I was going to put a question-mark at the end of that headline, but on reflection decided not to. I think we can be unequivocal about this.
When I was a callow young Trotskyist and James P. Cannon fan, older, more experienced comrades told me that Cannon’s organisation, the American SWP (no relation to the Brit group of the same name) had gone off the rails very badly in the 1950’s, when Cannon began to take a back seat and handed the reins over to lesser figures like Joseph Hansen. Evidence of this petty bourgeois degeneration, I was told, was a ludicrous faction fight over the question of women’s cosmetics that threatened to tear the SWP apart. In the end, good ol’ James P. came out of semi-retirement to bang heads together and tell Hansen and the comrades to get a grip and stop arguing about such irrelevant nonsense. Anyway, that’s how I remember being told about it.
As you can imagine, I never (until now) took the trouble to investigate the matter in any detail, but if you’re interested, quite a good account is given here, and you can even read some of the contemporaneous internal documents here, if you scroll down to No. A-23, October 1954. On the other hand, like myself when I was first told about the Great Cosmetics Faction Fight (GCFF), you may feel that life’s too short…
The point being, that I’ve always carried round in the back of my mind a vague recollection of the GCFF as a prime example of petty bourgeois leftist irrelevance, and probably the most ridiculous and laughable left-group factional dispute of all time.
The recent row within the International Socialist Network, resulting in the resignations of some of its most prominent members, makes the SWP’s GCFF look quite down to earth and sensible. If you ever wanted an example of why serious, socialist-inclined working class people all too often regard the far left as a bunch of irrelevant, posturing tossers, this is it. Don’t ask me what it’s all about, or what “race play” is. Comrade Coatesy gives some helpful background here and here. More detail for the serious connoisseur (aka “more discerning customer” wink, wink, reaching under the counter) here and here.
I’ll simply add, for now, that this preposterous business does appear to be genuine (rather than, as some might reasonably suspect, an exercise in sitautionist performance art and/or anti-left political satire) and is also one of those rather pleasing situations in which no-one in their right mind cares who wins: both sides are unspeakably awful self-righteous jerks. Actually, the ISN majority strike me as, if anything, even worse than Seymour, Miéville and their friend “Magpie” – if that’s possible. Still, it’s hard not to endulge in just a little schadenfreude at the discomfiture of Richard “Partially Contingent” Seymour, a character who’s made a minor career out of sub-Althussarian pretentiousness and “anathematising” others on the left for their real or imagined transgressions against “intersectionality“, and now falls victim to it himself.
Those who live by intersectionality, die by intersectionality.
Or, as Seymour himself put it in his seminal postgraduate thesis Patriarchy and the capitalist state:
“My suggestion is that as an analytic, patriarchy must be treated as one type of the more general phenomena of gender projects which in certain conjunctures form gender formations. What is a gender formation? I am drawing a direct analogy with Omi and Winant’s conception of racial formations, which comprises “the sociohistorical process by which racial categories are created, inhabited, transformed, and destroyed … historically situated projects in which human bodies and social structures are represented and organized.” This is connected “to the evolution of hegemony, the way in which society is organized and ruled,” in the sense that racial projects are linked up with wider repertoires of hegemonic practices, either enabling or disrupting the formation of broad ruling or resistant alliances. A gender formation would thus be a ’sociohistorical process’ in which gender categories are ‘created, inhabited, transformed, and destroyed’ through the interplay and struggle of rival gender projects. From my perspective, this has the advantage of grasping the relational, partially contingent and partially representational nature of gendered forms of power, and providing a means by which patriarchy can indeed be grasped in relation to historical materialism.”
I keep promising myself (and readers) that I’ll never write another word about that posturing charlatan Galloway. But for a blogger, he’s the gift that just keeps on giving:
George Galloway: “But there have been achievements in North Korea. They do have a satellite circling the earth. They have built a nuclear power industry even though they suspended it on false promises from President Clinton and other U.S. statesmen. They do have a cohesive, pristine actually, innocent culture. A culture that has not been penetrated by globalization and by Western mores and is very interesting to see. But I wouldn’t like to live there. And I’m not advocating their system. Not least because they certainly don’t believe in God in North Korea…”
H/t: Pete Cookson
On St Patrick’s Day, we bring you perhaps the most bizarre lyric ever sung by Louis Armstrong: “I was born in Ireland (Ha, Ha)”…
Louis Armstrong And His Hot Five, November 1926: Irish Black Bottom
Louis’s tireless biographer Ricky Riccardi writes:
Admittedly, this is not songwriting as its finest but as a novelty, it’s good fun. The “black bottom” was a popular dance of the 1920s so this tune humorously pretends that it’s also taken Ireland by storm. If Louis had to record something so silly in the 1950s, critics would scream at the producers for forcing it on him. But “Irish Black Bottom” was written by the aforementioned Percy Venable so more than likely, it was a staple of Louis’s act at the Sunset. And can’t you imagine Louis bringing down the house with that vocal? That “ha, ha” he gives after singing “And I was born in Ireland,” breaks me up every time. I can only imagine what it did to the audiences who heard him do it live.
The song begins with the funny sound of Louis and his Hot Five swinging through a sample of the Irish classic “Where the River Shannon Flows” before Louis swings out with the main melody, which is predominantly in a minor mode until the end. Louis’s lead sounds great and Dodds is bouncing around as usual but trombonist Hy Clark, a substitute for Kid Ory, sounds hesitant and doesn’t add much. After a chorus and an interlude by pianist Lil Armstrong, Louis takes the vocal. If you can’t make it out, here’s what he says:
All you heard for years in Ireland,
was the “Wearin’ Of The Green”,
but the biggest change that’s come in Ireland
I have ever seen.
All the laddies and the cooies
laid aside their Irish reels,
and I was born in Ireland
(Ha, Ha), so imagine how I feels.
Now Ireland’s gone Black Bottom crazy,
see them dance,
you ought to see them dance.
Folks supposed to be related, even dance,
I mean they dance.
They play that strain,
works right on their brain.
Now it goes Black Bottom,
a new rhythm’s drivin’ the folks insane.
I hand you no Blarney, when I say
that song really goes,
and they put it over with a wow,
I mean now.
All over Ireland
you can see the people dancin’ it,
’cause Ireland’s gone Black Bottom crazy now
I don’t know how you can’t get swept up in that offering. Armstrong doesn’t so much sing it as shout it, or talk it, but his spirit sure gets the message across (though sometimes, he’s so far from the written melody, it sounds like he’s singing a different song on top of Lil’s chording on the piano). After the vocal, Clark and Dodds take forgettable short solos and breaks before Louis carries the troops home with brio. Louis’s lip trill towards the end is particularly violent and right before his closing breaks, he dips into his bag for a favorite phrases, one that ended both “You’re Next” and “Big Fat Ma and Skinny Pa.” The concluding break is so perfect in its phrasing and choice of notes that I believe it might have already been set in stone by Pops during his live performances of the tune at the Sunset. Either way, that’s no reason to criticize him; it’s a perfect ending and puts an emphatic stamp on a very entertaining record.
That’s all for now. Have a happy St. Patrick’s day and don’t forget to mix in a little Louis with your Guiness. I hand you no blarney, it’s a great combination…
The SWP crisis, caused by their leadership’s dreadful mishandling of rape allegations against “Comrade Delta,” has now reached Youtube, thanks to a dissident young comrade (who is, it has to be said, a terrible singer):
Meanwhile, here is The Leadership’s response to the allegations and criticism…
“Thin and tense, his head with its pointed features crouching between his shoulders as though emerging from its burrow into a dangerous world, his eyes as cold and watchful as those of a pike in the reeds. Around this thin, heron-like figure a whole comic tradition of disaster then descended” – George Melly on Jim Godbolt
Above: Godbolt (2nd right) with old jazz cronies including Coleridge Goode (far left)
I know that as a general rule obituaries are not supposed to be amusing, but I have to admit to having chuckled at the Telegraph‘s send-off for Jim Godbolt, the jazz writer, jazz historian and one-time agent/manager for some leading British jazz bands. Godbolt was a legendary curmudgeon who, one suspects, rather played up to his reputation – at least in his later years. The piece notes that one of Godbolt’s ventures was, for a while, writing obituaries for the Telegraph: I wonder if it’s possible that he wrote, and then ‘banked,’ this one himself..?
Jim Godbolt, who has died aged 90, devoted 70 years to jazz as a band manager, booking agent, journalist and historian.
Though he played no instrument and periodically found himself forced to take work in other fields, he was always ready to serve the music he loved in any capacity and for little money. But an ungracious manner, beginning with the way he snapped “Jim Godbolt” down the telephone, did not win him friends, although there were times when he could inspire a certain astonished affection.
Every time he was ignored, slighted or sworn at, the offence was carefully remembered, to be grimly repeated in his memoir, ‘All This and 10%’. There were the regular misspellings of his name — as Goodolt, Godlio, Godolt, Goabit or Goldblatt — and the occasion on which he was told that he was not paranoid, as paranoia would have meant him imagining that people were trying to avoid him. It was not his imagination.
George Melly left a striking description of Godbolt: “Thin and tense, his head with its pointed features crouching between his shoulders as though emerging from its burrow into a dangerous world, his eyes as cold and watchful as those of a pike in the reeds. Around this thin, heron-like figure a whole comic tradition of disaster then descended.”
Godbolt was under no illusions about his charms. When the libel lawyer nervously reading ‘All This’ wanted to eliminate a reference to a Len Bloggs, “a snarling anti-social inverted snob with a chip on his shoulder” , Godbolt pointed out that it was a portrait of himself.
James Godbolt was born in Wandsworth, south London, on October 5 1922. He went to Central School, Sidcup, where he failed to distinguish himself, then became an office boy with the stockbrokers Evans Gordon and Sandeman Clark. At 18 he left to earn £5 a week as a timekeeper on a building site and joined the No 1 Rhythm Club at Sidcup, Kent, before being called up by the Royal Navy to serve in armed trawlers in the Atlantic and Indian Oceans.
On leave in Cape Town, his appetite for jazz was further whetted when he bought 150 records from a hardware shop at one shilling each. He returned home to become manager of George Webb’s Dixielanders, which aspired to the authentic New Orleans style.
When the band collapsed with the withdrawal of the key members Humphrey Lyttelton and Wally Fawkes, Godbolt became a salesman for a signwriting firm, then an agricultural worker. Next he edited Jazz Illustrated, notable for its misprints before it folded after eight issues.
Although jazz at that time was rent by a bitter civil war between “trad” and modernist players, Godbolt steered clear of faction. He became a booker for the modernist Johnny Dankworth Seven and the traditionalist Graeme Bell Australian Jazz Band; protected the American guitarist Lonnie Johnson from fans on one provincial tour, and on another tried to keep the trombonist Dickie Wells sober. He also took on the management of the chaotic, hard-drinking Mick Mulligan band, worked for Lyttelton, toured Sweden with Bruce Turner’s Jump Band and ran a jazz club above the Six Bells at Chelsea. An enthusiastic cricketer, he was a member of The Ravers, which claimed to be the world’s only jazzmen’s cricket XI.
When pop music took centre stage in the 1960s, Godbolt was making his mark as agent/manager of The Swinging Blue Jeans during the period of their hit Hippy Hippy Shake. He managed to conceal his lack of enthusiasm for the new music when interviewed by Melody Maker, but when he went on to work for a large booking organisation his heart was not in it.
Taking a flat five floors up in a building without a lift near Hampstead Heath, he started out as a freelance journalist to earn the slimmest pickings. Eventually he was forced to work as a cleaner at the Savoy hotel and as an electricity meter reader, which left him with an aversion to dogs.
When his memoir was published in 1976, it sold only 400 copies. But two subsequent editions fared better, and Godbolt the author found himself in demand to review books and appear on radio programmes. Ever his own worst enemy, however, he was indignant to discover that those interviewed on Woman’s Hour were not paid; indeed, he was so indignant that he ended up being neither interviewed nor paid.
Another offer was writing obituaries for The Daily Telegraph. He became a frequent contributor, and could produce facts that could never be found elsewhere. Some members of the obituaries desk, however, were exasperated at being asked to sort out his prose and put up with his surly replies to queries. One of his more unusual submissions was two versions of the band leader Cab Calloway; one in standard English, the other in hepcat’s argot. Eventually an argument about the editing of his obituary of his brother, who kept a pub, led to the appointment of a more obliging wordsmith.
Goldbolt also wrote a two-volume History of Jazz in Britain (1984 and 1986), which addressed not only musicians but also critics, promoters, discographers and fans . When a second edition was published in 2005 it was accompanied by a four-disc set of 100 numbers culled from his personal collection. Godbolt’s last work, Ronnie Scott’s Jazz Farrago (2007), drew on his recollections of editing the magazine Jazz at Ronnie Scott’s, which he had produced at the saxophonist’s club in Gerrard Street for 26 years.
Jim Godbolt knew that he possessed an unrivalled knowledge of British jazz. Those who knew him, however, will remember him as a character who could have stepped from the pages of Dickens.
He was unmarried.
Jim Godbolt, born October 5 1922, died January 10 2013
Time for a follow-up to the extraordinary animated film Belleville Rendez-vouz, this time featuring a geeky Brit hero with Paul Weller-style sideburns?
Below, the trailer for the film, called Les Triplettes de Belleville when first released (2003) in France:
James Joyce: all day on Radio 4
I am reliably informed that these letters are genuine, and the authors prominent members of the BDS campaign.
For once I have some sympathy with the editors of the Morning Star…
LETTERS, Wednesday 23 May
The Israel boycott should extend to Star’s daily quiz
I often wonder why so many of its readers find the Morning Star so exasperating.
Despite its condemnation of zionists it yet finds space to include an item in its daily quiz about Israel’s national bird.
Is the Star not aware there’s a cultural boycott going on?
And then, despite it’s condemnation of the Bahrain Grand Prix and rightly so, it then goes on to tell us who won.
For goodness sake comrades, get your act together.
The Morning Star has always been the newspaper you could rely on to support the cause of the Palestinians, so why of all the birds in the world did you choose the Israeli national bird to include in your quiz?
Maybe you don’t support the methods chosen by the International Solidarity Movement of BDS to assist the Palestinians in their struggle for freedom and justice – a demand that came from them originally.
This includes any reference to their wildlife.
P.S: what is it with Stalinists and birds?
H-t: Patrick F (and Anton for the Youtube clip).
NB: the following post contains strong language that some readers may find offensive:
The limerick packs laughs anatomical
In space that is quite economical.
- But the good ones I’ve seen
- So seldom are clean
And the clean ones so seldom are comical
On the 200th birthday of Edward Lear, it seems appropriate to celebrate that strange and much misunderstood literary form, the limerick. Lear (celebrated here by a true fan, Michael Rosen) is often described as the originator of the limerick … but:
2/ Lear never used the term “limerick” himself;
3/ Lear’s “limericks” deviate from the usual form, in that the first and last lines end with the same word rather than rhyming. Some people find this charming;
4/ Finally (and imho) most importantly, Lear’s “limericks,” whilst containing some delightful “nonsense” and wordplay, are not obscene, rude or scatological – essential qualities of a real limerick. Wikipedia puts it well:
For the most part they [Lear's 'limericks' -CC] are truly nonsensical and devoid of any punch line or point. They are completely free of the off-colour humour with which the verse form is now associated. A typical thematic element is the presence of a callous and critical “they”. An example of a typical Lear limerick:
There was an Old Man of Aôsta,
Who possessed a large Cow, but he lost her;
But they said, ‘Don’t you see,
she has rushed up a tree?
You invidious Old Man of Aôsta!’
All of which brings me on to the true limerick – lewd, obscene and offensive – and the widely-acknowledged master of the genre, Robert Conquest. To the best of my knowledge, Conquest’s limericks have never been published in a proper collected edition, though several have appeared in his friend Kingsley Amis’s Memoirs and Collected Letters.
Here are some of the best:
A usage that’s seldom got right
Is when to say shit and when shite,
And many a chap
Will fall back on crap,
Which is vulgar, evasive, and trite.
Seven Ages: first puking and mewling
Then very pissed-off with your schooling
Then fucks, and then fights
Next judging chaps’ rights
Then sitting in slippers: then drooling.
There was a young fellow called Shit,
A name he disliked quite a bit,
So he changed it to Shite,
A step in the right
Direction, one has to admit.
That snobbish surrealist, Garsall,
Once did himself up in a parcel;
He addressed it ‘Lord Garsall,
The Keep, Garsall Castle’
And mailed it first-class up his arsehole.
There was old Scot named McTavish
Who went for an anthropoid ravish
But the object of rape was the wrong sex of ape
So the anthropoid ravished McTavish
Possibly my favourite, entitled AT THE ZOO:
There was plenty of good-natured chaff
When I popped in to fuck the giraffe,
And the PRZS
Could hardly suppress
A dry professorial laugh.
Kingsley Amis wrote a follow-up:
When I came back to roger the gnu
I was scarcely delayed coming through,
and the staff – most polite -
cried, “please stay overnight”,
it’s a priviledge granted to few.
OK, I couldn’t resist: another Galloway moment. I think it’s been over a week since the last one. Regrettably, I did not see Question Time on Thursday night, but the Raincoat Optimist over at Though Cowards Flinch reports:
Question Time was a real treat last night. Yvette Cooper kicking Theresa May when she was down, as Baroness (portfolio of nothing) Warsi tried and failed to defend her honour, while Tim Farron was a hoot, trying to hold the inharmonious position as comic and reluctant defender of the coalition government.
Of course the main event was George Galloway and David Aaronovitch, head to head.
Scarcely a few moments had passed until the pair were at each others neck, and the attempts to de-legitimise Aaronovitch’s arguments were quite familiar.
Instead of answering questions Galloway instead made reference to Aaronovitch’s previously held Communist convictions.
He did this, too, to Christopher Hitchens in that famous debate back in 2005, in New York. Unprepared to tackle the issues, he appealed to the lowest form of argument: the ad hominem.
You will remember the lines:
“What Mr Hitchens has done is unique in natural history; the first-ever metamorphosis from a butterfly back into a slug. I mention ‘slug’ purposefully, because the one thing a slug does leave behind it is a trial of slime”.
On Question Time, Galloway made mention of the fact that in the way he believes in God, Aaronovitch believes in Stalin.
These “blows” were used instead of engaging with the point raised that Galloway has done nothing by way of condemning the behaviour of Assad – in fact, going so far as to “flatter” him
Read the rest here; the comments are good as well.
NB: Galloway’s attempt to smear Aaronovitch as an ex-Stalinist is truly breathtaking when you bear in mind that Galloway actually is a variety of Stalinist (and was throughout his membership of the Labour Party), who regularly writes for the ‘tankie’ Morning Star, whereas Aaronovitch was on the social democratic (in the modern sense) Euro-Communist wing of the old CP. But then, Galloway’s known for his “honesty” and “straight talking” isn’t he?
H-t: Faster Pussycat Miaow! Miaow! Miaow!