Tuesday, August 31, 2010

Remembering George Jackson, Jonathan Jackson & Ruchell Cinque Magee: 40th Anniversary - Marin Courthouse Rebellion

Revolutionary Suicide: Jonathan Jackson the Man-Child (left)

To the Man-Child, Tall, evil, graceful, brighteyed, black man-child Jonathan Peter Jackson who died on August 7, 1970, courage in one hand, assault rifle in the other; my brother, comrade, friend the true revolutionary, the black communist guerrilla in the highest state of development, he died on the trigger, scourge of the unrighteous, soldier of the people; to this terrible man-child and his wonderful mother Georgia Bea, to Angela Y. Davis, my tender experience, I dedicate this collection of letters; to the destruction of their enemies I dedicate my life.

George L. Jackson

August 7, 1970, just a few days after George Jackson was transferred to San Quentin, the case was catapulted to the forefront of national news when his brother, Jonathan, a seventeen-year-old high school student in Pasadena, staged a raid on the Marin County courthouse with a satchelful of handguns, an assault rifle, and a shotgun hidden under his coat. Educated into a political revolutionary by George, Jonathan invaded the court during a hearing for three black San Quentin inmates, not including his brother, and handed them weapons. As he left with the inmates and five hostages, including the judge, Jonathan demanded that the Soledad Brothers be released within thirty minutes. In the shootout that ensued, Jonathan was gunned down. Of Jonathan, George wrote, "He was free for a while. I guess that's more than most of us can expect."

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Ruchell Cinque Magee: Sole Survivor Still

by Mumia Abu-Jamal

Slavery is being practiced by the system under color of law – Slavery 400 years ago, slavery today; it's the same thing, but with a new name. They're making millions and millions of dollars enslaving Blacks, poor whites, and others - people who don't even know they're being railroaded. -- Ruchell Cinque Magee
(from radio interview with Kiilu Nyasha, "Freedom is a Constant Struggle," KPFA-FM, 12 August 1995)

If you were asked to name the longest held political prisoner in the United States, what would your answer be?

Most would probably reply "Geronimo ji jaga (Pratt)," "Sundiata Acoli", or "Sekou Odinga" -- all 3 members of the Black Panther Party or soldiers of the Black Liberation Army, who have been encaged for their political beliefs or principled actions for decades. Some would point to Lakota leader, Leonard Peltier, who struggled for the freedom of Native peoples, thereby incurring the enmity of the US Government, who framed him in a 1975 double murder trial. Those answers would be good guesses, for all of these men have spent hellified years in state and federal dungeons, but here's a man who has spent more.

Ruchell C. Magee arrived in Los Angeles, California in 1963, and wasn't in town for six months before he and a cousin, Leroy, were arrested on the improbable charges of kidnap and robbery, after a fight with a man over a woman and a $10 bag of marijuana. Magee, in a slam-dunk "trial," was swiftly convicted and swifter still sentenced to life.

Magee, politicized in those years, took the name of the African freedom fighter, Cinque, who, with his fellow captives seized control of the slave ship, the Amistad, and tried to sail back to Africa. Like his ancient namesake, Cinque would also fight for his freedom from legalized slavery, and for 7 long years he filed writ after writ, learning what he calls "guerrilla law", honing it as a tool for liberation of himself and his fellow captives. But California courts, which could care less about the alleged "rights" of a young Black man like Magee, dismissed his petitions willy-nilly.

In August, 1970, MaGee appeared as a witness in the assault trial of James McClain, a man charged with assaulting a guard after San Quentin guards murdered a Black prisoner, Fred Billingsley. McClain, defending himself, presented imprisoned witnesses to expose the racist and repressive nature of prisons. In the midst of MaGee's testimony, a 17 year old young Black man with a huge Afro hairdo, burst into the courtroom, heavily armed.

Jonathan Jackson shouted "Freeze!" Tossing weapons to McClain, William Christmas, and a startled Magee, who given his 7 year hell where no judge knew the meaning of justice, joined the rebellion on the spot. The four rebels took the judge, the DA and three jurors hostage, and headed for a radio station where they were going to air the wretched prison conditions to the world, as well as demand the immediate release of a group of political prisoners, know that The Soledad Brothers (these were John Cluchette, Fleeta Drumgo, and Jonathan's oldest brother, George). While the men did not hurt any of their hostages, they did not reckon on the state's ruthlessness.

Before the men could get their van out of the court house parking lot, prison guards and sheriffs opened furious fire on the vehicle, killing Christmas, Jackson, McClain as well as the judge. The DA was permanently paralyzed by gun fire. Miraculously, the jurors emerged relatively unscratched, although Magee, seriously wounded by gunfire, was found unconscious.

Magee, who was the only Black survivor of what has come to be called "The August 7th Rebellion," would awaken to learn he was charged with murder, kidnapping and conspiracy, and further, he would have a co-defendant, a University of California Philosophy Professor, and friend of Soledad Brother, George L. Jackson, named Angela Davis, who faced identical charges.

By trial time the cases were severed, with Angela garnering massive support leading to her 1972 acquittal on all charges.

Magee's trial did not garner such broad support, yet he boldly advanced the position that as his imprisonment was itself illegal, and a form of unjustifiable slavery, he had the inherent right to escape such slavery, an historical echo of the position taken by the original Cinque, and his fellow captives, who took over a Spanish slave ship, killed the crew (except for the pilot) and tried to sail back to Africa. The pilot surreptitiously steered the Amistad to the US coast, and when the vessel was seized by the US, Spain sought their return to slavery in Cuba. Using natural and international law principals, US courts decided they captives had every right to resist slavery and fight for their freedom.

Unfortunately, Magee's jury didn't agree, although it did acquit on at least one kidnapping charge. The court dismissed on the murder charge, and Magee has been battling for his freedom every since.

That he is still fighting is a tribute to a truly remarkable man, a man who knows what slavery is, and more importantly, what freedom means.

FREE CINQUE !!

May 27, 1997 © 1997 Mumia Abu-Jamal - All Rights Reserved
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From the Forward to Soledad Brother (1994) By Jonathan Jackson, Jr.

I was born eight and a half months after my father, Jonathan Jackson, was shot down on August 7, 1970, at the Marin County Courthouse, when he tried to gain the release of the Soledad Brothers by taking hostages. Before and especially after that day, Uncle George kept in constant contact with my mother by writing from his cell in San Quentin. (The Department of Corrections wouldn't put her on the visitors' list.) During George's numerous trial appearances for the Soledad Brothers case, Mom would lift me above the crowd so he could see me. Consistently, we would receive a letter a few days later. For a single mother with son, alone and in the middle of both controversy and not a little unwarranted trouble with the authorities, those messages of strength were no doubt instrumental in helping her carry on. No matter how oppressive his situation became, George always had time to lend his spirit to the people he cared for.

A year and two weeks after the revolutionary takeover in Marin, George was ruthlessly murdered by prison guards at San Quentin. Both he and my father left me a great deal: pride, history, an unmistakable name. My experience has been at once wonderful and incredibly difficult. My life is not consumed by the Jackson legacy, but my charge is an accepted and cherished piece of my existence. It is out of my responsibility to my legacy that I have come to write this Foreword to my uncle's prison writings.

Today I read my inherited letters often those written from George to my mother with a dull pencil on prison stationery. They are things of beauty, my most valuable possessions, passionate pieces of writing that have few rivals in the modern era. They will remain unpublished. However, the letters of Soledad Brother demonstrate the same insight and eloquence ­ the way George's writings make his personal experience universal is the mainstay of his brilliance.

When this collection of letters was first released in 1969, it brought a young revolutionary to the forefront of a tempest, a tempest characterized by the Black Power, free speech, and antiwar movements, accompanied by a dissatisfaction with the status quo throughout the United States. With unflinching directness, George Jackson conveyed an intelligent yet accessible message with his trademark style, rational rage. He illuminated previously hidden viewpoints and feelings that disenfranchised segments of the population were unable to articulate: the poor, the victimized, the imprisoned, the disillusioned. George spoke in a revolutionary voice that they had no idea existed. He was the prominent figure of true radical thought and practice during the period, and when he was assassinated, much of the movement died along with him. But George Jackson cannot and will not ever leave. His life and thoughts serve as the message George himself is the revolution.

The reissue of Soledad Brother at this point in time is essential. It appears that the nineties are going to be a telling decade in U.S. history. The signposts of systemic breakdown are as glaringly obvious as they were in the sixties: unrest manifesting itself in inner-city turmoil, widespread rise of violence in the culture, and international oppression to legitimize a state in crisis. The fact that imprisonments in California have more than tripled over the last decade, supported by the public, is merely one sign of societal decomposition. That systemic change occurred during the sixties is a myth. The United States in the nineties faces strikingly analogous problems. George spoke to the issues of his day, but conditions now are so similar that this work could have been written last month. It is imperative that George be heard, whether by the angry but unchanneled young or by the cynical and worldly mature. The message must be carried farther than where he bravely left it in August of 1971.

Over the past twenty-five years, why has George Jackson not been an integral part of mainstream consciousness? He has been and still is underexposed, reduced to simplistic terms, and ultimately misunderstood. Racial and conspiracy theory aside, there are rational reasons for his exclusion. They stem not only from the hard-line revolutionary aspects of George's philosophy, but more importantly from the nature of the political system that he existed in and under.

Howard Zinn has pointed out in A People's History of the United States that "the history of any country, presented as the history of a family, conceals fierce conflicts of interest (sometimes exploding, most often repressed) between conquerors and conquered, masters and slaves, capitalists and workers, dominators and dominated." U.S. history is essentially that type of hidden history. Without denying important mitigating factors, the United States of today is strongly linked to the values and premises on which it was founded. That is, it is a settler colony founded primarily on two basic pillars, upheld by the Judeo-Christian tradition: genocide of indigenous peoples and slave labor in support of a capitalist infrastructure. Although the Bible repeatedly exalts mass slaughter and oppression, Judeo-Christian morality is publicly held to be inconsistent with them. This dissonance, evident within the nation's structure from the beginning, informs the state's first function: to oversimplify and minimize immoral events in order to legitimize history and the state's very existence simultaneously.

Ironically, traditional Judeo-Christian morality is a perfect vehicle for genocide, slavery, and territorial expansion. As a logical progression from biblical example, expansion and imperialism culminated in the United States with the concept of Manifest Destiny, which held that it was the colonists' inherent right to expand and conquer. Further it was a duty, the "white man's burden," to save the "natives," to attempt to convert all heathens encountered. Protestant Calvinism provided a set of ethics that fit perfectly with the colonists' conquests. Max Weber, in his definitive study on religion, The Sociology of Religion, wrote, "Calvinism held that the unsearchable God possessed good reasons for having distributed the gifts of fortune unevenly"; it "represented as God's will [the Calvinists'] domination over the sinful world. Clearly this and other features of Protestantism, such as its rationalization of the existence of a lower class, 1 were not only the bases for the formation of the United States, but still prominently exist today. "One must go to the ethics of ascetic Protestantism," Weber asserts, "to find any ethical sanction for economic rationalism and for the entrepreneur." When a nation can't admit to the process through which it builds hegemony, how can anything but delusion be a reality? "The monopoly of truth, including historical truth," stated Daniel Singer in a lecture at Evergreen State College (Washington) in 1987, "is implied in the monopoly of power."

Clearly, objective history is an impossibility. This understood, the significant problem lies in how the general population defines the term; history implies that truth is being told. It is an unfortunate fact that history is unfailingly written by the victors, which in the case of the United States are not only the original imperialists, but the majority of the "founding fathers," dedicated to uniting and strengthening the existing mercantile class among disjointed colonies. There can be no doubt that from the creation of this young nation, history as a created and perceived entity moved further and further away from the objective ideal. Genocide, necessary for "the development of the modern capitalist economy," according to Howard Zinn, was rationalized as a reaction to the fear of Indian savages. Slavery was similarly construed.

The personalization of history, the process by which we construct heroes and pariahs, is a consequence of its dialectical nature. Without fail, an odd paradox is created around someone who, by virtue of his or her actions, becomes prominent enough to warrant the designation "historical figure." There is a leap on the part of the general public, sparked by the media, to another mindset. Sensational deeds are glorified, horrible acts reviled. A few points are selected as defining characteristics. The media, conforming to their restrictions of concision (which make accuracy nearly impossible to attain), reiterate these points over and over. Schools and textbooks not only teach these points but drill them into young minds. Howard Zinn comments that "this learned sense of moral proportion, coming from the apparent objectivity of the scholar, is accepted more easily than when it comes from politicians at press conferences. It is therefore more deadly."

A few tidbits, factual or not, incomplete and selective, are used to describe the entirety of a person's existence. They become part of mainstream consciousness. We therefore know that Lincoln freed the slaves, Malcolm X was a black extremist, and Hitler was solely responsible for World War II and the Holocaust. All half-truths go unexplained, all fallacies go unchallenged, as they appear to make perfect sense to the everyday, noncritically thinking American. The paradox has been created: The more famous a person becomes, the more misunderstood he or she is. This accepted occurrence is incredibly counterintuitive: the public should know more, not less, about a noteworthy individual and the sociopolitical dynamics surrounding him or her.

This historical mythicization is not, for the most part, a consciously created phenomenon. The media don't go out of their way to mislead the public by constructing false heroes and emphasizing the mundane. Fewer "dimly lit conferences" take place than conspiracy theorists believe. It is the existing political system that is responsible for the information that reaches the general public. The state's control of information created the system, and it continually re-creates it. Propagated by schooling and the media, information that reaches the public is subject to three chief mechanisms of state control: denial, self-censorship, and imprisonment.

Denial is the easiest control mechanism, and therefore the most common. If events do not follow the state's agenda or its ecumenical ideology and might bring unrest, they are denied. Examples are plentiful: prewar state terrorism against the people of North and South Vietnam and later the bombing of Cambodia; government funding and military aid to the Nicaraguan Contras; and support of UNITA and South Africa in the virtual destruction of Angola, among many others.

Denial goes hand in hand with self-censorship. The media emphasize certain personal characteristics and events and de-emphasize others, in a pattern that supports U.S. hegemony. The information that reached the public after the U.S. invasion of Panama in 1989 is telling. It was not until much later, after the heat of controversy, that the average citizen had access to the scope of the devastation. The effectiveness of self-censorship in this case was maximized, as the full details of the Panama invasion were patchwork for years.

While we may assume that the media have an obligation to accurately convey such an event to the public, the media in fact perpetuate the government's position by engaging in their own self-censorship. Noam Chomsky points out in Deterring Democracy, "With a fringe of exceptions mostly well after the tasks had been accomplished the media rallied around the flag with due piety and enthusiasm, funnelling the most absurd White House tales to the public while scrupulously refraining from asking the obvious questions, or seeing the obvious facts."

Denial and self-censorship create a comfort zone for the U.S. citizenry, generally uncritical and willing to accept digestible versions of historical personalities and world events. The reasoning behind denial and self-censorship: do not make the public uncomfortable, even if that means diluting, sensationalizing, or lying about the truth.

Ultimately, when denial and self-censorship may not be sufficient for control of information, the state resorts to imprisonment. All imprisonment is political and as such all imprisonments carry equal weight. Society does, however, distinguish two categories of imprisonment: one for breaking a law, the other for political reasons. A difference is clear: American Indian Movement leader Leonard Peltier, serving a federal sentence for his supposed role at Wounded Knee, is considered a different type of prisoner than an armed robber serving a five-to-seven-year sentence.

State policy reflects institutional needs. When the state as an institution cannot tolerate an outside threat, real or perceived, from an individual or group, the consequences at its command include isolation, persecution, and political imprisonment. All may occur in greater or lesser form, depending on the degree of threat.

Political incarceration removes threats to the political and economic hegemony of the United States. Even though in 1959 George Jackson initially went to prison as an "everyday lawbreaker" with a one-year-to-life sentence, it was his political consciousness that kept him incarcerated for eleven years. In 1970 George wrote:

International capitalism cannot be destroyed without the extremes of struggle. The entire colonial world is watching the blacks inside the U.S., wondering and waiting for us to come to our senses. Their problems and struggles with the Amerikan monster are much more difficult than they would be if we actively aided them. We are on the inside. We are the only ones (besides the very small white minority left) who can get at the monster's heart without subjecting the world to nuclear fire. We have a momentous historical role to act out if we will. The whole world for all time in the future will love us and remember us as the righteous people who made it possible for the world to live on. If we fail through fear and lack of aggressive imagination, then the slaves of the future will curse us, as we sometimes curse those of yesterday. I don't want to die and leave a few sad songs and a hump in the ground as my only monument. I want to leave a world that is liberated from trash, pollution, racism, nation-states, nation-state wars and armies, from pomp, bigotry, parochialism, a thousand different brands of untruth, and licentious usurious economics.

Nothing is more dangerous to a system that depends on misinformation than a voice that obeys its own dictates and has the courage to speak out. George Jackson's imprisonment and further isolation within the prison system were clearly a function of the state's response to his outspoken opposition to the capitalist structure.

Political incarceration is a tangible form of state control. Unlike denial and self-censorship, imprisonment is publicly scrutinized. Yet public reaction to political incarceration has been minimal. The U.S. government claims it holds no political prisoners (denial), while any notice given to protests focused on political prisoners invariably takes the form of a human interest story (self-censorship).

The efficacy of political incarceration in the United States cannot be denied. Prison serves not only as a physical barrier, but a communication restraint. Prisoners are completely ostracized from society, with little or no chance to break through. Those few outside who might be sympathetic are always hesitant to communicate or protest past a certain point, fearing their own persecution or imprisonment. Also, deep down most people believe that all prisoners, regardless of their individual situations, really did do something "wrong." Added to that prejudice, society lacks a distinction between a prisoner's actions and his or her personal worth; a bad act equals a bad person. The bottom line is that the majority of people simply will not believe that the state openly or covertly oppresses without criminal cause. As Daniel Singer asked at the Evergreen conference in 1987, "Is it possible for a class which exterminates the native peoples of the Americas, replaces them by raping Africa for humans it then denigrates and dehumanizes as slaves, while cheapening and degrading its own working class is it possible for such a class to create a democracy, equality and to advance the cause of human freedom? The implicit answer is, `No, of course not."'

How does a person inside or outside prison confront the cultural mindsets, the layers of misinformation propagated by the capitalist system? Sooner or later, what can be called the "radical dilemma" surfaces for the few wanting to enter into a structural attack/analysis of the United States. Culturally, educationally, and politically, all of us are similarly limited by these layers of misinformation; we are all products of the system. None of us functions from a clean slate when considering or debating any issue, especially history as it pertains to the United States.

George Jackson struggled against the constraints of denial and self-censorship, to say nothing of his physical and communicative distance from society. Political prisoners are inherently vulnerable to an either/or situation: isolating silence or elimination. For George, his vociferous revolutionary attitude was either futile or self-exterminating. He was well aware of his situation. In Blood in My Eye, his political treatise, he wrote:

I'm in a unique political position. I have a very nearly closed future, and since I have always been inclined to get disturbed over organized injustice or terrorist practice against the innocents wherever I can now say just about what I want (I've always done just about that), without fear of self-exposure. I can only be executed once.

George was equally aware that revolutionary change happens only when an entire society is ready. No amount of action, preaching, or teaching will spark revolution if social conditions do not warrant it. My father's case, unfortunately, is an appropriate indicator. He attempted a revolutionary act during a reactionary time; elimination was the only possible consequence.

The challenge for a radical in today's world is to balance reformist tendencies (political liberalism) and revolutionary action/ideology (radicalism). While reformism entails a legitimation of the status quo as a search for changes within the system, radicalism posits a change of system. Because revolutionaries are particularly vulnerable, a certain degree of reformism is necessary to create space, space needed to begin the laborious task of making revolution.

George's statement "Combat Liberalism" and the general reaction to it typify the gulf between the two philosophies. George was universally misunderstood by the left and the right alike. As is the case with most modern political prisoners, nearly all of his support came from reformists with liberal leanings. It seems that they acted in spite of, rather than because of, the core of his message.

The left's attitude toward COINTELPRO is a useful illustration. COINTELPRO, the covert government program used to dismantle the Black Panther Party, and later the American Indian Movement, is typically cited by many leftists as a damning example of the government's conspiratorial nature. Declassified documents and ex-agents' testimonies have shown COINTELPRO to be one of the most unlawful, insidious cells of government in the nation's history. COINTELPRO, however, was really a symptomatic, expendable entity; a small police force within a larger one (FBI), within a branch of government (executive), within the government itself (liberal democracy), within the economic system (capitalism). Reformists in radicals' clothing unknowingly argued against symptoms, rather than the roots, of the entrenched system. Doing away with COINTELPRO or even the FBI would not alter the structure that produces the surveillance/elimination apparatus.

In George's day, others who considered themselves left of center, or even revolutionary, concerned themselves with inner-city reform issues, mostly black ghettos. The problem of and debate about inner cities still exists. However, recognition of a problem and analysis of that problem are two very different challenges. The demand to better only predominantly black inner-city conditions is unrealistic at best. In the capitalist structure, there must be an upper, middle, and especially a lower class. Improving black neighborhoods is the equivalent of ghettoizing some other segment of the population poor whites, Hispanics, Asians, etc. Nothing intrinsic to the system would change, only superficial alterations that would mollify the liberal public. As Chomsky asserts in Turning the Tide:

Determined opposition to the latest lunacies and atrocities must continue, for the sake of the victims as well as our own ultimate survival. But it should be understood as a poor substitute for a challenge to the deeper causes, a challenge that we are, unfortunately, in no position to mount at the present though the groundwork can and must be laid.

Failure to understand the radical, encompassing viewpoint in the sixties led to reformism. In effect, the majority of the left completely deserted any attempt at the radical balance required of the politically conscious, leaving only liberalism and its narrow vision to flourish.

Nobody comprehended the radical dilemma more fully than George Jackson. Indeed, he developed his philosophy not out of mere happenstance, but with a very conscious eye upon maintaining his revolutionary ideology. He writes in Blood in My Eye:

Reformism is an old story in Amerika. There have been depressions and socio-economic political crises throughout the period that marked the formation of the present upper-class ruling circle, and their controlling elites. But the parties of the left were too committed to reformism to exploit their revolutionary potential.

George's involvement with the prison reform movement should therefore be seen as a matter of survival. Unlike the reformist left, prison oppression was directly affecting him. His balanced reform activities improving prisoners' rights while speaking out against prison as an entity were required to make living conditions tolerable enough for him to continue on his revolutionary path. Simply, he did what he had to do to survive created space while simultaneously pursuing his radical theory.

The reform George Jackson did accomplish was and still is incredible, transforming the prison environment from unlivable to livable hell, from encampments that he called reminiscent of Nazi Germany to at least a scaled-down version of the like. With his influence, these changes occurred not only in California, but throughout the nation. Only now is his influence beginning to slip, with reactionary politics bringing about torture and sensory deprivation facilities such as Pelican Bay State Prison in California, as well as the reintroduction for adoption of the one-to-life indeterminate sentence. This type of sentence is fertile ground for state oppression, as it is up to a parole board to decide if an inmate is ever to be let go. A prison can easily and effectively create situations that transform a one-to-life into a life sentence. (Tellingly, the indeterminate sentence is being promoted not by the right, but by a California senator formerly associated with mainstream liberal causes.)

Politically, George Jackson provided us all with a radical education, a viable alternative to viewing not only the United States but the world as a political entity. He gave the disenfranchised a lens through which they could clearly see their situation and become more conscious about it. He wrote in April 1970:

It all falls into place. I see the whole thing much clearer now, how fascism has taken possession of this country, the interlocking dictatorship from county level on up to the Grand Dragon in Washington, D.C.

Crucially, George's treatment is a concrete, undeniable example of political oppression. Race is more times than not the easy answer to a problem. Among people of color in the United States, the quick fix, "blame it on whitey" mentality has become so prevalent that it shortcuts thinking. Conversely, stereotypes of minorities act as simple-minded tools of divisiveness and oppression. George addressed these issues in prison, setting a model for the outside as well: "I'm always telling the brothers some of those whites are willing to work with us against the pigs. All they got to do is stop talking honky. When the races start fighting, all you have is one maniac group against another." On the surface, race has been and is still being put forth as an overriding issue that needs to be addressed as a prerequisite for social change. In fact, although it seems to loom as a large problem, race as an issue is again a symptom of capitalism. Of course, on a paltry level and among the relatively powerless, race does play a part in social structure (the racist cop, the bigoted landlord, etc.), pitting segments of the population against each other. But revolutionary change requires class analysis that drives appropriate actions and eliminates race as a mitigating factor. Knowing these socioeconomic dynamics, George Jackson was first and foremost a people's revolutionary, and he acted as such at all times without compromise. His writings clearly reflect his belief in class-based revolutionary change.

Considering the many structural elements affecting him, it is easy to see why George and his message have been misinterpreted. The quick takes on him are abundant: it's assumed that he was imprisoned and oppressed because he was black, because he had publicized ties with the Black Panther Party and was a well-known organizer within the prison reform movement. Although George became a "prison celebrity," a status that certainly didn't help him in terms of acquittal and release, ignorance of the actual forces responsible for his prolonged imprisonment is inexcusable. The radical viewpoint is absolutely indispensable when regarding both George's life circumstance and philosophy. His life serves not as a mere individual example of prison cruelty, but as a scalding indictment of the very nature of capitalism.

In these times, there are two very different ways to be born into privilege. First and most obvious in the system of capital is to be born into wealth. Second, and not precluding the first, is to have an intellectual, politically conscious base from which to grow as a person philosophically and spiritually. Radical figures in modern society Lenin, Trotsky, Ché Guevara, my father, Jonathan Jackson, and my uncle George Jackson have the capability of providing this base through their examples and writings.

Those not born into privilege can achieve a politically conscious base in different ways. No veils separate the lower class from the realities of everyday life. They have been given the gift of disillusion. Bourgeois lifestyle, although perhaps sought after, is in most cases not attainable. Daily survival is the primary goal, as it was with George. Of course, when it finally becomes more attractive for one to fight, and perhaps die, than to live in a survival mode, revolution starts to become a possibility. Not a riot, not a government takeover by one or another group, but a people's revolution led by the politically conscious.

This consciousness doesn't simply appear. Individuals must grow and work into it, but it's an invaluable gift to have insight into and access to an alternative to the frustration, a goal on the horizon.

The nineties are an unconscious era. The unimportant is all-important, the essential neglected. What system than capitalism, what time period than now, is better suited to naturally create the scape-goat, the seldom-heard political prisoner, misunderstood in his cult-of-personality status, held back in a choke hold from society? It is not only our right, but our duty, to listen to and comprehend George Jackson's message. To not do so is to turn our backs on one of the brilliant minds of the twentieth century, an individual passionately involved with liberating not only himself, but all of us.

Settle your quarrels, come together, understand the reality of our situation, understand that fascism is already here, that people are dying who could be saved, that generations more will die or live poor butchered half-lives if you fail to act. Do what must be done, discover your humanity and your love in revolution. Pass on the torch. Join us, give up your life for the people.

George Jackson

Jonathan Jackson, Jr.

San Francisco

June 1994


More Civil Rights Movement On W.E. A.L.L. B.E. :

Museum Acquires Storied Trove Of Performances By Jazz Greats


Listen For Yourself:

August 16, 2010
Museum Acquires Storied Trove Of Performances By Jazz Greats
By LARRY ROHTER
NY Times
William Savory

For decades jazz cognoscenti have talked reverently of “the Savory Collection.” Recorded from radio broadcasts in the late 1930s by an audio engineer named William Savory, it was known to include extended live performances by some of the most honored names in jazz — but only a handful of people had ever heard even the smallest fraction of that music, adding to its mystique.

After 70 years that wait has now ended. This year the National Jazz Museum in Harlem acquired the entire set of nearly 1,000 discs, made at the height of the swing era, and has begun digitizing recordings of inspired performances by Louis Armstrong, Benny Goodman, Billie Holiday, Count Basie, Coleman Hawkins, Lester Young, Bunny Berigan, Harry James and others that had been thought to be lost forever. Some of these remarkable long-form performances simply could not fit on the standard discs of the time, forcing Mr. Savory to find alternatives. The Savory Collection also contains examples of underappreciated musicians playing at peak creative levels not heard anywhere else, putting them in a new light for music fans and scholars.

“Some of us were aware Savory had recorded all this stuff, and we were really waiting with bated breath to see what would be there,” said Dan Morgenstern, the Grammy-winning jazz historian and critic who is also director of the Institute of Jazz Studies at Rutgers University. “Even though I’ve heard only a small sampling, it’s turning out to be the treasure trove we had hoped it would be, with some truly wonderful, remarkable sessions. None of what I’ve heard has been heard before. It’s all new.”

After making the recordings, Mr. Savory, who had an eccentric, secretive streak, zealously guarded access to his collection, allowing only a few select tracks by his friend Benny Goodman to be released commercially. When he died in 2004, Eugene Desavouret, a son who lives in Illinois, salvaged the discs, which were moldering in crates; this year he sold the collection to the museum, whose executive director, Loren Schoenberg, transported the boxes to New York City in a rental truck.

Part of what makes the Savory collection so alluring and historically important is its unusual format. At the time Savory was recording radio broadcasts for his own pleasure, which was before the introduction of tape, most studio performances were issued on 10-inch 78-r.p.m. shellac discs, which, with their limited capacity, could capture only about three minutes of music.

But Mr. Savory had access to 12- or even 16-inch discs, made of aluminum or acetate, and sometimes recorded at speeds of 33 1/3 r.p.m. That combination of bigger discs, slower speeds and more durable material allowed Mr. Savory to record longer performances in their entirety, including jam sessions at which musicians could stretch out and play extended solos that tested their creative mettle.

“Most of what exists from this era was done at home by young musicians or fans, and so you get really bad-sounding recordings,” Mr. Schoenberg said. “The difference with Bill Savory is that he was both a musician and a technical genius. You hear some of this stuff and you say, ‘This can’t be 70 years old.’ ”

As a result, many of the broadcasts from nightclubs and ballrooms that Mr. Savory recorded contain more relaxed and free-flowing versions of hit songs originally recorded in the studio. One notable example is a stunning six-minute Coleman Hawkins performance of “Body and Soul” from the spring of 1940; in it this saxophonist plays a five-chorus solo even more adventurous than the renowned two-chorus foray on his original version of the song, recorded in the fall of 1939. By the last chorus, he has drifted into uncharted territory, playing in a modal style that would become popular only when Miles Davis recorded “Kind of Blue” in 1959.

Glimpsing The Jazz Hierarchy

Asked if the Savory recordings were likely to prompt a critical reassessment of some jazz musicians or a reordering of the informal hierarchy by which fans rank instrumentalists, Mr. Morgenstern responded by citing the case of Herschel Evans, a saxophonist who played in the Count Basie Orchestra but who died early in 1939, just before his 30th birthday. Evans played alongside Lester Young, who was one of the giants of the saxophone and constantly overshadowed Evans on the Basie group’s studio recordings.

“There can never be too much Lester Young, and there is some wonderful new Lester Young on these discs,” Mr. Morgenstern said. “But there are also some things where you can really hear Herschel, who is woefully under-represented on record and who, until now, we hardly ever got to hear stretched out. What I’ve heard really gives us a much better picture of what he was all about.”

The collection has already shed new light on what is considered the first outdoor jazz festival, the 1938 Carnival of Swing on Randalls Island. More than 20 groups played at the event, including the Duke Ellington and Count Basie orchestras, and though newsreel footage exists, no audio of the festival was believed to have survived — until part of performances by Count Basie and Stuff Smith turned up on Mr. Savory’s discs.

Other material consists of some of the most acclaimed names in jazz playing in unusual settings or impromptu ensembles. Goodman, for example, performs a duet version of the Gershwins’ “Oh, Lady Be Good!” with Teddy Wilson on harpsichord (instead of his usual piano), while Billie Holiday is heard, accompanied only by a piano, singing a rubato version of her anti-lynching anthem, “Strange Fruit,” barely a month after her original recording was released.

“The record is more like a dance tempo, whereas this version is how she would have done it in clubs,” Mr. Schoenberg, a saxophonist and pianist who is also the author of “The NPR Curious Listener’s Guide to Jazz,” said of the live Holiday recording. “You have the most inane scripted introduction ever, but then Billie comes in, and she drives a stake right through your heart.”

Because Mr. Savory liked classical music, the discs also include a few performances by the Norwegian soprano Kirsten Flagstad, taken from one of her very early tours of the United States, and several by Arturo Toscanini’s NBC Symphony Orchestra. There are even speeches, by Franklin D. Roosevelt and Pope Pius XII, and a broadcast of James Joyce reading from his work.

The collection also provides a glimpse into the history of broadcasting, thanks to the presence of Martin Block, a WNEW announcer who hosted a show called “Make Believe Ballroom,” on many discs. Walter Winchell coined the term “disc jockey” to describe Block, whose citation when he was inducted into the Radio Hall of Fame gives him credit for being “the first radio disc jockey to become a star in his own right.”

Mr. Savory himself played piano and saxophone, and his choice of what to record reflects a musician’s refined tastes. “We’re lucky that he was such a jazz fanatic, because he really knew who was good and who wasn’t,” Mr. Schoenberg said.

According to his son Eugene, Mr. Savory was born William Desavouret in June 1916 aboard the ocean liner Mauretania, where his parents were passengers immigrating to the United States from France. (Mr. Desavouret, Mr. Savory’s son, said he did not know why his father changed his name.) He grew up in New Jersey and Southern California and showed an early fascination with technology, which led, while he was still a teenager, to his entry into the recording business.

A Mysterious Man

As best as can be reconstructed, Mr. Savory went into a Manhattan recording studio to make a demo for a group he played in, found that the equipment was not working and offered to repair it. That led to his being hired to maintain the gear and eventually to a contract with a studio that specialized in transcribing live performances off the air for radio networks and advertisers.

“He was doing these air checks, he told me, to get the balance in the recording, and recorded the shows on his own,” said Susan Schmidt Horning, a historian of technology and culture who teaches at St. John’s University in Queens and who interviewed Mr. Savory several times. “I think he was just interested in recording and loved music. He did it because he could do it. He knew the value of these recordings, artistically and commercially, and wasn’t going to let them go. “The recordings that the museum acquired end around 1940, when Mr. Savory moved to Chicago to work for Columbia Records and CBS. During World War II he was initially assigned to the Naval Research Laboratory, where, Mr. Desavouret said, he helped develop radar for all-weather fighter aircraft, but later also served as a test and combat pilot.

At war’s end, Mr. Savory went back to work for Columbia, where he was part of the team that invented the 33 1/3-r.p.m. long-playing record. In the 1950s he moved to Angel Records, EMI’s classical label; engineered or produced numerous albums there under the name W. A. Desavouret; married Helen Ward, a former singer in the Goodman band; and eventually moved to Falls Church, Va.

“As an engineer, Bill was remarkable, the guy who developed the technique for cutting the masters” of 78-r.p.m. recordings that were being transferred to the new format, said the jazz record producer George Avakian, 91, who worked with Mr. Savory at Columbia in the 1940s. “He was an all-round character, a humorous, delightful guy who never got as much credit as he deserved, and he did so much.”

Mr. Avakian said he remembered hearing a few songs from the collection in the late 1950s, when he visited the Savory home, and still recalled the excitement he felt then about the quality of the music on the discs. “I asked him once, ‘How much more have you got?,’ and he said, ‘I don’t know,’ ” Mr. Avakian said. “He was really vague about it.”

When he moved to suburban Washington, Mr. Savory took a job with a defense contractor, working, Mr. Desavouret said, on electronic communications and surveillance devices designed to pick up audio and data signals. His son also said his father told him that he was “a spook, connected with the C.I.A.,” an assertion he is inclined to believe because “when I’d come for Thanksgiving, we’d go out with six retired C.I.A. guys,” and because, on retirement, his father was given a memento calling him “the master of mysterious projects.”

After Mr. Savory’s death, his lawyer and heirs were not sure what to do with the meticulously annotated collection. Some of the boxes with discs had been sealed in 1940 and never opened again, and others had been damaged by exposure to water or were covered with “50 years of mold and gunk,” as Mr. Schoenberg put it.

Mr. Desavouret, a musician and retired computer scientist who lives northwest of Chicago, said, “When he died, I felt overwhelmed,” because “there was a danger it was all going to be thrown away.” In fact, he added, “Dad’s lawyer hired a couple of people to clean things up, and they dug through everything and threw away some stuff that they thought was not useful. So I had to issue instructions to preserve all the recordings and writings until we found out what the hell it is.”

Eventually, Mr. Desavouret had the recordings shipped to his home in Malta, Ill., where Mr. Schoenberg, who had been trying to track him down, finally heard them this spring and immediately realized that “we have struck gold.”

From Disc To Digital

“This has been on my mind for 30 years,” Mr. Schoenberg said. “I cultivated and pestered Bill Savory, who never let me hear a damn thing and wouldn’t even tell me what was in the collection besides Benny Goodman,” for whom Mr. Schoenberg, 52, used to work.

But because of deterioration, converting the 975 surviving discs to digital form and making them playable is a challenge. Mr. Schoenberg estimates that “25 percent are in excellent shape,” he said, “half are compromised but salvageable, and 25 percent are in really bad condition,” of which perhaps 5 percent are “in such a state that they will tolerate only one play” before starting to flake.

The transfer of the Savory collection from disc to digital form is being done by Doug Pomeroy, a recording engineer in Brooklyn who specializes in audio restorations and has worked on more than 100 CD reissues, among them projects involving music by Louis Armstrong and Woody Guthrie. The process involves numerous steps, beginning with cleaning the discs by hand and proceeding through pitch correction, noise removal, playback equalization, mixing and mastering.

“As fate would have it, a couple of the most interesting Count Basie things are so badly corroded that it took me two afternoons and 47 splices just to put one of them back together again,” Mr. Pomeroy said while working on yet another Basie tune, a shuffle featuring Lester Young on clarinet rather than saxophone, his main instrument. “In almost every case I’ve been able to get a complete performance, but it can be very fatiguing to hear the same skip over and over again and have to close the gap digitally.”

Initially, Mr. Pomeroy was reluctant to take on the project, saying he had too much of a backlog to accept new work. But as Mr. Schoenberg recalled their initial conversation, standing in Mr. Pomeroy’s studio one morning last month, “when I said ‘It’s Bill Savory,’ he said, ‘I’ll see you tomorrow morning.’ ”

Mr. Schoenberg said the museum planned to make as much as possible of the Savory collection publicly available at its Harlem home and eventually online. But the copyright status of the recorded material is complicated, which could inhibit plans to share the music. While the museum has title to Mr. Savory’s discs as physical objects, the same cannot be said of the music on the discs.

“The short answer is that ownership is unclear,” said June M. Besek, executive director of the Kernochan Center for Law, Media and the Arts at the Columbia University School of Law. “There was never any arrangement for distribution of copies” in contracts between performers and radio stations in the 1930s, she explained, “because it was never envisioned that there would be such a distribution, so somewhere between the radio station and the band is where the ownership would lay.”

At 70 years’ remove, however, the bands, and even some of the radio networks that broadcast the performances, no longer exist, and tracking down all the heirs of the individual musicians who played in the orchestras is nearly impossible.

In the meantime Mr. Pomeroy is plunging ahead. He has digitized just over 100 of the discs so far, and knows that additional challenges — and delights — await him.

“Every one of these discs is an unexpected discovery,” he said. “It’s an education for me. I can hardly wait to transfer some of this stuff because I am so eager to hear it, to find out what’s there and solve all the mysteries that are there.”

NY Times Obit.: James Leeson Jr. Dies At 79; Taped Execution Of Willie McGee

Leeson in 1985

James Leeson Jr. Dies At 79; Taped Execution Scene
By RICHARD GOLDSTEIN
NY Times
May 7, 2010

James Leeson Jr., whose taping of a May 1951 radio broadcast describing the atmosphere at a black man’s execution in Mississippi in a highly publicized rape case was drawn upon for a newly released book and a radio documentary, died Monday in Franklin, Tenn. He was 79.

Mr. Leeson committed suicide, said Detective Lt. Tony Phillips of the Williamson County Sheriff’s office. His body was found outside his home. A friend, E. Thomas Wood, wrote on a blog on the Web site of Nashville Scene, a weekly newspaper, that Mr. Leeson died of a gunshot wound.

Mr. Leeson was a part-time college student and a journalist for The Hattiesburg American when he taped a broadcast from the lawn of the Laurel, Miss., courthouse where Willie McGee, a black handyman, was executed in a “traveling electric chair” that was moved around the state. The broadcast was made while a crowd of hundreds gathered on the lawn, some of its members whooping in delight.

Mr. McGee was put to death for the 1945 rape of a white woman, a mother of three. He maintained his innocence but was convicted by all-white juries in three separate trials. The first two verdicts were reversed on technical grounds.

Albert Einstein, William Faulkner and Josephine Baker were among those who sought clemency for Mr. McGee in a case that drew worldwide attention amid allegations of perjured testimony, suppressed evidence and a hostile and racially prejudicial atmosphere. Bella Abzug, a young lawyer at the time, handled the final appeals.

Mr. Leeson’s tape recording was used by Alex Heard for his book “The Eyes of Willie McGee: A Tragedy of Race, Sex and Secrets in the Jim Crow South,” to be published by HarperCollins next week. Mr. Heard was a student of Mr. Leeson’s at Vanderbilt University in 1979 when he first heard the tape. Mr. Leeson had been in ill health recently, according to Mr. Heard.

The tape was also a basis for the documentary “Willie McGee and the Traveling Electric Chair,” which was broadcast Friday on National Public Radio stations as part of the “Radio Diaries” series.

James Turner Leeson Jr., a native of North Carolina, was a graduate of the University of Southern Mississippi and the Columbia University Graduate School of Journalism. He brokered sales of farm property.

He is survived by two nieces.

Mr. Leeson worked as a reporter for The Associated Press in Nashville and covered the civil rights struggles of the 1960s and ’70s for the Race Relations Information Center.

In an e-mail message to The New York Times last month, Mr. Leeson told how he had recorded the execution broadcast using a tape recorder with two seven-inch reels that he had obtained primarily to record music.

He said he did not “recall having any special sense in making the McGee recording other than it was a most interesting and most unusual event to be broadcast, to say the least.”
 See Also...
http://www.nashvillescene.com/pitw/archives/2010/05/06/a-man-in-full-jim-leeson-1930-2010 

W.E. A.L.L. B.E. TV: My Grandfather's Electrocution: Looking For Willie McGee

America Is Better Than This

America Is Better Than This
By BOB HERBERT
August 27, 2010

America is better than Glenn Beck. For all of his celebrity, Mr. Beck is an ignorant, divisive, pathetic figure. On the anniversary of the great 1963 March on Washington he will stand in the shadows of giants — Abraham Lincoln and the Rev. Dr. Martin Luther King Jr. Who do you think is more representative of this nation?

Consider a brief sampling of their rhetoric.

Lincoln: “A house divided against itself cannot stand.”

King: “Never succumb to the temptation of becoming bitter.”

Beck: “I think the president is a racist.”

Washington was on edge on the morning of Aug. 28, 1963. The day was sunny and very warm and Negroes, as we were called in those days, were coming into town by the tens of thousands. The sale of liquor was banned. Troops stood by to restore order if matters got out of control. President John F. Kennedy waited anxiously in the White House to see how the day would unfold.

It unfolded splendidly. The crowd for the “March on Washington for Jobs and Freedom” grew to some 250,000. Nearly a quarter of the marchers were white. They gathered at the Lincoln Memorial, where they were enthralled by the singing of Mahalia Jackson and Joan Baez. The march was all about inclusion and the day seemed to swell with an extraordinary sense of camaraderie and good feeling.

The climax, of course, was Dr. King’s transcendent “I Have a Dream” speech. Jerald Podair, a professor of American studies at Lawrence University in Wisconsin, has called Aug. 28, 1963, “the most important single day in civil rights history.” This is the historical legacy that Glenn Beck, a small man with a mean message, has chosen to tread upon with his cynical rally on Saturday at that very same Lincoln Memorial.

Beck is a provocateur who likes to play with matches in the tinderbox of racial and ethnic confrontation. He seems oblivious to the real danger of his execrable behavior. He famously described President Obama as a man “who has a deep-seated hatred for white people or the white culture.”

He is an integral part of the vicious effort by the Tea Party and other elements of the right wing to portray Mr. Obama as somehow alien, a strange figure who is separate and apart from — outside of — ordinary American life. As the watchdog group Media Matters for America has noted, Beck said of the president, “He chose to use the name, Barack, for a reason, to identify not with America — you don’t take the name Barack to identify with America. You take the name Barack to identify, with what? Your heritage? The heritage, maybe, of your father in Kenya, who is a radical?”

Facts and reality mean nothing to Beck. And there is no road too low for him to slither upon. The Southern Poverty Law Center tells us that in a twist on the civil rights movement, Beck said on the air that he “wouldn’t be surprised if in our lifetime dogs and fire hoses are released or opened on us. I wouldn’t be surprised if a few of us get a billy club to the head. I wouldn’t be surprised if some of us go to jail — just like Martin Luther King did — on trumped-up charges. Tough times are coming.”

He makes you want to take a shower.

In Beck’s view, President Obama is driven by a desire to settle “old racial scores” and his ultimate goal is “reparations” for black Americans. Abe Lincoln and Dr. King could only look on aghast at this clown.

Beck has been advertising his rally as nonpolitical, but its main speaker is Sarah Palin. She had her own low moment recently as a racial provocateur, publicly voicing her support for Laura Schlessinger, radio’s “Dr. Laura,” who went out of her way to humiliate a black caller by continuously using the n-word to make a point, even after the caller had made it clear that she was offended.

Palin’s advice to Schlessinger: “Don’t retreat — reload.”

There is a great deal of hatred and bigotry in this country, but it does not define the country. The daily experience of most Americans is not a bitter experience and for all of our problems we are in a much better place on these matters than we were a half century ago.

But I worry about the potential for violence that grows out of unrestrained, hostile bombast. We’ve seen it so often. A little more than two weeks after the 1963 March on Washington, the 16th Street Baptist Church in Birmingham was bombed by the Ku Klux Klan and four young black girls were killed. And three months after the march, Jack Kennedy was assassinated.

My sincere advice to Beck, Palin and their followers is chill, baby, chill.

Mumia Speaks: The Passing Of A Legend: Abbey Lincoln

Video: Max Roach - Abbey Lincoln
 

The Passing Of A Legend: Abbey Lincoln
[col. writ. 8/15/10] (c) '10 Mumia Abu-Jamal


In the long chain of musical creativity that characterizes Black American music (and increasingly, American music), jazz played a pivotal role.


Although it is now the stuff of college radio, and concerts for the well heeled, middle class intelligentsia, there was a time when it was a radical, and indeed, a revolutionary music, carrying within it the seeds of rebellion and protest.


Among the artists who personified these attributes were the drummer and composer, Max Roach (1924 -2007) and his beautiful, talented wife, jazz singer, Abbey Lincoln.


The power of their performance can be seen in the radicalization of Black revolutionary nationalist, Muhammad Ahmed (fka) Max Stanford, Jr.) who, in his work, We will Return in the Whirlwind: Black Radical Organizations: 1960-1975),explains the potential political impacts of the works of Roach, Lincoln and other jazz artists in the late '50's:


First was going to see Max Roach and Abbey Lincoln present their "Freedom Now" suite at the national convention of the NAACP.....I had been raised on Jazz and had done my homework with Eddie Collier while listening to John Coltrane's Giant Steps.... But this was the first time I had heard "Message music" so direct for my generation. The "Freedom Now" suite immediately raised my political/cultural consciousness {p.xxvi}


Noted musicologist, Dr. F. Ricky Vincent has credited Roach and Lincoln as being among the forerunners of the 'Funk' movement in jazz and later Black popular music; the 'funk' being the realness, earthiness and Africanity that fueled dozens of groups from James Brown to Parliament Funkadelic, and beyond.


Although jazz is a relatively small slice of CD sales these days (2% according to the Recording Industry Association of America (RIAA) FOR 2006), it sells more than classical, but less than children's music for the same period; it has had a powerful and outsized impact on music, politics and culture.


Abbey Lincoln, with her moving and memorable contralto, certainly played a leading role in that march, and she will be remembered.


Lincoln was 80 years old.


(c) '10 maj


[Sources: Ahmad, Muhammad, We Will Return in the Whirlwind: Black Radical Organizations: 1960-1975 (Chi., IL; Kerr Publ. 2007; Vincent, Ricky, Funk: The Music, The People, and the Rhythm of the One. (NY; St. Martin's Griffin, 1996), 43]
--------------
The Power of Truth is Final -- Free Mumia!


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If you are planning to organize an event or would like to order in bulk, you can also receive a 45% discount on any bulk orders of 20 copies or more. The book retails for $16.95, for orders of 20 copies or more the discounted price would be $9.32 per book, plus shipping and handling. Prepayment would be required and books are nonreturnable. If you or your organization would like to place a bulk order, please contact Stacey Lewis at 415.362.1901 or stacey@citylights.com

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