial man-child: weird and awkward, without much ambition or drive other than to do whatever he wants without much cash on hand, slightly brain-damaged in his social interactions. He does muster up enough energy to steal a car for $800 in cash -- hardly something to write home about. 

He seems to drift away from his pseudo-girlfriend after examining the architectural ruins of an area "bombed" by "Chinese" in a some fantasy war where he also happened to stumble on a homeless veteran of the US-Vietnam War.

Ali considers seeing a hip film and interacts with a nodding junkie jazz hepcat, with the final scene from Sergio Leone's Il buono, il brutto, il cattivo / The Good, the Bad & the Ugly (1966) playing in the background, just barely audible (one of the strangest touches of the entire movie).

Earlier, Ali and his pseudo-girlfriend read from Les Chants de Maldoror / Maldorer's Lay (1868-1869) by Comte de Lautréamont.

Permanent Vacation is a prototype of more "fully realized" Jarmusch films, more like Bohemian bits of flash fiction or poems loosely strung together than a longer work.  

Today's Rune: Warrior.