vagabondia - film - 2000 - Dark Days

Dark Days
Marc Singer
Picture Farm
2000
94 minutes

Dark Days is a black and white documentary that covers the same subject matter as Jennifer Toth’s The Mole People and Margaret Morton’s The Tunnel, the subterranean tunnel dwellers of New York City. The film is the sole documentary by filmmaker Marc Singer, and has won a number of ‘best documentary’ awards in the year of its release.

Singer’s documentary is essentially a film version of the above mentioned books. The Mole People is a flawed work of journalism, The Tunnel is primarily a book of black and white photos, and Dark Days is a step further than the two, providing a deep investigation into the lives of the people who live under the NYC streets that validates aspects of Toth’s scrutinized text (although not the most outlandish aspects, such as stories of an underground citadel beneath grand central station), and with its black-and-white aesthetic, provides the dimension of time to Morton’s photographic work.  All this is set to a musical score composed by DJ Shadow.

What’s notable about Singer’s film is the sense of society, in tension with a sense of individual isolation, in that, while it shows the men living in solitude under conditions of 24-hour darkness, the film also displays a number of friendships between these people. The film also partially displays an economy of scavenging and the sale of found objects, an essentially social activity.
The film is also important for showing the resourcefulness of the tunnel-dwellers and their ability to find novel ways to fulfill the necessities of life.

street art, Banksy - film - 2009 - Banksy's Coming For Dinner

Banksy's Coming to Dinner
Ivan Massow
Circus Road Films
2009
71 minutes

Banksy’s Coming for Dinner is a mockumentary depicting a dinner party hosted by Joan Collins (an actress?) and her husband, on their aristocratic estate, where they entertain a small group of guests including the trendy and mysterious street artist, Banksy. The film is a play on celebrity and art, and particularly the notion that an individual can become a celebrity while remaining withdrawn from the public.

Banksy is an enigma, not simply because he’s anonymous - most street artists do what they can to conceal their identities - but because through some unknown alchemical process, he gets to be the graffiti artist who ascends to superstar. His work means more than other graffiti works and he has people who generally have no interest in graffiti and street art defending it as art rather than vandalism, and great art rather than good art. Banksy thus becomes a brand name for quality graffiti for people who wouldn’t know the difference, and this brand is produced through media, the circulation of reputations, and an art market rooted in contemporary consumerist practices based on shock, novelty, appropriation, and the exploitation of subcultures.

Massow’s film is a documentary featuring a dinner party with Banksy in attendance. The mockumentary is a prank upon the people who’ve caught the Banksy fever and are hoping to learn a little or just see the face of the artist in this film, as Massow leads his audience to believe that the film is an authentic dinner party, rather than a staged farce. Banksy appears as a pathetic man-child who attends the dinner with his mother, who drives him and makes sure that the ride is well-stocked with plenty of treats. Banksy is largely a source of pointless statements through the dinner, which is pretty much the extent of his presense in thhis film. This is obviously a fictionalized Banksy, and Massow is exploiting the artist’s anonymous status as a way of making fun of him and his admirers. Art is not really a topic in the film, but rather the magnetic draw of the celebrity - of celebrities towards one another, and of an audience so enraptured with an anonymous, heavily hyped artist, that they would watch a film where he eats dinner, just to catch a glimpse.

defaced piece by Banksy

defaced Banksy - Toronto

street gangs - book - 1995 - The American Street Gang: Its Nature, Prevalence, and Control

The American Street Gang: Its Nature, Prevalence, and Control
Malcolm L. Klein
Oxford University Press
1995
270 pages

Malcolm Klein is probably one of the leading experts on twentieth century street gangs, their activities and social formations.  His first books on the subject were published in the early 1970s, when modern street gangs were in their nascent stages (The Crips, for example, now the largest of the Los Angeles street gangs, and prone to internal fracture and conflict, was only a few years old at that time, and still operating with the Black Panthers as their model).  Klein currently holds emeritus status at the University of Southern California with their department of sociology, and he is also a popular media expert on gangs.

Klein analyzes the gangs as social units and largely discerns them from other units which may look similar (like motorcycle clubs, for example) according to a number of different social factors.  Many of which are personal factors wherein the gang is an appropriate social forum in which to express them, such as the need for respect, recognition, and achievement, while other factors are more broadly social, such as poverty. Klein is, however, sure to note that no single factor, including poverty, is sufficient in describing what directs young people to a gang life.

Klein also discusses the criminal activities of gangs, noting that while police exaggerate the crimes of gangs and reduce them to purely fighting units, often the gang members exaggerate their own criminal antics as well.  Furthermore, according to Klein, while gang members gain respect for their demonstrated willingness to do violence or transgress against norms, gang leaders are not necessarily the most violent members, according to Klein, and may not be violent at all.  

Much of Klein's analysis comes from speaking through his experiences in conducting past research and in working directly with law enforcement and with gang members in affected areas.The determination of a city as a 'gang city' circa 1995 had a politics surrounding it with both benefits and detriments to the urban centre that gained such a distinction so he acknowledges that some of his data might be questionable. This book was published during a peak period of gang popularity and hysteria, when music by Death Row Records hip-hop artists, and films like Menace II Society and Boyz In Da Hood were pushing very specific symbols and images of LA gang culture into the mainstream and it serves as a strong academic voice to counter the effects of such cultural forms.

Transcendentalism, Henry David Thoreau - book - 1864 - The Maine Woods

The Maine Woods
Henry David Thoreau
Quality Paperback Book Club
1864 (1994)
423 pages

The Maine Woods is an account of a trip taken in the Summer of 1846 by Henry David Thoreau, the great Transcendentalist philosopher, through Maine to the Mount Katahdin. The book, published after Thoreau’s death (like most of his writing), primarily gives the details of the plant and animal life of the wilderness he crosses by foot or by canoe. The descriptions of these natural features, I would say, make up most of the book and demonstrate a very focused attention on the natural world.  This particular edition of the book also includes lengthy appendices that list the life Thoreau encountered.  

Aside from noting all of the different forms of plant and animal life, The Maine Woods is filled with Thoreau’s musings on human activities in its interaction with nature, focusing both on American development and treatment of the land, and on the Indian interactions with the land.  A particularly noteworthy passage was where Thoreau lamented the killing of a moose by a white hunter, just for fun.  Thoreau was very critical of such activity which is, in essence, cowardly, stupid, and wasteful. He was also critical of some Indian (to use Thoreau’s term) practices as well, noting that they could be equally wasteful of natural resources at times, although he certainly also showed a great respect for Indian culture and the final section of the book is a list of words from the languages of the American northeast, and their English translations.

white power skinheads - book - 2002 - A Hundred Little Hitlers: The Death of a Black Man, the trial of a White Racist, and the Rise of the Neo-Nazi Movement in America

A Hundred Little Hitlers: The Death of a Black Man, the Trial of a White Racist, and the Rise of the Neo-Nazi Movement in America
Elinor Langer
Metropolitan Books
2003
398 pages

In the fall of 1988, in Portland Oregon, an Ethiopian student and taxi driver named Mulugeta Seraw was murdered by a group of White Power skinheads who called themselves East Side White Pride. Portland has been, since the mid-1980s, one of the centres of youth-driven radical white suprematism, as groups like the Northwest Hammerskins and other skinhead groups have emerged out of Portland’s eclectic underground culture.

The Pacific Northwest has been designated as a Homeland for White Americans by various segments of the White Power scene since The Order  (also known as “The Silent Brotherhood) emerged as a Neo Nazi paramilitary vanguard, operating out of rural Washington, in the early 1980s.  More recently, the former American Nazi Party leader and current founder of the secessionist Northwest Front, Harold Covington, has been pushing this idea of the Northwest as a locale for white settlement which he calls the Northwest American Republic. I’m not sure where this vision leaves the various Indigenous groups who, at the very least, have given the Northwest so many of its place names.  

A seal of the Northwest Front which covers Oregon, Washington, and Idaho states. The now largely inactive Aryan Nations (thanks to a crushing multi-million dollar lawsuit launched by the Southern Poverty Law Center) was based in rural Idaho.

In the 1980s the Neo-Nazi Skins were seen as a new vanguard for the White Power movement.  In the American context, the skinhead emerged from the hardcore punk subculture, and while the skinhead look was adopted by a variety of different ideologies, it became very popular among young white fascists (who would declare that their skin is their uniform) and thus this connection between the skinhead look and contemporary Nazism, also took hold in the popular imagination.  Other kinds of skins, like the SHARPs (an acronym standing for “Skinheads Against Racial Prejudice”) were rarely represented in popular media, which reduced a complex subculture to a single malignant manifestation. Jack Moore’s 1993 text Skinheads Shaved For Battle, for example, acknowledged Anti-Racist skins but merely as street-fighting opponents to his primary topic, the Nazi skins.

At the heart of the over-representation of Skinheads of the Nazi variety were two media forces, the rise of daytime talk shows like Oprah, Donahue, Sally Jessy Raphael, Geraldo, and others, which, according to Joshua Gamson’s 1998 book Freaks Talk Back, were significant because provided a forum for voices often marginalized by most other forms of media.  The other force in media was Tom Metzger, a former Grand Dragon of the California KKK and electronics technician and entrepreneur who hosted a monthly public access television program called Race and Reason which was distributed to various audiences via VHS tape.  It should be noted that an appearance of Metzger and his son on Geraldo, where a violent melee resulted in the host’s broken nose in 1989, remains one of the most referenced moments in both studies of White Power subcultures and histories of Talk television.  During the 1980s Metzger was also the figurehead of a white power organization called WAR (or White Aryan Resistance) that recruited Skinheads and encouraged violent confrontation with non-whites as a matter of duty.  

A Hundred Little Hitlers is The Nation journalist Elinor Langer’s account of the story of Seraw’s murder and its aftermath. Her primary achievement with this text is to take the material for what could be an especially lurid true crime book and humanize all of the agents involved. Langer, of course, creates a powerfully sympathetic portrait of the victim of this particular episode of xenophobic rage, but she also adds colour to her renderings of the perpetrators as well.  She does not invite the reader to feel for the members of East Side White Pride, but she does strive to represent them as not strictly hammer-fisted thugs, rather as people who have struggled through fractured lives towards the situation that led them to their doom (Seraw murderer Ken Mieske, or ‘Ken Death’ - a name relating to his status as frontman for a death metal band rather than his willingness to kill - died in prison last summer).  She notes that many of the skinhead neo-nazis were street kids who admired Hitler’s virulent racism and his impoverished adolescence. When Langer discusses the (ultimately successful) civil suit launched by Morris Dees and his Southern Poverty Law Centre against Tom Metzger, she is critical of Metzger’s racist venom AND some of Dees more underhanded legal tactics.

 

Langer is a Portland resident (at the time of her book’s publication) and her text reflects that. The author frequently inserts references to her own situation into her narrative of these events, noting, for example, the proximity of her home to that of the family of one of the Neo-Nazi murderers. Langer’s book is an examination of all of the lines of social force an event such as a hate-murder produces, from the impact upon Seraw’s family at home in Ethiopia, to the multitude of effects at its Portland epicentre including upon the author, a neighbor to the crime.

Mulugeta Seraw

organized labour - book - 1931 - Dynamite: The Story of Class Violence In America

Dynamite: The Story of Class Violence in America
Louis Adamic
Peter Smith
1931 (Revised Edition - 1963)
495 pages

Louis Adamic, the author of Dynamite: The Story of Class Violence in America, was not an academically trained historian.  He was rather one of the working class intellectuals that Antonio Gramsci theorized in his essay The Formation of the Intellectuals published in the Selections from the Prison Notebooks.  That is, an individual who emerged from his or her specific form of class consciousness to act as philosopher from their social situation.  Adamic was, as a young man, an unemployed and unskilled worker, a member of the radical Industrial Workers of the World, the international radical labour union, to become a speaker and historian of that movement.  He lacked formal education but possessed a will to compile the history of a movement that, in his time, no academic historian was likely to produce. That is, the history of fighting labour in the United States from the mid-19th century through to the 1920s.  

Adamic’s history begins with the Molly Maguires, or “Mollies”, a group of ruthlessly aggressive Irish immigrant miners who would kill any mining bosses that created unfavourable conditions.  This history then progresses into early wildcat strikes which led to the organization of labour unions.  Adamic has a fondness for the more radical unions (such as his own IWW) and opposes them to the more bureaucratic and conservative unions like the American Federation of Labor (AFL) formed under the boss-like cigarmaker Samuel L. Gompers.  The heroes of Dynamite are probably Bill Haywood, the brawling Miners Union leader, and Eugene V. Debs, the radical leader of the Industrial Workers of the World, who personally led their rank and file into street battles with police and strikebreakers.  Adamic appears to have a fondness, as well, for the users of dynamite, as the statement “Dynamite!  That’s the stuff!” appears throughout his text as an affirmation of radical labour’s fighting spirit. Woven into Ademic’s historical narrative of violent labour activity are the stories of anarchists who have taken up the cause, or of related persecution of anarchists of this period, including the episode of Alexander Berkman’s attempted assassination of mine boss Henry Clay Frick, Louis Lingg and the Haymarket Explosion, and the Sacco and Vanzetti trial and execution, which occurred while Ademic was researching and writing this text.

Adamic seems to adore the fighting spirit, even the willingness to use dynamite to advance the interests of working people. Conversely, he speaks with derision of Gomper’s willingness to compromise, negotiate with bosses, which he portrays as the behavior of one who was essentially a career politician. Furthermore, when Adamic speaks of Miner and IWW leader “Big” Bill Haywood’s willingness to leap into combat with only his fists as weapons, he discusses with loathing the AFL’s alliances with Mafia ‘protection’ men, and hired brutes who fought against the bosses’ Pinkerton (for-hire strikebreaking muscle) bullies. Thus Adamic identifies a rift in the American labor movement and firmly priviledges one side over another in his narration of the history of labor-centered violence.

anarchism - book - 1964 - The Anarchists

The Anarchists
James Joll
Methuen & Co. Ltd.
1964 (2nd ed. 1979)
299 pages

One of the things I love about library books are the handwritten notes that are left in the page margins by other patrons. I know that vast numbers of library patrons hate that people make marks in these books and consider it disrespectful, but I love that each book can, over time, accumulate the specific signs of its use.  Almost every page of the copy of early sociologist George H. Mead’s Mind, Self and Society that I borrowed from UofT’s Robarts Library was so heavily underlined that it had the stippled texture of 19th century Japanese Prints. My secondhand copy of Shaughnessy Bishop-Stall’s Down To This, a diary of living in Toronto’s turn-of the century tent city, includes a handmade index on the inside back cover so that a previous reader could make certain aspects of the text accessible on his or her return to the book.  

I borrowed a copy of The Anarchists by James Joll, a British historian whose career was mostly focused on the politically radical (he also wrote a book about the Socialist Second International, and a biography of the Italian Marxist leader and philosopher, Antonio Gramsci) from the UofT Scarborough Library, and includes notes by other borrowers recommending other, better books on anarchist history.  While Joll’s book can now be seen as a truncated survey of anarchist thought that has, since its publication, been eclipsed in importance by more thorough studies like Peter Marshall’s Demanding the Impossible, at the time of its first publication The Anarchists was basically opening up the field of anarchist studies.  Joll charts a history of anarchist thought from the Gnostics of early Christendom to the anarchists of the Spanish Civil War, although he focuses most of his work on the anarchists of the 19th century: in particular on the thought and deeds of Mikhail Bakunin and Peter Kropotkin.  

Joll’s analysis takes a close look at the effects of anarchist writings and speech and the competing philosophical tendencies within the broad anarchist scene.  One of the notes written in the copy of this book that I read stated “an excellent book which, among other things, clears up many seemingly inconsistent ideas in anarchist thought is “Anarchism: A Theoretical Analysis” by Alan Ritter, 1980.”  This note doesn’t dissolve the value of Joll’s history but, in its recommendation of another text, it does mark the social function of library books and their ability to communicate between patrons.

football hooligans - film - 2008 - Cass

Cass
Jon S. Baird
Cass Films
2008
108 minutes

Cass is a biographical film based on the life of Cass Pennant, one of the best known participants in the English “football Hooligan” or ‘casual’ subculture of the 1970s and 80s (which isn’t to say that the subculture is currently dormant) wherein hardcore fans of specific soccer teams would fight each other in the streets when their chosen teams would play. The film is directed by Jon S. Baird who, according to iMDB, has also worked on one of the few other casual films, Green Street Hooligans, and directed a short about the subject earlier in his film career titled It’s a Casual Life.  Most directors of drama have little to do with the subject matter of their films however the recurrence of this subculture as content in Baird’s career suggests he might have direct knowledge of his material. There aren’t many films about the casuals and Baird is involved with two.

The film is largely a positive look at the phenomenon of unorganized Football violence, which puts it in league with Green Street Hooligans and The Football Factory, neither of which really represent the subculture negatively. Cass Pennant was a Jamaican orphan, abandoned by his mother and then adopted by aged pensioners in an all-white neighborhood. He bonded with his elderly adoptive father over football matches and entered the hooligan scene when he fought alongside West Ham United supporters against the Wolverhampton Wolves (also called the Subway Army or the Subway Wolves, they were supporters of the Wolverhampton Wanderers FC).  Following this melee, Pennant joined the Inter City Firm (the Casual club that fought for West Ham), and eventually became a leader to the group. 

From the film, Cass and his crew advancing on their enemies!

The film follows the predictable life of a prominent Football Hooligan, featuring scenes of violence (of course) and prison terms (of course). Baird’s film, however, also creates the sense of an emotional and intellectual life for an individual who, as a celebrity of a subculture known primarily for its brutality, was undoubtedly portrayed as a lizard-brained thug for much of his life. Cass is often shown in the film to be critiquing the misunderstandings of mainstream media (and other observers) of the Casuals, and takes to the writing of his autobiography and his personal views on the subculture as a challenge to outsider perspectives. The real Cass Pennant published his bio in 2002 but has gone on to write a number of books on Football Hooligans, to greatly expand a body of literature that was once made up of only Bill Buford’s gonzo-esque Among The Thugs (which portrays the Hooligans as the mindless attack-drones of Working-class spectatorship).  Cass also shows its subject’s sadness over the death of his father as well as his struggles in maintaining his life as ICF leader while starting a family.  

One interesting aspect of the film is the aspect of the business cards the ICF members carried that said “Congratulations - you have just met a member of the Inter City Firm”.  Outlaw Biker clubs also developed this practice.

english revolution - book - 1996 - Liberty Against the Law: Some Seventeenth Century Controversies

Liberty Against the Law: Some Seventeenth Century Controversies
Christopher Hill
Allen Lane
1996
354 pages

Christopher Hill was a major British historian whose specializes in the history of the English Revolution of the seventeenth century.  This history consists of a study of the transition from a full monarchical, feudal society towards a parliamentary government constitutional monarchy where power was shared between various sectors of society.  Probably Hill’s best known work is The World Turned Upside Down, a book about the revolutionary movements of that period (including The Diggers, The Ranters, and The Levellers as well as Oliver Cromwell’s New Model Army) although he had written over twenty other books, edited a number of volumes (including an anthology of Digger texts), textbooks, and books about subjects such as the Russian Revolution of 1917.  

Liberty Against the Law is a book published well after Hill retired from academia in 1978.  It is essentially a series of historical sketches of subversive activity in England during the seventeenth century.  The book starts with discussions of issues and controversies surrounding things like the closing off of the commons and its effects on normal people, and the methods by which normal people may supplement the lacks in their life through the use of the forests and progress into brief historical discussions of groups of people who may be identified as subcultures or countercultures, such as pirates or vagabonds.  

Woodcut depicting the Diggers being forced off the common land they're cultivating

Woodcut depicting the Ranters

Woodcut depicting the Levellers' Putney Debates where the constitutional future of England was discussed.

The book is quite large although each chapter is fairly short and provides the reader with a succinct discussion of its topic in regards to its subversive qualities as well as its social value and import to the class which gives rise to it (which, when discussing things like piracy, smuggling, and poaching, is itself subversive).  It should be mentioned that Christopher Hill was an avowed Marxist, and his analysis of historical movements and features of the English underclass (such as vagabondia or a pervasive admiration for the folklore of Robin Hood) is driven by Marxian dialectics.

mohawk warriors - film - 1992 - Acts of Defiance

Acts of Defiance
Alec G. MacLeod
National Film Board of Canada
1992
104 Minutes

Acts of Defiance is just one of a small number of NFB documentaries that recorded the events of the 1990 Oka Crisis that took place in the Western Quebec communities of Oka and Kanetesake. The crisis erupted when the municipal government of the Oka permitted the expansion of a golf course and luxury housing development on land long used by the Mohawk people of Kanetesake for things like the burial of their dead. The Mohawk Warrior society mounted a campaign of armed resistance against this expansion which ultimately failed although the crises led to a renewal of First Nations activism in Canada and the rise of warrior societies in many First Nations communities.

Defiance, directed by Alec MacLeod, opens with the scene of an illegal bingo game at a Kanetesake community hall during which it is announced that the first prize (a lawnmower) was donated by the Warriors, demonstrating how the Warrior Society was already woven into community life in the area.  MacLeod’s film includes voices from all of the involved communities in his treatment of this crisis however it is the voices of the Mohawks and their Warriors that are represented most sympathetically by the director. Members of the Warriors (essentially those Mohawks who defended the disputed lands from construction crews and law enforcement) were the primary source of verbal information pertaining to the events and were shown admired and celebrated by their community.  Conversely, the police and military (Canadian Forces were called into Oka) appear absurd at best and heavy handed at worst, while politicians (such as the mayor of Oka, Jean Oulette) appear mean spirited, corrupt, and arrogant.  This privileging of the Mohawk voices challenges the representation of the events appearing in much of the press coverage of the crisis at the time, most of which consisted of statements issued by law enforcement, military, and governmental personnel who had an interest in resolving the dispute to the favour of land developers.  

The film shows the decision to develop land long used by Mohawks as a contemporary form of colonial dispossession of First Nations sovereignty. A striking fact stated early in the film is that more Mohawk land had been taken legally for development since 1950 than in the entire previous era of Mohawk-European contact. The disputed land was originally used by Mohawks for grazing their animals, then European settlers began playing golf there (thus scaring Mohawk animals) and eventually a legal apparatus organized to privilege white interests could only recognize the space as a golf course. The film, through its many Native voices, expresses a more recent history of Mohawk anger at Canadian politics and society: their exclusion from the Meech Lake negotiations, and the shooting of a man named David Cross during a dispute with police. Such events, in addition to the continual encroachment of First Nations land, led to the development of an intense resentment towards a dominant society that appeared to only show them disrespect and demand obedience.
Much of Acts of Defiance is about the inability (or refusal) of outsiders to understand Mohawk resentment and opposition to them. The Mohawk Warriors fought in infrequent gun battles with police and military during the summer of 1990, but MacLeod’s film also shows unarmed Kanehtesake villagers standing up to armed personnel (who are also empowered by governmental authority) as well.  Furthermore, it is clear from watching the film that the heavy handed actions of police (who are shown seizing cases of soft drinks during searches of all vehicles entering or leaving the Mohawk community) steeled the resolve of the entire Mohawk population against government forces. While the Quebec police produced the local First Nations community in its entirety as adversary, the military largely seemed present for the purpose of producing a particular representation of the events that advance a long-standing Euro/Native colonial discourse.  

Famous photo of Canadian Forces private Paul Cloutier in staring contest with Mohawk Warrior Brad  Larocque.  Here is Vancouver punk band DOA's appropriation of of the image for the cover of their 1993 album, Loggerheads.

Brief end notes: The film ends with a celebration of the Warriors society members who spent time in jail.  The celebrated members, both men and women, were named in the film and the list included the sculptor Joe David who was later paralyzed in a violent dispute with reserve police.  The film also borrows heavily from CBC’s coverage of the events, much of which can be found on the CBC digital archives.  Finally, Warren Kinsella’s Web of Hate, a history of organized racist activity in Canada includes accounts of pogroms, anti-Mohawk rallies, by the good people of Oka.