Showing posts with label anarchism. Show all posts
Showing posts with label anarchism. Show all posts

Wednesday, October 24, 2007

Cinema of Anarchy

http://anarchistnews.org/files/pictures/anarchy-film-festival.gif

This week we are blogging about Revolutionary and Anarchist films, movies, DVD's etc. at the Carnival of Anarchy.

I have posted on some of my favorite films and libertarian perspectives on Film. And will continue to do so through the week.



See my previous posts on Carnival of Anarchy.

See:

Battleship Potemkin


Sacco and Vanzetti

V for Anarchy


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Monday, October 22, 2007

Edmonton Anarchist Bookfair 2007

Time again for Redmonton's annual Anarchist Book Fair.

Your humble servant will once again be doing a workshop.

This time on Anarchism and the origin of the Anti-Anarchist International Police Org. aka Interpol

It will be on Sunday, October 28.


Norman Nawrocki: Lessons from a 7ft Penis
Thursday October 25th
Jekyll & Hyde Pub
10610 100 Avenue
Doors
8pm
$8 (or by donation to the underemployed)


Ward Churchill-organizing to win
Friday October 26th
Doors
6:30 event 7:00 pm
Myer Horowitz Theatre
Students' Union Building
8900 114 Street
University of
Alberta
$10 (or by donation to the underemployed)


Anarchist Bookfair
Vendors, workshops, food and childcare
Saturday October 27th 11am-7pm
Sunday October 28th 12pm-5pm
Alberta Avenue Community Center
9210 - 118 Avenue


Halloween Party
Saturday October 27 8pm-closing
Jekyll & Hyde Pub
10610 100 Avenue


Anarchist Folk Show
Todi Stronghands (
halifax)
Starla! Ubiquitous (
halifax)
R.Olson (
vancouver)
Ben Disaster (local pop punk hero)
Lex Mckie (lamenting folk)
Sunday October 28th
7 pm
Donation $5 +
The Remedy Cafe (upstairs) 8631 109 Street


See:

Sacco and Vanzetti

Anarchist History of Edmonton


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Sunday, October 21, 2007

Battleship Potemkin

A new restored version of the famous Russian film Battleship Potemkin by Sergei Eisenstein has been released and will be playing on Turner Classic Movies, TONIGHT for those of you who have either Star Choice of Bell Satellite TV.

If you have never seen this revolutionary movie it is not only revolutionary for it's content but for its approach to cinema. It was the first Docu-Drama ever made, covering the Russian Revolutionary uprising of 1905.

1905 was the year the 2oth Century came into being and it was the birth of modernism which would result in WWI and the Bolshevik Revolution.

Independent filmmakers, restricted to limited exhibition outlets in a world of media conglomeration, can take heart from the fact that Battleship Potemkin, one of the most renowned films in the history of cinema and containing perhaps the best known sequence in the medium's entire history, was initially seen only by small audiences of film society aficionados and trade unionists. In this sense, it represents one of the most successful instances of niche marketing the world has ever seen.

The stories of its circulation are almost as mythical as its subject matter: it was banned as subversive in England and its circulation was highly restricted in the US, even before the implementation of the Hays Code. In the US, it was seen by small groups of filmmakers and critics, and in one enticing account of a screening in the New York apartment of Gloria Swanson, it was projected onto one of Gloria's satin sheets, when the absence of an available screen threatened to disappoint the eager but select audience.

At such a screening, David O. Selznick saw the film and wrote with great enthusiasm to his boss at MGM that a print should be obtained because it would be "very advantageous to have the organisation view it in the same way that a group of artists might study a Rubens or a Raphael". It was, he thought, "unquestionably one of the greatest motion pictures ever made" (this in 1926!) and the firm "might well consider securing the man responsible for it".

Battleship Potemkin is the film which brought Eisenstein, always a citizen of the world, to world attention. This fame both protected him - up to a point - and brought him to the constant attention of the authorities, involving him in a cat and mouse game for his entire professional life.

Although it has become an orthodoxy in the West to emphasise the repressive conditions under which artists, writers and filmmakers worked in the Soviet Union in the 1930s, it is worth remembering that Eisenstein's experiences in the West were equally, if not more, frustrating creatively. Unfruitful episodes in Hollywood & Mexico left Eisenstein back in the Soviet Union with a nervous breakdown and a damaged reputation.

http://www.adliterate.com/archives/potemkin.jpg


Battleship Potemkin overcomes its ideological constraints and uses its abstract form to produce at least one scene of unquestionable power. Sergei Eisenstein’s own comparison of his style to a "kino-fist" is an apt one; the film assaults the viewer’s sensibilities with forceful melodrama and rhythmic editing. Many scenes are calculated to elicit specific responses and, in fact, succeed, but this creates a certain feeling of manipulation because of the film’s overt polemic. Obviously, political concerns of a now defunct nation from over seventy years ago are not going to hold up well. The fact that the film remains effective on some levels is impressive and testifies to Eisenstein’s influential ideas about cinema. His principles of montage were vital to the development of film language and to cinema’s separation from other art forms into its own realm. A film based largely on these editing principles sacrifices some narrative concerns and tends to distance the viewer if not continuously providing ‘attractions’ or ‘stimuli’. Despite claims mentioned by some critics about the film’s perfect and concise example of film structure, Potemkin can be an uneven viewing experience.

Eisenstein freely admitted the influence of D.W. Griffith’s movies, particularly Intolerance, in his work and in the development of Soviet montage. It is not difficult to see the links between the rapid cutting in that film’s conclusion to the kinetic editing of Potemkin. For example, the numerous cuts in the Odessa steps sequence build the individual moments of terror into an almost unbearable emotional climax. Of course, Eisenstein expanded greatly on montage theory to not only build rhythm or suspense but to form intellectual concepts and associations. The dynamic editing of three lion statues to show the awakening of anger and rebellion is a simple but memorable instance of this metaphorical juxtaposition. Another apparent influence from Griffith would be the melodramatic elements that facilitate the film’s political goals. The tsarist forces are completely evil, and sympathy is evoked for the noble revolutionaries and their supporters; issues and characters are simplified for maximum emotional impact. The officers on the ship are given titles such as, roughly, "I’ll shoot them down like dogs!" when dealing with the disobedient sailors. All of the focused victims of the shocking violence on the Odessa steps are women or children. The idea of typage, casting often non-professional actors based on their physical resemblance to a character type, allows the film to forgo character development and individuality. The ship’s priest looks like a prophet from the pages of the Old Testament transplanted into the 20th Century. Additionally, the absence of a main character, except that of the collective Russian people, corresponds to the Marxist principles of the film; one of the only possible protagonists, Vakulinchuk, dies early in the film for the revolutionary cause. This aspect also is reminiscent of Intolerance’s undermining of audience identification through its large number of characters and shifting focus.

Historical Narrative in The Battleship Potemkin

"What are a few maggots?" asks Richard Hough in his book, The Potemkin Mutiny. He answers with the powerful story of the 1905 mutiny of the sailors of the Potemkin in their struggle against the repressive officers of the Russian Imperial Navy. In 1925, the Soviet government commissioned Sergei Eisenstein to direct a film commemorating the events of the 1905 revolution. Due to time constraints, he had to limit his film to just the Potemkin mutiny. His depiction of these events, in his film The Battleship Potemkin, has many significant differences with the historian's perspective that Hough offers in his book. Contrary to the belief of many modern critics, the actual historical events and details are impossible to determine beyond a reasonable doubt, but "there is no dispute on the main events, and their sequence." However, although Hough and Eisenstein differ, they both offer legitimate perspectives. Even if the events are agreed upon, "one and the same event may be incorporated in a work...in different guises: in the form of a dispassionate statement or in that of a pathetic hymn." Eisenstein is creating a narrative film, and Hough purports to write a history, but both are stories of the event with an intended audience and an intended effect. The small differences between the two perspectives offered by Hough and Eisenstein is significant and colors what the audience thinks of the mutiny and how they identify with it.


The new release of the DVD will be on Tuesday at stores like HMV. If you can't get it locally try Amazon.

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Sunday, October 21,2007 12:00 AM

The Battleship Potemkin
TCM is pleased to present the U.S. broadcast premiere of the 2005 restoration of Sergei Eisenstein’s The Battleship Potemkin (1925), accompanied by a new arrangement of Edmund Meisel’s orchestral score, which Eisenstein himself authorized for the film’s Berlin premiere in 1926. This same version will be released on DVD by Kino in a 2-disc special edition.

The Battleship Potemkin was recognized from the start as a landmark work both for its innovative use of montage and for its sheer power as propaganda. In particular, the “Odessa steps” sequence is arguably the single most famous and widely quoted passage in the history of film. But in a sense The Battleship Potemkin has been the victim of its own effectiveness. Reissued over the years in various censored and reedited versions, Eisenstein’s great vision has not been seen for several decades in anything like what the director likely intended. This new version, overseen by the film archivist and historian Enno Patalas, attempts to reconstruct, as closely as possible, the film as it was presented in Moscow during its initial release.

THE FILM AND ITS CONTEXT

The Soviets were inordinately fond of jubilees, so it was only fitting that for his second feature film Sergei Eisenstein would be commissioned to direct a multi-episode series marking the twentieth anniversary of the 1905 revolution in Russia. The first episode was originally intended to focus mainly on the strike that took place in St. Petersburg in October 1905, with the June 1905 mutiny aboard the battleship Potemkin to serve as a prologue. However, bad weather and logistical difficulties compelled Eisenstein and his crew to relocate to Odessa, and the Potemkin mutiny expanded into a full-fledged feature in its own right. (See Richard Taylor’s meticulously researched book The Battleship Potemkin: The Film Companion (2000) for further information on the film’s production history and critical reception.)

While Eisenstein’s debut feature Strike (1924) still dazzles through its sheer stylistic daring, in The Battleship Potemkin he consolidated his skills as a total filmmaker, demonstrating greater control over narrative structure and pacing. The film is divided into five acts--“Men and Worms,” “Drama on the Quarterdeck” “An Appeal from the Dead,” “The Odessa Steps” and “Meeting the Squadron”--its structure deliberately recalling classical tragedy.

While Eisenstein was always interested more in creating an effective and well-constructed film than in being literally faithful to the historical record, many of the key images in the script were in fact inspired by actual events associated with the Potemkin mutiny: the sailors’ refusal to eat borsch made from maggot-infested meat; the revolutionary activists Matyshenko and Vakulenchuk (spelled Vakulinchuk in the film) using that incident as a pretext to incite the other sailors to mutiny; the arrival of the battleship into the Odessa port with a red flag; the throngs of townspeople lining up to view Vakulenchuk’s corpse; and the Potemkin being greeted by cheering sailors on another ship. There was even a massacre of civilians by police on the famed steps leading down to Odessa’s port, though that was just one part of the civil strikes that occurred throughout the city and the resulting crackdown by the police and Cossacks. It should be noted that Eisenstein didn’t include at least one very significant event: the massive fire that devastated the Odessa port during the strike and claimed many lives. Neal Bascomb provides a compelling and detailed account of the mutiny in his recently published book Red Mutiny: Eleven Fateful Days on the Battleship Potemkin (2007).

In addition to its innovative and much-analyzed photography and editing, the film was noteworthy for its unusual mix of professional and non-professional actors, based on the principle of typage or casting primarily according to physical types. Eisenstein’s assistant Grigori Aleksandrov played Gilyarovsky. The role of Vakulenchuk was filled by Aleksandr Antonov, a member of the Proletkult theater troupe in which Eisenstein had worked before moving into cinema. The film director Vladimir Barsky, an important figure in early Soviet cinema, played the role of Captain Golikov. Eisenstein also challenged the norms of commercial cinema by not relying on a single protagonist or romantic coupling to shape the narrative, emphasizing the notion of a “mass protagonist” instead.

The Battleship Potemkin premiered at the Bolshoi Theater in December 1925 and was released in Moscow in January 1926. Barely completed in time for the premiere, it was initially more of a rough cut, as Richard Taylor has pointed out. The orchestral accompaniment, as was common practice at the time, was culled from pre-existing works in the classical repertoire. At its two main Moscow engagements, the theater exteriors were decorated to resemble battleships, and the staff were dressed in sailors’ outfits. Posters touted it as “the pride of Soviet cinema,” boasting of 300,000 admissions in the first three weeks alone.

POTEMKIN IN BERLIN

What really sealed the film’s success, however, was the sensational reception at its April 1926 Berlin premiere. The Soviet authorities actually sold the original negative to the Germans--a move that seems inconceivable today--but they retained the right to request new prints from it. Fearing a threat to “the public order,” the German censors initially banned the film outright but later demanded a number of cuts, mainly due to violent imagery. These included some of the shots depicting the body of young boy trampled on the Odessa steps. The film director Piel Jutzi was brought in to adapt the film for German audiences; among other things, he divided it into six parts instead of five.

Naum Kleiman, the foremost Eisenstein scholar, has speculated that Eisenstein’s trip to Germany before the premiere was in fact to oversee the film’s reediting, so he may well have had some input into the German distribution version. The director also guided Edmund Meisel’s work on the score, encouraging him to emphasize rhythm over melody. For instance, the music accompanying the battleship’s climactic meeting with the squadron has a mechanical quality that underscores the film’s ties with the Soviet artistic movement known as Constructivism.

Ultimately, cultural impact of The Battleship Potemkin in Germany cannot be overstated. Besides becoming a great popular success, it influenced artistic figures as ranging from Fritz Lang to Bertolt Brecht and the theater directors Erwin Piscator and Max Reinhardt. Not only did the film’s reputation in Germany help raise awareness of it in countries such as England and the United States, it even resulted in a second release of the film in the Soviet Union during the summer of 1926. However, the Soviet authorities’ decision to sell the negative to the Germans meant it would not survive in its original version.

THE RECONSTRUCTION

The pressures of censorship and the vagaries of distribution over the years have resulted in the situation that The Battleship Potemkin survives in several different versions, each with their own set of limitations. For many years the Museum of Modern Art circulated an English language version based on an authoritative print donated by the Eisenstein scholar Jay Leyda and supposedly provided by Eisenstein himself, but they altered the original intertitles, among other things making them longer and thus slowing the pace of the film. Another version with English titles was prepared by the British leftist filmmaker Ivor Montagu.

In 1950, the film was reissued in the Soviet Union in a version supervised by Grigori Aleksandrov and accompanied by a serviceable, if pedestrian, score by Nikolai Kryukov. According to Enno Patalas, this version was missing some seventy shots, suffered from substantially reworked intertitles, and even reordered some of the footage following earlier, similarly corrupted versions. For example, the visceral impact of the opening of the Odessa steps massacre--in which the title “And suddenly…” is followed by a series of jump cuts of a woman’s head jerking back--was blunted by preceding it with shots of the soldiers’ boots and rifles to provide more of a conventional cause-and-effect structure. This version also used step-printing (the repetition of individual frames) to slow the movement down for projection at sound speed.

In 1976, the Soviet filmmaker Sergei Yutkevitch, in collaboration with Naum Kleiman, created a new version that was the most complete and authentic to date, but its pacing was again compromised by the use of stretch printing, and it was still missing fifteen shots compared to the current reconstruction. Thus, while it contained fewer shots, at 74 minutes it still ran significantly longer than the 2005 reconstruction. Also, one could argue that the excerpts from the Shostakovich symphonies chosen to accompany the print added to its lugubrious atmosphere.

The 2005 reconstruction relies heavily on the Jay Leyda print and written recollections for its shot list, but whenever possible uses early generation prints held at the British Film Institute because of their superior photographic quality. (The original negative still exists at Gosfilmofond of Russia, though it bears the traces of German censorship and according to the archive is too fragile to use for printing, as Patalas related in a 2005 article in the Journal of Film Preservation.) The intertitles recreate the original text as closely as possible, including the restoration of a Trotsky quotation as the epigraph; predictably, it had been replaced by a Lenin quote when Trotsky fell out of favor. The length of the individual title cards is also now more in keeping with the film’s rhythm as a whole, which is no small point since Eisenstein viewed them as a crucial component of his montage aesthetic. Lastly, as Eisenstein intended from the start, this version uses hand-coloring to tint the Potemkin’s flag red during certain sequences.

In the documentary that accompanies Kino’s forthcoming DVD edition, Naum Kleiman sums up the difficult choices faced in reconstructing the film: “There being no absolutely exact film record from 1926, we cannot claim to have all the scenes in their full length. Often, what Patalas did was an extension of an already existing version, that is, of the censored version. Due to the disintegration of the film, or splices that have come apart, some parts had to be spliced together again. Some frames were lost in the process. Today it’s difficult to assess whether all that was added to the very last version changed the meaning of the film, or its rhythm, or whether it reinforced its visual quality. At any rate, we felt that we managed to approximate the original up to 99%, or even 99.5%.” Viewers already familiar with The Battleship Potemkin are likely to be struck with how much better the reconstruction flows as a film compared to previous versions. Combined with the superior detail and contrast of the new video transfer and the excitement of Meisel’s orchestral score, the reconstruction enables us to appreciate one of cinema’s greatest masterpieces in a fresh light.

FILM CREDITS

Producer: Yakov Bliokh
Director: Sergei M. Eisenstein
Script: Eisenstein, based on an idea by Nina Agadzhanova-Shutko
Assistant Director: Grigori Aleksandrov
Director of Photography: Eduard Tisse
Editing: Sergei Eisenstein
Cast: Aleksande Antonov (Vakulinchuk), Mikhail Gomorov (Matyushenko), Vladimir Barsky (Captain Golikov), Grigori Aleksandrov (Chief Officer Gilyarovsky), Aleksandr Levshin (Petty Officer), Beatrice Vitoldi (Woman on the Odessa Steps), N. Poltavtseva (Woman with the pince-nez), also Members of the Proletkult Theater, Sailors of the Black Sea Fleet, the Sebastopol Fisherman’s Union, and the Inhabitants of Odesssa.

RECONSTRUCTION CREDITS

Supervised by Enno Patalas in collaboration with Anna Bohn.
Produced by the Deutsche Kinemathek with the support of Bundesarchiv-Filmarchiv, the British Film Institute, the Munich Filmmuseum, and Gosfilmofond of Russia.
Colorization by Gerhard Ullmann.
Musical score by Edmund Meisel (1926); adaptation and instrumentation by Helmut Imig.
Music performed by the Deutsches Filmorchestra Babelsberg, conducted by Helmut Imig.
BW-69m.

by James Steffen

The image “http://newsimg.bbc.co.uk/media/images/40324000/jpg/_40324011_potempkin203.jpg” cannot be displayed, because it contains errors.


The Pet Shop Boys will unveil their latest project - a soundtrack to the 1925 film Battleship Potemkin - at a free show in London's Trafalgar Square.





The irony is that this propaganda film for the Bolshevik Revolution was made four years after the
Kronstadt rebellion occurred against the Bolshevik hegemonic state, by the same sailors.

The image “http://www.kronstadt-uprising.co.uk/images/art8.jpg” cannot be displayed, because it contains errors.

The naval base of Kronstadt lies on Kotlin Island near the head of the Gulf of Finland. Peter the Great captured the island from the Swedes in 1703 and built it into a naval fortress to protect his new capital. The concentration of heavy armory and sailors on the small island made it a bulwark against foreign invasion, but also a tinderbox in times of internal unrest. During the stormy years 1905-1906 several mutinies broke out on Kronstadt. The sailors were important allies to the Bolsheviks after the February Revolution (1917), when the Kronstadt Soviet opposed the provisional government, declared a "Kronstadt Republic," and took part in the July 1917 mutiny. The famous cruiser Aurora, which had bombarded the Winter Palace on October 25, 1917 with its famous shot heard round the world, belonged to the Baltic Fleet based in Kronstadt.

It was a rude shock to the Bolsheviks when the red sailors of Kronstadt went into open rebellion in March 1921. The sailors saw themselves as loyal to the Soviet cause, if not to the Communist rulers. That bitter winter saw Kronstadt, like most other cities in Russia, hungry and discontented. Anger at material deprivations was compounded by the authoritarian regime the Bolsheviks were building, which seemed to violate the spirit of the revolution that the sailors had helped win. Popular unrest finally grew into strikes, which led to riots, lockouts, arrests. Finally on February 26, local Communist authorities declared martial law. A pattern of sharp protest and response escalated rapidly from here to a state of mutiny.

It is the source of the greatest political division on the left, between anarchists and Trotskyists, even to this day.

Hue and Cry Over Kronstadt By Leon Trotsky


SHAGYA BLOG: Kronstadt Izvestiia - " Four Legs Good "

The complete edition of
"Izvestiia of the Provisional Revolutionary Committee of Sailors, Soldiers and Workers of the town of Kronstadt"


Demands of the Kronstadt Insurgents, Expressed in the Resolution of the General Meeting of the Crews of the Ships of the Line

Kronstadt, 28 February I92I

Having heard the report of the representatives of the crews despatched by the General Meeting of the crews from the ships to Petrograd in order to learn the state of affairs in Petrograd, we decided:

  1. In view of the fact that the present soviets do not represent the will of the workers and peasants, to re-elect the soviets immediately by secret voting, with free canvassing among all workers and peasants before the elections.
  2. Freedom of speech and press for workers, peasants, Anarchists and Left Socialist Parties.
  3. Freedom of meetings, trade unions and peasant associations.
  4. To convene, not later than 1 March I92I, a non-party conference of workers, soldiers and sailors of Petrograd City, Kronstadt and Petrograd Province.
  5. To liberate all political prisoners of Socialist Parties, and also all workers, peasants, soldiers and sailors who have been imprisoned in connection with working-class and peasant movements.
  6. To elect a commission to review the cases of those who are imprisoned in jails and concentration camps.
  7. To abolish all Political Departments, because no single party may enjoy privileges in the propagation of its ideas and receive funds from the state for this purpose. Instead of these Departments, locally elected cultural-educational commissions must be established and supported by the state.
    ......................................
  8. To abolish all Communist fighting detachments in all military units, and also the various Communist guards at factories. If such detachments and guards are needed they may be chosen from the companies in military units and in the factories according to the judgment of the workers.
  9. To grant the peasant full right to do what he sees fit with his land and also to possess cattle, which he must maintain and manage with his own strength, but without employing hired labour.
  10. To ask all military units and also our comrades, the military cadets, to associate themselves with our resolutions.
  11. We demand that all resolutions be widely published in the press.
    .....................................
  12. To permit free artisan production with individual labour.

The resolutions were adopted by the meeting unanimously, with two abstentions.

 President of the Meeting, PETRICHENKO.

Secretary, PEREPELKIN.



SEE

West Side Story

Brecht Meets Oscar

Battle of Algiers

Ennio Morricone A Fistful of Composer

The Many Faces of Solaris

V for Anarchy

SPECTRE

Dimiti Shostakovich 1906-2006

Censorship and Art

The Fifth International


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Friday, October 12, 2007

The War On Atheism


Here is a biased survey on Atheism and Morality conducted by Reginald Bibby of the University of Lethbridge.

A new Canadian survey has found that believers are more likely than atheists to place a higher value on love, patience and friendship, in findings the researcher says could be a warning that Canadians need a religious basis to retain civility in society.

About the only claim that holds any 'value' is this one;


In the survey findings, there was only a five percentage-point difference between how theists and atheists valued honesty. But of all the categories, honesty is the value that is least connected to broad emotions such as love and compassion. In other words, someone can be honest and brutal.
I stand by that, being a Saggitarian and an ENTJ, I am often brutally honest.

The assertion made by the article that 'atheists' are less compassionate and moral than Christians misses the point. Those Canadians he interviewed are not necessarily atheists, per se, rather they are Canadians who do not profess a belief in God or organized religion. That is an unbelief, while atheism, and its derivatives; Marxism and Anarchism are counter beliefs, and in all cases rely upon classical liberalism as the basis of morality.


But in the realm of forgiveness, which is a core value of many major religions, particularly Christianity, the difference - 32 percentage points - is stark.

"That's a pretty explicit value within a large number of religious communities," said Prof. Bibby.

"Look at the culture as a whole and ask yourself: to what extent do we value forgiveness against themes like zero-tolerance? We don't talk very much about what we're going to do for people who fall through the cracks. So I think forgiveness is pretty foreign to a lot of people if they're not involved in religious groups."

Heck even Satanism has a moral code. Though it is not one of forgiveness. It is modeled on Ayn Rands morality.

In a consumer capitalist culture based on the values of ; I'm Ok Your Ok, the Me Generation and I Got Mine Jack 'unbelief' in God reflects a consumer choice. And the morality of the individual is then shaped by the society they exist in. In the era of Enron, Chainsaw Jack Welch, and other criminal capitalist enterprises, where Business Schools are having to 'teach' morality to budding business types, it is no surprise to find that Bibby's findings are what they are. Which is actually what Bibby is saying , despite the National Posts spin on the survey, that 'godless' capitalism has no values.

After all seeing that the culture is one of consumer capitalism, then this is more a condemnation of that then atheism or its political and philosophical offshoots.

But there is a war on Atheism currently in vogue amongst the Christian Right, and this just gives ammunition to the side which has conducted wars, pogroms and mass genocide, and continues with oppression, exploitation and mindless discrimination to excuse themselves as being 'good' people, with 'values'.


He said people who are believers are encouraged ­- whether by a desire to please God, or because of a fear of God - to adopt these values

To please or to fear the ultimate cosmic boss, to accept 'his' values, is not as humanistic as it appears. It is the morality of the slave. And thus is reflected in the social schizophrenia that creates the need for God, Priests, Bosses, Cops, Social Workers, etc, the whole kit and caboodle of authority ( a hold over of aristocracy within capitalism).

While Christians on the right claim that we need less human rights and more folks taking responsibility for their actions, they always seem to lovingly accept them folks who break the social or moral code, if they accept Jesus into their hearts.

The enlightened individual sees morality as a social construction; one of mutual agreement and sees no difference between human rights and responsibilities. Thus with the rise of Freemasonry and its child The Rights Of Man a new 'godless'
revolutionary morality evolved and created secular society; Liberty, Equality,Fraternity.

Immoral Capitalism has truncated Liberty from Equality and Fraternity. That is the ultimate truth in Bibby's survey.

http://spmedia.canada.com/gallery/00posted/1011religion.jpg

Only one word more concerning the desire to teach the world what it ought to be. For such a purpose philosophy at least always comes too late. Philosophy, as the thought of the world, does not appear until reality has completed its formative process, and made itself ready.

History thus corroborates the teaching of the conception that only in the maturity of reality does the ideal appear as counterpart to the real, apprehends the real world in its substance, and shapes it into an intellectual kingdom.


When philosophy paints its grey in grey, one form of life has become old, and by means of grey it cannot be rejuvenated, but only known. The owl of Minerva, takes its flight only when the shades of night are gathering.

Hegel, Philosophy of Right (1820), "Preface"

SEE:

Islamicists and Evangelical Christians



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Thursday, September 20, 2007

40 Years Later; The Society of the Spectacle

The foundational work of post Marxism; Society of the Spectacle, resulted from the creation of the Situationist Internationale

Released during the Summer of Love, it would go on to inspire the revolts of 1968.
Which appropriately was the year of the pig.

This work influenced the broad left in France and Europe including the post structuralists, and post modernists, who watered it down and created a specter of itself for their own academic pursuits.

It is forty years old and still caustically accurate as a critique of post- modernist capitalism.

DebordSpectacle.com

The Society of the Spectacle
by Guy Debord
Originally published in 1967
The revolutionary thinker, Guy Debord was the leading figure of the French intellectual group who called themselves The Situationist International. His text, The Society of the Spectacle written in 1967 is one of the greatest theoretical examinations of our socio-cultural condition, describing in pinpoint accuracy, the dreadful corporate globalization craze currently sweeping the planet. His work was instrumental in sparking the student uprisings in Europe in the late sixties. In 1989 he published his "Commentaries on the Society of the Spectacle" Both texts are chillingly accurate descriptions of the world of simulation and lies that mankind has transformed his life into. In December of 1994, at the age of 62, Debord killed himself.




SEE:

Baudrillard RIP

Same Old Olympics

Their Satanic Majesties Request

Black and Redmonton

The Fifth International

Kabbalistic Kommunism

Palm Sunday April Fools Day

Paul Goodman

For a Ruthless Criticism of Everything Existing

New Age Libertarian Manifesto

The Right To Be Greedy

May 68 Redux

Tout va Bien

After Montreal A View From the Past


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Friday, August 31, 2007

Labour, Opera and Anarchy


This is the labour day long weekend in North America and for that reason the August Carnival of Anarchy will begin and carry on through the week. The theme is:

Anarchism and Work, Anarchism and Life

Why Opera you ask. Because it originates from the Latin word for work; Opus. As in creative, fulfilling, self directed activity. Liberated labour if you like. Self-Valorization.

Whereas the common modern word for labour, work and worker in the Latin based languages like French, Spanish, Italian, etc. is
trabajo and travail (from the Latin tripalium, or “instrument of torture”)

Hence modern work for most of us is not an opera nor our opus but wage slavery.

Towards a History of Workers' Resistance to Work - Michael Seidman


And besides it gives me another chance to make a reference to that great cultural anarchist Bugs Bunny.



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Thursday, August 23, 2007

Sacco and Vanzetti


“Everything should be done to keep alive the tragic affair of
Sacco and Vanzetti in the conscience of mankind.”

ALBERT EINSTEIN, 1947


Thursday, Aug. 23, marks the 80th anniversary of the executions of
Nicola Sacco and Bartolomeo Vanzetti, Italian immigrants and anarchists,
for crimes they did not commit. The south plaza of New York's Union
Square will be the site of a commemoration of the judicial murder of the
two Italian anarchists, at 6 p.m. Union Square was the site of a
historic mass protest by over 500,000 supporters of Sacco and Vanzetti
on the day they were hung. Participating in the commemoration on
Thursday will be:

* The Living Theater, with a performance of a scene from their landmark
play, Paradise Now.
* Ahsanullah Khan, immigrant rights activist.
* Robert Palmer, Libertarian Book Club, speaking on the anarchist
background of Sacco & Vanzetti
* Other musicians and spoken-word artists to be announced.

The previous evening, Wed., Aug. 22, at 7 p.m., St. Joseph's Church, 371
Sixth Avenue in Greenwich Village (northwest corner of Washington
Place), a teach-in will be held on the case and its continuing
importance. The program will include:

* A performance by Leonard Lehrman of excerpts from his completed score
to Mark Blitzstein's opera, Sacco and Vanzetti.
* A screening of Peter Miller's acclaimed documentary, Sacco and Vanzetti.
* A staged reading of Events & Victims, by Daniel Lang/Levitsky.
* A discussion of the case's continuing importance, facilitated by Mary
Anne Trasciatti, assistant professor and chair of the Speech
Communication, Rhetoric & Performance Studies Department at Hofstra
University.

http://www.firstrunfeatures.com/presskits/sacco_vanzetti/protest.jpg


August 21, 2007

Sacco and Vanzetti Now Available on DVD!

To All Documentary Film Fans:

First Run Features is proud to announce the release on DVD of Peter
Miller's acclaimed documentary, Sacco and Vanzetti.

For five years, Miller devoted his life to making a film about an
important event in the history of America - an event that a lot of people
have heard of, but may not know much about. It's the story of Nicola Sacco
and Bartolomeo Vanzetti, two Italian immigrant radicals who were accused
of a murder in Boston in 1920, and executed after a notoriously prejudiced
trial.

When we read in the newspaper today how certain immigrants are treated in
this country, it makes us realize that in many ways not much has changed
since the days of Sacco and Vanzetti. If you're from "somewhere else" and
have an accent, or a different skin color, you most likely have to endure
discrimination, resentment, and even violence. And when the government
enacts policies that cut back on civil liberties in the name of protecting
our freedom, how can we not be reminded of the disastrous "red scare" that
set the scene for the Sacco and Vanzetti trial?

If you're interested in the history of America, or the plight of
immigrants, or insight into famous trials and how the law is selectively
applied, or if you're passionate about the death penalty, or concerned
about the protection of our civil liberties, you'll not only enjoy "Sacco
and Vanzetti" but learn a lot from it. If you're fans of Tony Shalhoub
(Monk) or John Turturro (Miller's Crossing), the actors who generously
lent their talents to give voice to Sacco and Vanzetti, or if you
appreciate historians and writers like Howard Zinn and Studs Terkel, or
musicians like Arlo Guthrie, you'll enjoy the film. And if you've got any
Italian in you, this is a must-see.

First Run is offering Sacco and Vanzetti for 25% off the list price of
$24.95. Here's the link to read more about the film, or to purchase it.

Thanks for reading about this, and for helping us get the word out about
this film. Please pass this letter on to anyone you think might be
interested. Also, check out Miller's earlier film The Internationale - a
powerful documentary about music and social change.

Many thanks,
Your Friends at First Run Features

Acclaim for Sacco and Vanzetti!

"Absolutely engrossing! This riveting film masterfully revives the
past."-CHICAGO TRIBUNE

"A rabble-rousing tribute!"-NEW YORK MAGAZINE

"A timely reminder of how things can go when politics obscure reasonable
minds."-BOXOFFICE.COM

"It's cleansing to see the facts laid out with intimacy and rigor. Grade
A!"-ENTERTAINMENT WEEKLY

"Thoughtful and thought-provoking!"-LOS ANGELES TIMES

"Superb! A concise yet passionate history lesson whose relevance could not
be timelier."-VARIETY

"A must for history buffs! Thorough and interesting throughout."-SALON.COM

"A wonderful film, as timeless as the struggle for human justice, as
relevant as today's headlines."-KEN BURNS

DVD Bonus Features:
Interview with Director Peter Miller
Sacco and Vanzetti F.A.Q.
Archival Photo Gallery
Suggested Readings

STANLEY KAUFFMANN ON FILMS
Crimes Revisited

Post date 04.01.07 | Issue date 04.02.07

On the morning of August 24, 1927, a few weeks before I started high school, I read the headlines in The New York Times announcing the executions of Sacco and Vanzetti. I knew something about their story--newspapers and magazines had been brimming with controversy over it ever since I had been able to read--and my parents and their friends had often discussed it. Whatever the rights and wrongs of the matter, I thought, at least the story is now finished. Last week I saw a new documentary about the case.

Peter Miller, who has worked with Ken Burns, made Sacco and Vanzetti because he feels that the red scare of the early 1920s has an analogue in current fears and jingoism. Even though the story is not much of a parallel with our current miring in mendacity, it shocks in two ways: it shows us how recently, relatively speaking, racial and political prejudices were openly allowed to smirch justice; and it makes us take a look at the vitality of liberalism now. Would such an outrage cause an equivalent storm today?


Nicola Sacco (April 22, 1891 – August 23, 1927) and Bartolomeo Vanzetti – (June 11, 1888August 23, 1927) were two Italian-born American anarchists, who were arrested, tried, and executed via electrocution in Massachusetts for the charge of murder and theft. There is much controversy regarding their guilt, stirred in part by Upton Sinclair's 1928 novel Boston. Critics of the trial have accused the prosecution and trial judge of allowing anti-Italian, anti-immigrant, and anti-anarchist sentiment to influence the jury's verdict. However, Upton Sinclair had brief doubts as to their innocence based upon a later conversation with their lawyer, doubts which, upon further investigation and reflection, he found to be unjustified.

In the August 14th, 2006 issue of the Nation Magazine, there’s a review of recent books on Upton Sinclair by Brenda Wineapple that contains the following observation on the muckraking novelist’s involvement with one of the landmark political trials of the 20th century:

“On the whole, Bachelder’s perspective on Sinclair’s unsinkability seems right. Just last December, Sinclair was resurrected and assassinated all over again when the Los Angeles Times ran a story, bruited in the conservative press, about the recent purchase of a Sinclair letter in which he admitted that one of Nicola Sacco and Bartolomeo Vanzetti’s defense attorneys had told him that the two Italian anarchists were guilty as charged, and yet he published the novel Boston anyway, to peddle sympathy for them. Neither Mattson nor Arthur would be surprised by the revelatory letter. Each of them amply demonstrates that Sinclair doubted the innocence of at least one, if not both, of the defendants.”

Although Wineapple is understandably focused on Sinclair’s reputation, it is too bad that she allows the reader to assume that Sacco and Vanzetti were guilty. This charge has been made mostly by rightwingers like Jonah Goldberg of the National Review, but you find concessions to it from other leftists besides Wineapple, which mostly takes the form of failing to take the charges head-on. In an interview with NPR’s “All Things Considered,” Anthony Arthur, an Upton Sinclair biographer included in Wineapple’s article, skirts around the subject of their guilt and allows the typically liberal NPR listener to assume the worst about Sacco and Vanzetti.

This was not the first documentary done on Sacco and Vanzetti. In 1971 an Italian made Docudrama was released.

Ennio Morricone received his first Nastro d'Argento in 1970 for the music in Metti una Sera a Cena (Giuseppe Patroni Griffi, 1969) and his second only a year later for Sacco e Vanzetti (Guiliano Montaldo, 1971) where he had made a memorable collaboration with the legendary American folk singer and activist Joan Baez.


An Historical Background to the Sacco-Vanzetti Case

by Paul Avrich


For one cannot deal with Sacco and Vanzetti without talking about anarchism; and, as Professor Pernicone pointed out, the greatest single shortcoming in the literature on the case-a literature that is vast, enormous-is its failure to come to grips with Sacco and Vanzetti as anarchists. Anarchism was a central feature of their lives. To write about Sacco and Vanzetti without talking about the anarchist connection, the anarchist dimension, is equivalent to writing about Eugene Victor Debs without talking about socialism, or to writing about Lenin and Trotsky without talking about communism. Anarchism was the passion, the great idea of Sacco and Vanzetti. It was the driving force of their lives. It was their obsession, their love, their chief interest on a day-to-day basis.

I'd like to read three quotations from their writings which illustrate this point. First, a quotation from Vanzetti's brief autobiography, The Story of a Proletarian L ife:

I am and will be until the last instant (unless I should discover that I am in error) an anarchist communist, because I believe that communism is the most humane form of social contract, because I know that only with liberty can man rise, become noble, and complete.

We find a similar idea in Sacco's writings- for example, in one of his last letters to his son Dante, written on August 18, 1927, five days before the execution. He advises Dante to help the persecuted and oppressed "as your father and Bartolo fought and fell yesterday for the conquest of the joy of freedom for all and the poor workers."

Sacco and Vanzetti

by Howard Zinn

Fifty years after the executions of Italian immigrants Sacco and Vanzetti, Governor Dukakis of Massachusetts set up a panel to judge the fairness of the trial, and the conclusion was that the two men had not received a fair trial. This aroused a minor storm in Boston.

One letter, signed John M. Cabot, U.S. Ambassador Retired, declared his “great indignation” and pointed out that Governor Fuller’s affirmation of the death sentence was made after a special review by “three of Massachusetts’ most distinguished and respected citizens—President Lowell of Harvard, President Stratton of MIT and retired Judge Grant.”

Those three “distinguished and respected citizens” were viewed differently by Heywood Broun, who wrote in his column for the New York World immediately after the Governor’s panel made its report. He wrote:

It is not every prisoner who has a President of Harvard University throw on the switch for him….If this is a lynching, at least the fish peddler and his friend the factory hand may take unction to their souls that they will die at the hands of men in dinner jackets or academic gowns.

Heywood Broun, one of the most distinguished journalists of the twentieth century, did not last long as a columnist for the New York World.

On that 50th year after the execution, the New York Times reported that: “Plans by Mayor Beame to proclaim next Tuesday ‘Sacco and Vanzetti Day’ have been canceled in an effort to avoid controversy, a City Hall spokesman said yesterday.”

There must be good reason why a case 50-years-old, now over 75-years-old, arouses such emotion. I suggest that it is because to talk about Sacco and Vanzetti inevitably brings up matters that trouble us today: our system of justice, the relationship between war fever and civil liberties, and most troubling of all, the ideas of anarchism: the obliteration of national boundaries and therefore of war, the elimination of poverty, and the creation of a full democracy.

The case of Sacco and Vanzetti revealed, in its starkest terms, that the noble words inscribed above our courthouses, “Equal Justice Before the Law,” have always been a lie. Those two men, the fish peddler and the shoemaker, could not get justice in the American system, because justice is not meted out equally to the poor and the rich, the native born and the foreign born, the orthodox and the radical, the white and the person of color. And while injustice may play itself out today more subtly and in more intricate ways than it did in the crude circumstances of the Sacco and Vanzetti case, its essence remains.

Michael D. Yates, "Sacco and Vanzetti"

In the spring of 1920 two Italian immigrants, Bartolomeo Vanzetti and Nicola Sacco, were accused of the April 15 robbery of the payroll of the Slater and Morrill Shoe Factories in South Braintree, Massachusetts and the murders of the paymaster Frederick A. Parmenter and his guard Alessandro Beradelli. The accused were anarchists, followers of Luigi Galleani, a prominent Italian radical, who advocated violence against the state. At the start of the trial the Great Red Scare was in full swing, fueled by the Bolshevik Revolution in Russia, the growth of radical sentiment in the United States, and the draconian laws enacted during the First World War. Immigrants, painted as anti-American radicals, bore the brunt of it, harassed, arrested, and summarily deported on the flimsiest of charges. After a spectacularly unfair trial, in which judge Webster Thayer displayed blatant bias against the defendants and prosecutor Frederick Katzman willfully violated much of the canon of legal ethics, the jury convicted Sacco and Vanzetti of murder. Between their conviction on June 14, 1921 and their execution on August 23, 1927, the case of Sacco and Vanzetti became a cause celebre in the United States and around the world.

Sacco and Vanzetti
Two Immigrants Targeted For Their Beliefs
by Marlene Martin

To understand why this travesty of justice occurred, we first have to look at the hostile political climate towards immigrants and radicals. Following the First World War, the U.S. government responded to a wave of strikes and political unrest with a crackdown. The Palmer raids of the early 1920s, organized by Attorney General A. Mitchell Palmer, resulted in thousands of radicals, especially immigrants, being rounded up, beaten, and held incommunicado for days.

It’s clear from the proceedings that Sacco and Vanzetti were convicted not because the evidence proved them guilty, but because they were anarchists and immigrants.



Dana Gioia Online - Italian-American Poetry


The first generation of Italian-American writers to work in English made their most important contributions neither in poetry nor fiction but in radical politics. Carlo Tresca and Arturo Giovannitti, for example, were both published poets, but today they are remembered for their social activism. Their political journalism, which passionately addressed the timeless concerns of equality and justice, remains more vital than their verse. Selden Rodman boldly reprinted Bartolomeo Vanzetti's last speech to the court as verse in his 1938 New Anthology of Modern Verse, and Vanzetti's proud words spoken in slightly awkward English sustain the pressure of transcription. Few poems by his Italian-American contemporaries still read so well.

Despite the stylistic diversity, one does notice certain underlying themes that unite the work of first and second generation writers. I would cite four central experiences that haunt —either overtly or subtly—the Italian-American poetic imagination. The first is poverty. The poets and their families have usually known genuine privation and penury both here and in Europe. This bitter memory informs their views of America and themselves. Their original status as economic and social outsiders in America also colors their political views. It often makes them suspicious or critical of established power. Anarchy appeals to the Southern Italian worldview. Revolution and resistance also exercise a mythic charm. Early Italian-American poets were usually political radicals, though rarely loyal and obedient members of any party. More recently, several Italian-American women—most notably Sandra Mortola Gilbert—are significant figures in the feminist movement.


WOODY GUTHRIE
BALLADS OF SACCO & VANZETTI
(Folkways), recorded 1946-'47.

IN 1945 Moses Asch commissioned balladeer Woody Guthrie -- who had already written on such themes as the Oklahoma Dust Bowl -- to go to Boston and document the story of anarchists and trade unionists Sacco and Vanzetti. The songs were recorded in January 1947 to commemorate the twentieth anniversary of their execution, and released as an album in 1960.

VANZETTI'S LETTER

The year, it is 1927, an' the day is the third day of May;
Town is the city called Boston, an' our address this dark Dedham jail.
To your honor, the Governor Fuller, to the council of Massachussetts state,
We, Bartolomo [sic] Vanzetti, an' Nicola Sacco, do say:

Confined to our jail here at Dedham an' under the sentence of death,
We pray you do exercise your powers an' look at the facts of our case.
We do not ask you for a pardon, for a pardon would admit of our guilt;
Since we are both innocent workers, we have no guilt to admit.

We are both born by parents in Italy, can't speak English too well;
Our friends of labor are writin' these words, back of the barsin our cell.
Our friends say if we speak too plain, sir, we may turn your feelings away,

Widen these canyons between us, but we risk our life to talk plain.

We think, sir, that each human bein' is in close touch with all of man's kind,
We think, sir, that each human bein' knows right from the wrong in his mind.
We talk to you here as a man, sir, even knowing our opinions divide;
We didn't kill the guards at South Braintree, nor dream of such a terrible crime.

We call your eye to this fact, sir, we work with our hand and our brain;
These robberies an' killings, were done, sir, by professional bandit men,
Sacco has been a good cutter, Mrs. Sacco their money has saved;
I, Vanzetti, l could have saved money, but I gave it as fast as received.

l'm a dreamer, a speaker, an' a writer; I fight on the working folks' side.
Sacco is Boston's fastest shoe trimmer, and he talks to the husbands and wives.
We hunted your land, and we found it, hoped we'd find freedom of mind,
Built up your land, this Land of the Free, an' this is what we come to find.

If we was those killers, good Governor, we'd not be so dumb and so blind
To pass out our handbills and make workers' speeches, out here by the scene of the crime.
Those fifteen thousands of dollars the lawyers and judge said we took,
Do we, sir, dress up like two gentlemen with that much in our pocketbook?

Our names are on the long list of radicals of the Federal Government, sir,
They said that we needed watching as we peddled our literature.
Judge Thayer's mind's made up, sir, when we walked into the court;
Well, he called us anarchistic bastards, said lots of other things worse.

They brought people down there to Brockton to look through the bars of our cell,
Made us act out the motions of the killers, and still not so many could tell.

Before the trial ever started, the jury foreman did say,
An' he cussed us an' said, "Damn they, well, they'd ought to hang anyway."
Our fatal mistake was carryin' our guns, about which we had to tell lies
To keep the police from raiding the homes of workers believing like us.

A labor paper, or a picture, a letter from a radical friend,
An old cheap gun like you keep around home, would torture good women and men.
We all feared deporting and whipping, torments to make us confess
The place where the workers are meeting, the house, your name, and address.

Well. the officers said we feared something which they called a consciousness of guilt.
We was afraid of wreckin' more homes, and seein' more workers' blood spilt.
Well, the very first question they asked us was not about killing the clerks,
But things about our labor movement, and how our trade union works.

Oh, how could our jury see clearly, when the lawyers, and judges, and cops
Called us low type Italians, said we looked just like regular wops,
Draft dodgers, gun packers, anarchists, these vulgar sounding names,
Blew dust in the eyes of jurors, the crowd in the courtroom the same.

We do not believe, sir, that torture, beatings, and killings and pains
Will lift man's eyes to a highest of view an' break his bilbos and chains.
We believe that you must struggle for freedom before your freedom you'll gain,
Freedom from fear, sir, and greed, sir, and your freedom to think higher things.

This fight, sir, is not a new battle, we did not make it last night,
'Twas fought by Godwin, Shelly, Pisacane, Tolstoy and Christ;
It's bigger than the atoms an' the sands of the desert, planets that roll in the sky;
Till workers get rid of their robbers, well, it's worse, sir, to live than to die.

Your Excellency, we're not askin' pardon but askin' to be set free,
With liberty, and pride, sir, and honor, and a pardon we will not receive.
A pardon you given to criminals who've broken the laws of the land;
We don't ask you for pardon, sir, because we are innocent men.

Well, if you shake your head "no", dear Governor, of course, our doom it is sealed.
We hold up our heads like two sons of men, seven years in these cells of steel.
We walk down this corridor to death, sir, like workers have walked it before,
But we'll work in our working class struggle if we live a thousand lives more.


Sacco and Vanzetti. Produced by Curtis Fox, 1998. Part of a radio series, The Past Present: History for Public Radio. Distributed for broadcast to public radio stations in January, 1999.


Marc Blitzstein's Magnum Opus At Last
Sacco and Vanzetti

"The Sacco-Vanzetti case united the liberals," wrote David Riesman in the 1960s. "The Rosenberg case divided them."

When Marc Blitzstein began writing his magnum opus, the three-act opera, "Sacco and Vanzetti," commissioned by the Ford Foundation and optioned by the Metropolitan Opera in 1960, he was thinking of the Rosenbergs. His sister, Josephine Davis, told me that, when I first met her and looked at his unfinished works in 1970, six years after his death.

Both cases had provoked a worldwide outcry at the injustice of executing people for crimes they had not committed: robbery and murder in the 1920s case of Nicola Sacco and Bartolomeo Vanzetti; stealing the "secret" of the atom bomb in the 1950s case of Julius and Ethel Rosenberg.

The "good shoemaker" and the "poor fish peddler" who were executed in 1927 after a bitter, seven-year battle in court, in the press and in many minds, keep agitating American imaginations. Composer Marc Blitzstein is writing an opera about them, and an off-Broadway producer is planning a musical. This week NBC presents the second installment of its two-part Sacco-Vanzetti Story, billed as a "dramatic interpretation of the much-disputed case." Taken together, the two taped installments provide two absorbing hours, somewhat marred by overly insistent pleading.

Letters From Prison, 1921-1927

Sacco & Vanzetti Trial Homepage

Letters of Bartolomeo Vanzetti
Letters written in 1921-24 in Charlestown State Prison
Letters written in 1925 in the Bridgewater Hospital for the Criminally Insane
Letters written in 1925-April 1927 in Charlestown State Prison
Letters written in April-June 1927 in Dedham Jail
Letters written in July-August 21, 1927 from Charlestown State Prison
Letters written August 21-22, 1927 from the Death House, Massachusetts State Prison

Letters of Nicola Sacco
Letters written in 1921-June 1927 in Dedham Jail
Letters written in July-August 18, 1927 in Charlestown State Prison


Source: The Letters of Sacco and Vanzetti, edited by Marion D. Frankfurter and Gardner Jackson (1928).


The Atlantic Monthly, June 1977

The Never-Ending Wrong

by Katherine Anne Porter

For several years in the early 1920s when I was living part of the time in Mexico, on each return to New York, I would follow again the strange history of the Italian emigrants Nicola Sacco a shoemaker, and Bartolomeo Vanzetti a fishmonger, who were accused of a most brutal holdup of a payroll truck, with murder, in South Braintree, Massachusetts, in the early afternoon of April 15, 1920. They were tried before a Boston court and condemned to death about eighteen months later.

I cannot even now decide by my own evidence whether or not they were guilty of the crime for which they were put to death. They expressed in their letters many thoughts, if not always noble, at least elevated, exalted even. Their fervor and human feelings gave the glow of life to the weary stock phrases of those writing about them, and we do know now, all of us, that the most appalling cruelties are committed by apparently virtuous governments in expectation of a great good to come, never learning that the evil done now is the sure destroyer of the expected good. Yet, no matter what, it was a terrible miscarriage of justice; it was a most reprehensible abuse of legal power, in their attempt to prove that the law is something to be inflicted--not enforced--and that it is above the judgment of the people.

Sacco and Vanzetti
by Alexander Berkman and Emma Goldman
[Published in The Road to Freedom (New York), Vol. 5, Aug. 1929.]


THE names of the "good shoe-maker and poor fish-peddler" have ceased to represent merely two Italian workingmen. Throughout the civilised world Sacco and Vanzetti have become a symbol, the shibboleth of Justice crushed by Might. That is the great historic significance of this twentieth century crucifixion, and truly prophetic, were the words of Vanzetti when he declared, "The last moment belongs to us--that agony is our triumph."

We hear a great deal of progress and by that people usually mean improvements of various kinds, mostly life-saving discoveries and labor-saving inventions, or reforms in the social and political life. These may or may not represent a real advance because reform is not necessarily progress.

It is an entirely false and vicious conception that civilisation consists of mechanical or political changes. Even the greatest improvements do not, in themselves, indicate real progress: they merely symbolise its results. True civilization, real progress consists in humanising mankind, in making the world a decent place to live in. From this viewpoint we are very far from being civilised, in spite of all the reforms and improvements.

True progress is a struggle against the inhumanity of our social existence, against the barbarity of dominant conceptions. In other words, progress is a spiritual struggle, a struggle to free man from his brutish inheritance, from the fear and cruelty of his primitive condition. Breaking the shackles of ignorance and superstition; liberating man from the grip of enslaving ideas and practices; driving darkness out of his mind and terror out of his heart; raising him from his abject posture to man's full stature--that is the mission of progress. Only thus does man, individually and collectively, become truly civilised and our social life more human and worth while.

This struggle marks the real history of progress. Its heroes are not the Napoleons and the Bismarcks, not the generals and politicians. Its path is lined with the unmarked graves of the Saccos and Vanzettis of humanity, dotted with the auto-da-fé, the torture chambers, the gallows and the electric chair. To those martyrs of justice and liberty we owe what little of real progress and civilization we have today.

The anniversary of our comrades' death is therefore by no means an occasion for mourning. On the contrary, we should rejoice that in this time of debasement and degradation, in the hysteria of conquest and gain, there are still MEN that dare defy the dominant spirit and raise their voices against inhumanity and reaction: That there are still men who keep the spark of reason and liberty alive and have the courage to die, and die triumphantly, for their daring.

For Sacco and Vanzetti died, as the entire world knows today, because they were Anarchists. That is to say, because they believed and preached human brotherhood and freedom. As such, they could expect neither justice nor humanity. For the Masters of Life can forgive any offense or crime but never an attempt to undermine their security on the backs of the masses. Therefore Sacco and Vanzetti had to die, notwithstanding the protests of the entire world.

Yet Vanzetti was right when he declared that his execution was his greatest triumph, for all through history it has been the martyrs of progress that have ultimately triumphed. Where are the Caesars and Torquemadas of yesterday? Who remembers the names of the judges who condemned Giordano Bruno and John Brown? The Parsons and the Ferrers, the Saccos and Vanzettis live eternal and their spirits still march on.

Let no despair enter our hearts over the graves of Sacco and Vanzetti. The duty we owe them for the crime we have committed in permitting their death is to keep their memory green and the banner of their Anarchist ideal high. And let no near-sighted pessimist confuse and confound the true facts of man's history, of his rise to greater manhood and liberty. In the long struggle from darkness to light, in the age-old fight for greater freedom and welfare, it is the rebel, the martyr who has won. Slavery has given way, absolutism is crushed, feudalism and serfdom had to go, thrones have been broken and republics established in their stead. Inevitably, the martyrs and their ideas have triumphed, in spite of gallows and electric chairs. Inevitably, the people, the masses, have been gaining on their masters, till now the very citadels of Might, Capital and the State, are being endangered. Russia has shown the direction of the further progress by its attempt to eliminate both the economic and political master. That initial experiment has failed, as all first great social revaluations require repeated efforts for their realisation. But that magnificent historic failure is like unto the martyrdom of Sacco and Vanzetti--the symbol and guarantee of ultimate triumph.

Let it be clearly remembered, however, that the failure of FIRST attempts at fundamental social change is always due to the false method of trying to establish the NEW by OLD means and practices. The NEW can conquer only by means of its own new spirit. Tyranny lives by suppression; Liberty thrives on freedom. The fatal mistake of the great Russian Revolution was that it tried to establish new forms of social and economic life on the old foundation of coercion and force. The entire development of human society has been AWAY from coercion and government, away from authority towards greater freedom and independence. In that struggle the spirit of liberty has ultimately won out. In the same direction lies further achievement. All history proves it and Russia is the most convincing recent demonstration of it. Let us then learn that lesson and be inspired to greater efforts in behalf of a new world of humanity and freedom, and may the triumphant martyrdom of Sacco and Vanzetti give us greater strength and endurance in this superb struggle.

France: July, 1929.

_______________

(This joint article reached America on the 17th of July. It is altogether too good to be left till another time. How penetrating the analysis and how apt the historical inferences! It is indeed a long time since Comrade Berkman has seen his name signed to an article in an English Anarchist paper and nearly as long since Emma Goldman has appeared as a contributor. Road to Freedom is grateful for this opportunity to bring out a joint article wherein both our immutable fighters are in such complete agreement. We hope we merit more from their powerful pens in future issues.--Ed.)


The Passion of Sacco and Vanzetti,
Ben Shahn, 1931-32, Tempera on canvas

Over the years, Jewish writers and artists kept the memory of Sacco and Vanzetti alive, among them Ben Shahn, who produced a series of 23 paintings of the men and their trial in the early 1930s.

Fuller Decides - TIME

Monday, August 15, 1927


Twelve leading Paris newspapers last week devoted four times as much space to two remote Italians as to the break-up of the Geneva Naval Conference. Why? The French, as lovers of liberty, were interested in whether these two Italians were to be killed by a democracy for a crime of which they were innocent or whether they were actually guilty and had been responsible for an international campaign to defeat justice.

Eleventh Hour. These demonstrations did not aid the new Sacco-Vanzetti attorney, Arthur D. Hill, and his associate, Francis B. Sayre, son-in-law of the late Woodrow Wilson, who were making eleventh-hour appeals for a new trial in Massachusetts or Federal courts. But hope for Messrs. Sacco & Vanzetti was scant. Death loomed.


Charlestown State Prison, Mass., Tuesday, Aug. 23 -- Nicola
Sacco and Bartolomeo Vanzetti died in the electric chair early
this morning, carrying out the sentence imposed on them for the
South Braintree murders of April 15, 1920.
Sacco marched to the death chair at 12:11 and was pronounced lifeless at 12:19.
Vanzetti entered the execution room at 12:20 and was declared dead at 12:26.
To the last they protested their innocence, and the efforts of
many who believed them guiltless proved futile, although they
fought a legal and extra legal battle unprecedented in the
history of American jurisprudence.

With them died Celestino f. Madeiros, the young Portuguese, who
won seven respites when he "confessed" that he was present at
the time of the South Braintree murder and that Sacco and
Vanzetti were not with him. He died for the murder of a bank
cashier.


And so, on the evening of August 22, 1927, more than 500 policemen in blue uniforms enforced a mile-long barricade that encircled the prison. Most carried tear gas and gas masks. Mounted horses clip-clopped on the cobblestones, firemen stood ready with hoses, machine guns peeked over the top of the prison's red granite wall, and searchlights probed the surrounding darkness. The thousands of protesters who milled against the barricade included Dorothy Parker and John Dos Passos, as well as a host of anarchists, immigrants, day laborers, and a claque of garment workers, who kept up a constant round of "Solidarity Forever." The crowd swelled, with placards reading "JUSTICE IS CRUCIFIED" swaying overhead. Militants from the Hog Carriers' Union ran at the prison gate, and mounted troopers charged the masses. Several were hurt, many more were arrested. A cheer had gone up at the appearance of Sacco's wife, who'd brought their two children, and Vanzetti's sister, who'd arrived recently from Italy. But the women -- who had bid Sacco and Vanzetti farewell a few hours earlier, then hurried to the governor's office, got down on their knees, and begged for a stay of execution -- were defeated.

February 1928

Vanzetti's Last Statement: A Record by W.G. Thompson



The following document, which is not printed to prolong an argument, has no
bearing upon the official record of the tragic case to which it forms the
natural epilogue. But in human records its extraordinary character gives it a
place unlike any other known to us. - THE EDITORS, ATLANTIC MONTHLY



Monday, August 22, 1927

Sacco and Vanzetti were in the Death House in the State Prison at Charleston.
They fully understood that they were to die immediately after midnight. Mr.
Ehrmann and I, having on their behalf exhausted every legal remedy which
seemed to us available, had retired from the active conduct of the case,
holding ourselves in readiness, however, to help their new counsel in any way
we could.

I was in New Hampshire, where a message reached me from Vanzetti that he
wanted to see me once more before he died. I immediately started for Boston
with my son, reached the prison in the late afternoon or early evening, and
was at once taken by the Warden to Vanzetti. He was in one of the three cells
in a narrow room opening immediately to the chair. In the cell nearest the
chair was Madeiros, in the middle one Sacco, and in the third I found
Vanzetti. There was a small table in his cell, and when I entered the room he
seemed to be writing. The iron bars on the front of the cell were so arranged
as to leave at one place a wider space, through which what he needed could be
handed to him. Vanzetti seemed to be expecting me; and when I entered he
rose from his table, and with his characteristic smile reached through the
space between the bars and grasped me warmly by the hand. It was intimated to
me that I might sit in a chair in front of the cell, but not nearer the bars
than a straight mark painted on the floor. This I did.

I had heard that the Governor had said that if Vanzetti would release his
counsel in the Bridgewater case from their obligation not to disclose what he
had said to them the public would be satisfied that he was guilty of that
crime, and also of the South Braintree crime. I therefore began the interview
by asking one of the two prison guards who sat at the other end of the room,
about fifteen feet from where we were, to come to the front of the cell and
listen to the questions I was about to ask Vanzetti and to his replies. I
then asked Vanzetti if he had at any time said anything to Mr. Vahey or Mr.
Graham which would warrant the inference that he was guilty of either crime.
With great emphasis and obvious sincerity he answered no. He then said what
he had often said to me before, that Messrs. Vahey and Graham were not his
personal choice, but became his lawyers at the urgent request of friends, who
raised the money to pay them. He then told me certain things about their
relations to him and about their conduct of the Bridgewater case, and what he
had in fact told them. This on the next day I recorded, but will not here
repeat.

I asked Vanzetti whether he would authorize me to waive on his behalf his
privilege so far as Vahey and Graham were concerned. He readily assented to
this, but imposed the condition that they should make whatever statement they
saw fit to make in the presence of myself or some other friend, giving his
reasons for this condition, which I also recorded.

The guard then returned to his seat.

I told Vanzetti that although my belief in his innocence had all the time
been strengthened, both by my study of the evidence and by my increasing
knowledge of his personality, yet there was a chance, however remote, that I
might be mistaken; and that I thought he ought for my sake, in this closing
hour of his life when nothing could save him, to give me his most solemn
reassurance, both with respect to himself and with respect to Sacco.
Vanzetti then told me quietly and calmly, and with a sincerity which I could
not doubt, that I need have no anxiety about this matter; that both he and
Sacco were absolutely innocent of the South Braintree crime, and that he
(Vanzetti) was equally innocent of the Bridgewater crime; that while, looking
back, he now realized more clearly than he ever had the grounds of the
suspicion against him and Sacco, he felt that no allowance had been made for
his ignorance of American points of view and habits of thought, or for his
fear as a radical and almost as an outlaw, and that in reality he was
convicted on evidence which would not have convicted him had he not been an
anarchist, so that he was in a very real sense dying for his cause. He said
it was a cause for which he was prepared to die. He said it was the cause of
the upward progress of humanity, and the elimination of force from the world.
He spoke with calmness, knowledge, and deep feeling. He said he was grateful
to me for what I had done for him. He asked to be remembered to my wife and
son. He spoke with emotion of his sister and of his family. He asked me to do
what I could to clear his name, using the words "clear my name."

I asked him if he thought it would do any good for me or any friend to see
Boda. He said he thought it would. He said he did not know Boda very well,
but believed him to be an honest man, and thought possibly he might be able
to give some evidence which would help to prove their innocence.

I then old Vanzetti that I hoped he would issue a public statement advising
his friends against retaliating by violence and reprisal. I told him that,
as I read history, the truth had little chance of prevailing when violence
was followed by counter-violence. I said that, as he well knew, I could not
subscribe to his views or to his philosophy of life; but that, on the other
hand, I could not but respect any man who consistently lived up to altruistic
principles, and was willing to give his life for them. I said that if I were
mistaken, and if his views were true, nothing could retard their acceptance
by the world more than the hate and fear that would be stirred up by violent
reprisal. Vanzetti replied that, as I must well know, he desired no personal
revenge for the cruelties inflicted upon him; but he said that, as he read
his story, every great cause for the benefit of humanity had had to fight
for its existence against entrenched power and wrong, and that for this
reason he could not give his friends such sweeping advice as I had urged. He
added that in such struggles he was strongly opposed to any injury to women
and children. He asked me to remember the cruelty of seven years of
imprisonment, with alternating hopes and fears. He reminded me of the remarks
attributed to Judge Thayer by certain witnesses, especially by Professor
Richardson, and asked me what state of mind I thought such remarks indicated.
He asked me how any candid man could believe that a judge capable of
referring to men accused before him as "anarchistic bastards" could be
impartial, and whether I thought that such refinement of cruelty as had been
practiced upon him and upon Sacco ought to go unpunished.

I replied that he well knew my own opinion of these matters, but that his
arguments seemed to me not to meet the point I had raised, which was whether
he did not prefer the prevalence of his opinions to the infliction of
punishment upon persons, however richly he might think they deserved it. This
led to a pause in the conversation.

Without directly replying to my question, Vanzetti then began to speak of the
origin, early struggles, and progress of other great movements for human
betterment. He said that all great altruistic movements originated in the
brain of some man of genius, but later became misunderstood and perverted,
both by popular ignorance and by sinister self interest. He said that all
great movements which struck at conservative standards, received opinions,
established institutions, and human selfishness were at first met with
violence and persecution. He referred to Socrates, Galileo, Giordano Bruno,
and others whose names I do not now remember, some Italian and some Russian.
He then referred to Christianity, and said that it began in simplicity and
sincerity, which were met with persecution and oppression, but that it later
passed quietly into ecclesiasticism and tyranny. I said I did not think that
the progress of Christianity had been altogether checked by convention and
ecclesiasticism, but that on the contrary it still made an appeal to
thousands of simple people, and that the essence of the appeal was the
supreme confidence shown by Jesus in the truth of His own views by forgiving,
even when on the Cross, His enemies, persecutors, and slanderers.

Now, for the first and only time in the conversation, Vanzetti showed a
feeling of personal resentment against his enemies. He spoke with eloquence
of his sufferings, and asked me whether I thought it possible that he could
forgive those who had persecuted and tortured him through seven years of
inexpressible misery. I told him he knew how deeply I sympathized with him,
and that I could not say that if I were in the same situation I should not
have the same feeling; but I said that I had asked him to reflect upon the
career of One infinitely superior to myself and to him, and upon a force
infinitely greater than the force of hate and revenge. I said that in the
long run the force to which the world would respond was the force of love and
not of hate, and that I was suggesting to him to forgive his enemies, not
for their sakes, but for his own peace of mind, and also because an example
of such forgiveness would in the end be more powerful to win adherence to his
cause or to a belief in his innocence than anything else that could be done.

There was another pause in the conversation. I arose and we stood gazing at
each other for a minute or two in silence. Vanzetti finally said that he
would think of what I had said. [See Endnote 1].

I then made a reference to the possibility of personal immortality, and said
that, although I thought I understood the difficulties of a belief in
immortality, yet I felt sure that if there was a personal immortality he
might hope to share it. This remark he received in silence.

He then returned to his discussion of the evil of the present organization of
society, saying that the essence of the wrong was the opportunity it afforded
persons who were powerful because of ability or strategic economic position
to oppress the simple-minded and idealistic among their fellow men, and that
he feared that nothing but violent resistance could ever overcome the
selfishness which was the basis of the present organization of society and
made the few willing to perpetuate a system which enabled them to exploit the
many.

I have given only the substance of this conversation, but I think I have
covered every point that was talked about and have presented a true picture
of the general tenor of Vanzetti's remarks. Throughout the conversation,
with the few exceptions I have mentioned, the thought that was uppermost
in his mind was the truth of the ideas in which he believed for the
betterment of humanity, and the chance they had of prevailing. I was
impressed by the strength of Vanzetti's mind, and by the extent of his
reading and knowledge. He did not talk like a fanatic. Although intensely
convinced of the truth of his own views, he was still able to listen with
calmness and with understanding to the expression of views with which he did
not agree. In this closing scene the impression of him which had been
gaining ground in my mind for three years was deepened and confirmed - that
he was a man of powerful mind, of unselfish disposition, of seasoned
character, and of devotion to high ideals. There was no sign of breaking
down or of terror at approaching death. At parting he gave me a firm clasp
of the hand and a steady glance, which revealed unmistakably the depth of
his feeling and the firmness of his self-control.

I then turned to Sacco, who lay upon a cot bed in the adjoining cell and
could easily have heard and undoubtedly did hear my conversation with
Vanzetti. My conversation with Sacco was very brief. He rose from his cot,
referred feelingly though in a general way to some points of disagreement
between us in the past, said he hoped that our differences of opinion had not
affected our personal relations, thanked me for what I had done for him,
showed no sign of fear, shook hands with me firmly, and bade me good-bye.
His manner also was one of absolute sincerity. It was magnanimous in him not
to refer more specifically to our previous differences of opinion, because
at the root of it all lay his conviction, often expressed to me, that all
efforts on his behalf, either in court or with public authorities, would be
useless, because no capitalistic society could afford to accord him justice.
I had taken the contrary view; but at this last meeting he did not suggest
that the result seemed to justify his view and not mine. [See Endnote 2].

Endnotes:

1. it is credibly reported that when, a few hours later, Vanzetti was about
to step into the chair, he paused, shook hands with the Warden and Deputy
Warden and the guards, thanked them for their kindness to him, and, turning
to the spectators, asked them to remember that he forgave some of his
enemies. - W.G.T.


2. I afterward talked with the prison guard to whom I have referred in this
paper. He told me that after he returned to his seat he heard all that was
said by Vanzetti and myself. The room was quiet and no other persons were
talking. I showed the guard my complete notes of the interview, including
what Vanzetti had told me about Messrs. Vahey and Graham. He read the notes
carefully and said that they corresponded entirely with his memory except
that I had omitted a remark made by Vanzetti about women and children. I
then remembered the remark and added it to my memorandum. - W.G.T.

Vanzetti,
“with his sense of peace at his fate,” wrote in a last letter to a
friend: “If it had not been for these things [his imprisonment and
imminent execution] I might have lived out my life talking at street
corners to scorning men. I might have died unmarked, unknown, a
failure. This is our career and our triumph.
Never in our full life could we hope to do such work
for tolerance, for justice,
for man’s understanding of man,
as we now do by accident.
--- That last moment belongs to us
- that agony is our triumph.”

On August 23, 1977, fifty years to the day of the executions of Sacco and Vanzetti, Michael S. Dukakis, Governor of Massachusetts, issued a proclamation that concluded with the words:

Therefore, I, Michael S. Dukakis, Governor of the Commonwealth of Massachusetts ... hereby proclaim Tuesday, August 23, 1977, "NICOLA SACCO AND BARTOLOMEO VANZETTI MEMORIAL DAY"; and declare, further, that any stigma and disgrace should be forever removed from the names of Nicola Sacco and Bartolomeo Vanzetti, from the names of their families and descendants, and so ... call upon all the people of Massachusetts to pause in their daily endeavors to reflect upon these tragic events, and draw from their historic lessons the resolve to prevent the forces of intolerance, fear, and hatred from ever again uniting to overcome the rationality, wisdom, and fairness to which our legal system aspires.

They weren't pardoned. That would have been a declaration that they had been guilty. They were --- in a manner of speaking --- apologized to.

Remember Sacco and Vanzetti
By Vera B. Weisbord
(From the magazine "La Parola del Popolo" July 1977)

WHILE President Carter preaches human rights, crusading as the leader of the whole world, a more realistic stand is taken by a lesser official, Governor Dukakis who on July 19 issued a statement that Sacco and Vanzetti did not have a fair trial. Coming fifty years after the event, even this belated acknowledgement must be considered as progressive. In the 1920s the case of Sacco and Vanzetti won world-wide support perhaps more than any other civil rights case. For the sake of newcomers on the scene we shall tell once more their tragic story.

Nicola Sacco was a man of Italian origin who worked in a shoe factory in Stoughton, Massachusetts. He had a home, a wife and a little son. Bartolomeo Vanzetti, also Italian, worked as a fish peddler in nearby Plymouth. The two men were friends. On the afternoon of April 15, 1920, it happen that a crime was committed on the streets of South Braintree, another small industrial town of the vicinity. Five bandits held up the paymaster of a shoe factory, killed him and his guard and escaped with the loot of over $15,000.

What connection did this event have with our two Italian workingmen? None, none whatever. Neither was anywhere near the scene of the crime. Both had ample proof of their alibis. Nevertheless they were arrested, thrown into jail and charged with the crime of first degree murder.

The jail doors never opened for Sacco and Vanzetti. For seven agonizing years of alternating hope and despair they waited while their defense tried every possible legal device, appeal after appeal being rejected until at last on August 22, 1927, the electric chair put an end to their martyrdom.

To explain how such an outrage could occur in this fair land of peace, justice, prosperity and above all of FREEDOM we must first look into the situation prevailing in the United States in that post World War I period.



Peter Miller: Lessons of Sacco and Vanzetti -

We'll never know if Sacco and Vanzetti committed the shoe factory murder, and the question of guilt or innocence remains politically volatile even to this day. A recent flap based on a misreading of a letter by the novelist Upton Sinclair is the most recent proof of the ongoing radioactivity of this subject. But to focus on the issue of innocence or guilt is missing the point. The more fundamental question is whether they received a fair trial, and the answer is a resounding no.

More important still is the question of what we can still learn from their story. As our country remains fixated on the threat of domestic terrorism today, we would do well to reflect on how we responded to similar threats eighty years ago. Were we really more secure as a country as a result of the unconstitutional attacks on radical movements in the 1910s and '20s? Did the judicial murder of Sacco and Vanzetti help protect us from crime and terror?

Muslims and Arabs have become the current targets of racial profiling in the name of protecting our security. Looking at history will remind us that such treatment used to be reserved for Italians, now a fully-assimilated immigrant group whose members includes two justices on the Supreme Court. Does a defendant's ethnicity or political creed continue to shape the kind of justice that we offer in this country? How often do we still think something along the lines of "damn them, they ought to hang them anyway" when considering the fate of a defendant from an unpopular ethnic group, or whose beliefs are antithetical to our own?

Sacco and Vanzetti's fate also raises unsettling questions about capital punishment. As hundreds of death penalty convictions are now being overturned due to the introduction of new evidence, can the electrocution of these two men 80 years ago remind us of the folly -- not to mention the brutality -- of killing a defendant before the truth is settled?

Perhaps the greatest lesson we can take away from the Sacco and Vanzetti case was its ability to inspire millions of people to stand up on behalf of justice and reason. As the case played itself out over seven years in the 1920s, the unfairness of Sacco and Vanzetti's treatment in the courts fueled protests not just in the United States but throughout the world. Protests erupted in Boston, New York, and dozens of American cities, as well as is Paris and London, Tokyo and Buenos Aires, numerous cities in Africa, and countless other places. Books, poems, operas, and works of art further publicized the story of the two men and their legal ordeal. Would such a movement happen today?



It has in Canada. Public outcry and protests saw Freedom and Justice
for Maher Arar. Though he still cannot get the same in America.

SEE

Paranoia and the Security State

State Security Is A Secure State

Canada’s Long History of Criminalizing Dissent


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