Above: excerpt from John Akomfrah’s film ‘The Stuart Hall Project’
The death yesterday of Stuart Hall, aged 82, robs the British left of a major intellect, an energetic organiser and a warm, charismatic human being. I should declare an interest: in the early 1970′s Stuart was one of my tutors at Birmingham University (where he was director of the Centre for Contemporary Studies) and, together with Dorothy Thompson in the History department, was instrumental in ensuring that I wasn’t chucked out and eventually obtained a degree (albeit an ‘Ordinary’). So I owe him a great deal: I only wish I’d got to know him better and found out, for instance, that we shared a love of jazz (although, I learned from Desert Island Discs, his favourite musician was Miles Davis, so even that might have generated some disagreement).
So I hope it’s clear that I liked and respected Stuart Hall a great deal, and if the articles reproduced below, in his memory, are quite sharply critical of aspects of his politics (particularly his rejection of the centrality of the working class to the struggle for socialism), that’s because serious, honest people can (or, at least, ought to be able to) disagree and still hold one another in high regard.
Paving the way for New Labour
By Matt Cooper (2013)
Cinema documentary has undergone a renaissance in recent years, with fine examples exploring subjects as diverse as sushi in Jiro Dreams of Sushi (2011) and death squads in 1960s Indonesia in The Act of Killing (2012).
Nonetheless, a film about the semi-Marxist cultural theorist Stuart Hall is unexpected. Hall was born in Jamaica in 1932, went to Oxford as a Rhodes Scholar in 1952 and was the founding editor of New Left Review (NLR) in 1960. This was a journal which explicitly adopted a “third way” approach between Soviet Communism and social democracy, but was ambivalent about the working class and its revolutionary potential.
After resigning as editor of NLR in 1962, Hall became a leading radical academic joining the Centre for Contemporary Cultural Studies at Birmingham University in 1964 and becoming its director from 1968 to 1979. Cultural studies grew out of the New Left interest in the culture of the working class, which had largely been ignored by academia, and was part of a rise in a form of academic radicalism that mixed some real insights in an overly abstract and obtuse theoretical carapace and, like the New Left, often had little relationship with real struggles.
The last phase of Hall’s career commenced after 1979, when, despite his earlier rejection of both Stalinism and social democracy, he was one of the key theorists of bringing the two together. Through the pages of Marxism Today (the journal of the right wing of the Communist Party), and his own books, Hall argued that Labour needed to form a new progressive alliance in tune with “new times” where the organised working class was a diminishing force.
The problem with Akomfrah’s film is that it fails to address the development of Hall’s thought. It is strongest on his part in the formation of the New Left, and here hints at the weakness of this approach. While Hall’s co-thinkers were well established in Oxford and London, he reports that he was perplexed by an early encounter with the northern working class in Halifax. Like much else in the film, which is straitjacketed by its choice to use only the words from radio and TV appearances by Hall, this is left undeveloped.
Similarly, the film moves briefly over Hall’s work in the 1970s and fails to communicate what was specific about Hall’s understanding of culture — particularly his work on the moral panic over mugging in Policing the Crisis (1978).
Worst of all, the film entirely misses out Hall’s analysis of Thatcherism in the 1980s and his increasingly pessimistic response about how the left should respond to it.
Strangely, the film includes a clip of the 1984-1985 miners’ strike, but there is no reference to any words from Hall to accompany it. Hall, while clearly sympathetic to the strike, thought it the doomed expression of class struggle that could no longer win. Without any clear sense of transforming society, Hall looked only to create a new more progressive ideology removed from such outdated class struggle. Unwittingly, he was preparing the ground for New Labour (which was more enthusiastically supported by many of his Marxism Today collaborators).
Without much grasp of Hall’s place in the movement away from class politics from the 1960s to the 1980s, The Stuart Hall Project ends up with a fragmented kaleidoscope of images without any clear narrative.
It neither does justice to Hall’s ideas nor shows any critical understanding of them.
“Post Fordism”: collapsing into the present
By Martin Thomas (1989)
Capitalism has changed and is changing. Vast new areas in the Third World have industrialised. The introduction of small, cheap, flexible computers is revolutionising finance, administration, retailing, manufacturing. The majority of the workforce in many capitalist countries is now “white-collar” – but white-collar work is becoming more industrial.
Dozens of other shifts and changes are underway. Which of them are basic? How are they connected? What implications do they have for socialists?
Into this debate has marched the Communist Party’s magazine “Marxism Today”, bearing a banner with a strange device – “post-Fordism”. “At the heart of New Times”, they write, “is the shift from the old mass-production Fordist economy to a new, more flexible, post” Fordist order based on computers, information technology and robotics” (Marxism Today, October 1988). These New Times call for a new politics: in place of the old class struggle, diverse alliances.
There are several issues here. Do the political conclusions really follow from the economic analysis? Is the economic analysis sound? Where does the economic analysis come from? What do the terms “Fordism” and “post-Fordism” mean? Read the rest of this entry »
Phil Everly of the Everly Brothers has died at the age of 74. . .
Everly’s high, close-harmony singing with his older brother, Don, made the Everly Brothers one of the biggest rock and country acts of the 1950s and early 1960s.
. . .
The Everly Brothers profoundly influenced 1960s-era artists ranging from Beatles John Lennon and Paul McCartney, who early in their careers called themselves the Foreverly Brothers, to Simon and Garfunkel, the Byrds, the Hollies and the Beach Boys.
“Perhaps even more powerfully than Elvis Presley, the Everly Brothers melded country with the emerging sound of 50s rock & roll,” Rolling Stone magazine said in placing the duo at No 33 on its list of the 100 greatest artists.”
David Lean’s Lawrence of Arabia (1962) may or may not have been Peter O’Toole’s greatest achievement, but it was certainly his finest film. Though not in all respects historically accurate, it still tells a us a lot about British imperialism and its accompanying racism. It was also a brilliant, beautiful and moving piece of cinema:
This is from the New York Times:
Peter O’Toole, an Irish bookmaker’s son with a hell-raising streak whose magnetic performance in the 1962 epic film “Lawrence of Arabia” earned him overnight fame and put him on the road to becoming one of his generation’s most accomplished and charismatic actors, died on Saturday in London. He was 81.
His daughter Kate O’Toole said in a statement that he had been ill for some time.
A blond, blue-eyed six-footer, Mr. O’Toole had the dashing good looks and high spirits befitting a leading man, and he did not disappoint in “Lawrence,” David Lean’s wide-screen, almost-four-hour homage to T.E. Lawrence, the daring British soldier and adventurer who led an Arab rebellion against the Turks in the Middle East during World War I.
The performance brought Mr. O’Toole the first of eight Academy Award nominations, a flood of film offers and a string of artistic successes in the 1960s and early ‘70s. In the theater — he was a classically trained actor — he played an anguished, angular tramp in Beckett’s “Waiting for Godot” and a memorably battered title character in Chekhov’s “Uncle Vanya.”
In film, he twice played a robust King Henry II, first opposite Richard Burton in “Becket,” then with Katharine Hepburn as his queen in “The Lion in Winter.” Both earned Oscar nominations for Best Actor, as did his repressed, decaying schoolmaster in “Goodbye, Mr. Chips” and the crazed 14th Earl of Gurney in “The Ruling Class.”
Less successful was his Don Quixote in “Man of La Mancha,” Arthur Hiller’s 1972 adaptation of the Broadway musical, but it emphasized that his specialty was increasingly becoming the outsider or misfit: dreamy, romantic, turbulent, damaged, or even mad, but usually larger than life.
Mr. O’Toole threw himself wholeheartedly into what he called “bravura acting,” courting and sometimes deserving the accusation that he became over-theatrical, mannered, even hammy. His lanky, loose-jointed build; his blue eyes; his long, lantern-jawed face; his oddly languorous sexual charm; and the eccentric loops and whoops of his voice tended to reinforce the impression of power and extravagance.
Mr. Burton called him “the most original actor to come out of Britain since the war,” with “something odd, mystical and deeply disturbing” in his work.
Some critics called him the next Laurence Olivier. As a young actor Mr. O’Toole displayed an authority that the critic Kenneth Tynan said “may presage greatness.” In 1958 the director Peter Hall called Mr. O’Toole’s Hamlet in a London production “electrifying” and “unendurably exciting” — a display of “animal magnetism and danger which proclaimed the real thing.”
He showed those strengths somewhat erratically, however; for all his accolades and his box-office success, there was a lingering note of unfulfilled promise in Mr. O’Toole.
It was no surprise when Olivier chose Mr. O’Toole to inaugurate Britain’s National Theater Company in 1963 with a reprisal of his Hamlet. But the first night left most critics unmoved and unexcited and the actor himself lamenting “the most humbling, humiliating experience of my life.”
“As it went on,” he said, “I suddenly knew it wasn’t going to be any good.”
A production in 1965 of David Mercer’s “Ride-a-Cock-Horse,” in which he played an adulterous alcoholic, was booed at its London opening.
Onscreen, mixed reviews followed his performances as the cowardly naval officer seeking redemption in “Lord Jim,” Richard Brooks’s 1965 adaptation of the Joseph Conrad novel; as a playboy in “What’s New, Pussycat?” a 1965 comedy with Peter Sellers and written by a young Woody Allen; and as the Three Angels in “The Bible: In the Beginning,” John Huston’s 1966 recreation of Genesis. And his sadistic Nazi general in Anatole Litvak’s “Night of the Generals” (1967) was panned.
His carousing became legend, particularly in the 1970s. As he himself said, he had long been “happy to grasp the hand of misfortune, dissipation, riotous living and violence,” counting Mr. Burton, Richard Harris, Robert Shaw, Francis Bacon, Trevor Howard, Laurence Harvey and Peter Finch among his drinking companions. He lost much of his “Lawrence” earnings in two nights with Omar Sharif at casinos in Beirut and Casablanca.
Though he won many lesser awards during his career, triumph at the Academy eluded him, perhaps in part because he had made no secret of his dislike of Hollywood and naturalistic acting, which he considered drab. He was nothing if not ambitious, but success would come on his own terms, not the movie industry’s. He had made that plain at 18, when an acting career was already in his mind. In his notebook he made a promise to himself:
“I will not be a common man. I will stir the smooth sands of monotony. I do not crave security. I wish to hazard my soul to opportunity.”
Marc Santora and Robert Berkvist contributed reporting.
Jim Hall, one of the all-time greats of the jazz guitar and by all accounts a delightful human being, died aged 83 on 10 December.
Scott Yanow, in his 2013 book The Great Jazz Guitarists, wrote of him:
“A member of some of the top groups of the 1955-64 period (including the Chico Hamilton Quintet, the Jimmy Giuffre 3, the quartets led by Sonny Rollins and Art Farmer) where his harmonically advanced lines were a major asset, Hall has continued to be a modern guitarist despite the passage of nearly a half-century since then. Cited as an influence by Pat Metheny, John Scofield and Bill Frisell (all of whom he has recorded with), Hall continues to follow his own singular path with great creativity and subtle but always unpredictable playing that rarely fails to surprise.”
Here he is in 1992 on Johnny Carson’s Tonight Show, playing Subsequently and then a sublime rendition of Hoagy’s Skylark:
Stan (30 December 1926 – 6 December 2013) was one of the best.
Here he is with his then-trio (Rick Laird, bass and Jackie Dougan, drums) in London in December 1964, accompanying the great tenorist Ben Webster:
Telegraph obit here
Part of his famous interpretation of Under Milk Wood is here
From the Daily Maverick: ends with ‘prayers’ that we all can share.
“It’s still nice to dance, crack jokes and wear a loud shirt”
Slightly adapted from a piece by Marelise Van Der Merwe
Our heroes are falling one by one, our police don’t protect us, and our politicians are weak and vicious. And we’ve been hanging onto Mandela as though our lives depend on it, not his; when what we should be doing is using the great gift of introspection that he gave us to pull ourselves from the wreckage.
Newspapers have been on standby in case the news breaks – so much so, in fact, that a DStv channel aired an obituary in error earlier this year, much to the righteous rage of the ANC. The country doesn’t want to look away, in a mixture of mercenary alertness (God forbid we be the newspaper that misses it) and heart-wrenching sadness (he is our everything).
After the DStv obituary aired, ANC spokesperson Jackson Mthembu flew off the handle somewhat, and I can’t say I blame him. To me, the incident symbolised everything that is wrong with this compulsive Madiba-watching. “This was uncalled for and totally insensitive,” Mthembu fumed. “President Mandela is alive and receiving treatment for a recurring lung infection, as reported by the Presidency.
“We join millions of South Africans and people all over the world in wishing Madiba a speedy recovery and discharge from the hospital. We also join all those who are offering their prayers for the old statesman to get better.”
I must say, though, that Mthembu was wrong on one count. My prayers were not for Madiba’s speedy recovery. My prayers and good wishes were that he would not have a long, drawn-out death; that he would be peaceful; that he would be surrounded by loved ones and look back with satisfaction on the life he lived. He was an old, old man – one who crammed more into his active years outside of jail than most people would do in two lifetimes. He used his jail time, too, to good effect, educating himself and others, spreading messages of peace, and most importantly, working on his inner world – coming to terms with the abuse he had suffered, so that when he came out of jail, he was able to lead us all to genuine reconciliation.
What I didn’t want for him was speculation, the endless watching for whether he made it through the night, the long process of going into hospital, coming back out, labouring for air. There is a reason pneumonia is known as the old man’s friend: it is quick and usually not painful.
If there is anything Madiba taught us, it was gentleness and humanity, not to mention the stupendous power of forgiveness. In my own life, this struggle for forgiveness has been massive, for reasons unrelated to the political climate. But every time the anger comes, I look towards Madiba and remember what the human soul can overcome. He had a profound influence on my life, and I am sure I am not the only one. Part of what made him such a remarkable human being is that you would be hard-pressed to find a person who had not been influenced by him in some way. He was the person who looked through the vicious shells of Apartheid leaders, prison warders; the insensitive crusts of self-righteous whites who did not want to change. He looked through them all, saw the human beings inside, and reached out to them. He gave us all the mercy we so desperately want, and he led others to it, too.
Madiba earned his rest. He earned the right to sit quietly with the people he loved most in this world, and drift gently into the next one. He gave us his life in service – but we didn’t even want to grant him his death. Why did we keep on wanting him to get better, just so that he could go back into hospital? Selfishly, we didn’t want to let go of all he symbolised, so we wanted him to cling to a life that he had, in all honesty, lived out.
Madiba withdrew himself many years ago, as we all know. He did not want public life anymore; what he wanted was a life, a good life, with his family. He was done fighting and wanted happiness. And that, ironically, seems to be the one thing that – for all our claimed love – we didn’t want to grant him.
If you have ever read fairy tales or epics, you will know that a typical plot manoeuvre is for the main character, at the critical stage, to lose his mentor. South Africa is at that critical stage now: we are staring into the abyss, the crisis times have come, and we have lost our father figure. But what happens in these stories? The fighter gets up and carries on; he moves forward with the tools the mentor has given him already. And if it is a good story, he emerges victorious.
Madiba gave us many tools. He is done giving now, and we should accept that. What we can do if we want to honour and respect him is use those tools and remember those lessons. The way I see it, if we really want to show love for Madiba, we should be praying for ourselves.
We should pray that we can learn to forgive like Madiba.
We should pray that we learn to sacrifice, without complaint, for the common good.
We should pray we learn that even time we believe is wasted can be used to achieve so much good: in learning, in thought leadership, in becoming greater within ourselves, while we wait for circumstances beyond our control to change.
We should pray that we learn his great gift of introspection, so that we never let the bitterness grow inside us, even when it seems nothing is changing.
We should pray that we have the courage to speak up and be honest, even if there are grim punishments in store for us when we do.
We should pray to be gentle, but not meek – to fight for what we believe in.
We should pray that even when we are good, good people, we remember that nobody likes a goody-goody: that it’s still nice to dance, crack jokes and wear a loud shirt.
And most of all, we should pray to remember that all great changes begin with the person in the mirror: our own transformation leads it all.
If all South Africans strive for this, maybe, just maybe, we will be able to give Madiba the same gift back that he tried to give to us: a country that works.
He has paid his debt to South Africa, and more. He has led each one of us to strive to be a better person, in a better South Africa. It is time for us to lovingly let him go, and to move forward with the lessons he sacrificed so much to teach us.
Felix Dexter 26 July 1961 – 18 Oct 2013
Charlie Higson and Paul Whitehouse pay tribute here
…about jazz and much else…
Above: Murray (left) and friend Ralph Ellison
By Eugene Holley (at npr’s a blog supreme)
An essayist, cultural theorist, novelist, educator and biographer who died on August 18 at 97, Albert Murray spent more than five decades developing his thesis that America is a culturally miscegenated nation. His contention was that blacks are part white, and vice versa: that both races, in spite of slavery and racism, have borrowed from and created each other. In all of his writing, jazz music — derived from the blues idiom of African-Americans — was the soundtrack at the center of his aesthetic conception.
For the Alabama-bred, Tuskegee Institute-educated, New York-based Murray — and his Tuskegee classmate and aesthetic fellow traveler Ralph Ellison, author of Invisible Man — jazz was “the embodiment of the American experience, the American spirit, the American ideal,” he is quoted as saying in Jazz: A History of America’s Music, the companion book to the PBS documentary series for which he served as commentator and artistic consultant. It was the creation of a sepia panorama of black, brown and beige people, partially descended from Africa but fully Euro-American in outlook, character and aspiration.
“The omni-Americans are the Americans. My conception makes Americans identify with all their ancestors.” —interview in American Heritage, September 1996
To fully understand Albert Murray’s jazz aesthetic, a vital part of the worldview he called “Cosmos Murray,” you have to read his first book, The Omni-Americans (1970). The collection of essays counter-states “the folklore of white supremacy and the fakelore of black pathology” as social-science fictions that dehumanize black people as inferior. “American culture, even in its most rigidly segregated precincts, is patently and irrevocably composite,” he writes.
In The Omni-Americans, Murray critiques black authors Richard Wright and James Baldwin for creating clichéd views of black life; Afrocentric romanticism and the separatist tendencies of Black Nationalism; and well-meaning but paternalizing U.S. inner city social programs. Murray’s answer to such folly is the blues: home-grown black music that acknowledges the “essentially tenuous nature of all human existence … through the full, sharp and inescapable awareness of them.” In the subsequent essay collection The Hero and the Blues (1973), Murray celebrates the bluesman as an epic hero who, in his tragicomic lyricism, confronts the difficulties of life through the creation of a resilient art.
“We invented the blues; Europeans invented psychoanalysis. You invent what you need.” —interview in American Heritage, September 1996
Musically speaking, all this leads up to Stomping the Blues (1976). Beautifully illustrated with vivid period photos, LP covers and broadsides of black jazz icons, Stomping represents the zenith of his writing on the subject. Eschewing a bleak sociological approach for affirmative, literary prose, Murray celebrates jazz as the most advanced and comprehensive blues-derived art form, one which ritualistically provides people with “equipment for living.” The music serves as a “stylistic code for representing the most difficult conditions, but also provides a strategy for living with and triumphing over those conditions with dignity, grace, and elegance.” In other words, one does not kill the blues, but one can, by what he called “the velocity of celebration,” stomp the blues to keep them at bay.
In Stomping, Murray portrays African-American musicians like bandleader Duke Ellington, singers Jimmy Rushing and Ella Fitzgerald, and saxophonists Lester Young and Johnny Hodges as courageous blues stompers. Their artistry is “a synthesis of African and European elements, the product of an African sensibility in an American mainland situation.” Musicologically, Murray also examines jazz in its myriad locales, inventions and dimensions, from New Orleans and Chicago to Kansas City and Harlem, and how it grew from a folk art to a fine art, “stylized into aesthetic statement.”
Murray also co-wrote Good Morning Blues (1985), the intimate autobiography of the pianist and bandleader Count Basie. It covers the halcyon days of Kansas City in the ’30s, where Negro territory bands reigned supreme and where Basie — who hailed from the East Coast — transformed his stride-style piano into the rugged, 4/4 swing that characterized the driving Kansas City sound. The Blue Devils of Nada (1996) features more impassioned essays on Duke Ellington, Louis Armstrong and his friend, collage artist Romare Bearden. Jazz and the blues also color his quartet of semi-autobiographical novels, starting with Train Whistle Guitar (1974), a coming-of-age chronicle of a boy named Scooter who hails from Alabama, grows up to be a college-educated bassist and leaves home to find fame in Harlem-like Philamayork.
“Jazz is only possible in a culture of freedom.” —from Jazz: A History of America’s Music
Though Murray was not as well-known as his contemporaries Ralph Ellison, James Baldwin and Toni Morrison, his work not only lives on in his books, but also in well-known Murray-ites. Writer and cultural critic Stanley Crouch, whose long-awaited biography of Charlie Parker will be published in September, is a prominent one. Another is Wynton Marsalis, the celebrated musician and artistic and managing director of Jazz at Lincoln Center; the well-known jazz performance venue was largely built on Murray’s philosophical and musicological ethos. “He’s my mentor, but it’s more than that,” Marsalis told Newsweek. “Stomping the Blues had a profound impact on me in terms of understanding the context of the art form and the society.”
In the 21st century, Murray’s omni-American idea — that the U.S. is a composite nation of culturally multiracial people — still deeply resonates in today’s browning, globally connected world. He used jazz to shine a light upon these lesser-seen pockets of American culture — the ones that he believed unite us all.
Guardian obit, here
Fascinating interview with Murray at The Ralph Ellison Project, here