Author name: Andy Piascik

Memorial Day and Everywhere is War

As we begin Memorial Day weekend, I share an article I wrote at this time in 2014. Sadly, the US is lashing out more aggressively than four years ago and the world is an even more dangerous place as a result. As we relax and enjoy the long weekend, let's double down on our efforts for peace and justice. –Andy Piascik
 
            Summer approaches and the stench of war is all around. Or, as the great Bob Marley put it, Everywhere is War. Start with the commemorations over a five-week span of Memorial Day, Flag Day and Independence Day, all presented varyingly as celebrations of our war dead, symbols of our greatness, the freedoms we love so dearly and seek to export to every corner of the world and, perhaps most important, the unquestioned rightness of our cause.
            In reality, the celebrations are of imperialist war, with the talk about the hallowed dead just so much cover for the murderous nature of US foreign policy. Celebrating the dead – note that the dead celebrated are just the American dead, not any of the millions killed by US aggression or client states – is a no-lose proposition designed to render anyone who asks the wrong questions a traitor or a terrorist. The notion that the US regularly commits war crimes and that polished, well-educated men like John Kennedy and Barack Obama are war criminals is unthinkable; war criminals look like Osama bin-Laden and Saddam Hussein and those other nasty people far away, over there.
World War One Centennial
            It’s also the summer of the centennial of the start of what in its time was known as the Great War, the greatest blood-letting in history except for that of the Second Great War barely two decades later. Of one thing we can be sure and that is that the lessons drawn from mainstream discussions of World War One will be all the wrong ones. Worse, the spectacle of the intelligentsia waxing eloquent about the horrors of war while unflinchingly cheering on the warmakers in Washington will be accepted by one and all of their kind as perfectly reasonable – as beyond discussion, in fact.
            In recent weeks, meanwhile, mainstream commentators have been shocked to discover that things in Iraq are not alright, in fact are worse than at any time since the second US blitzkrieg in 2003. Gee, who knew. Who knew that an invasion predicated on a lie of weapons of mass destruction, designed to secure control of massive oil supplies, would go wrong? The political class and intelligentsia didn’t, or at least they pretended they didn’t, but millions around the world who demonstrated against the invasion in the weeks before it was launched certainly did. And one of the points those demonstrators underscored was that a US invasion would fuel sectarian divisions and violence, precisely as has happened. Al-Qaeda, which did not exist in Iraq prior to the invasion, now flourishes while a new group, the Islamist State of Iraq and Syria (ISIS), rampages through the country.
            The response of many elites in the US, naturally, is for more war. Calls from certain factions for a third US invasion are growing louder and, true to his preference for violence over diplomacy, Obama has sent a strike force to Iraq. Whether the people of the United States can come together as we did last summer when we rose up and prevented Obama from attacking Syria remains to be seen. We must at least try.
Disgraceful Treatment of Veterans
            Also on the war front is the Veterans Affairs’ disgraceful neglect of ex-soldiers in need of medical care. For years, political elites have been slashing benefits for veterans while increasing spending on weapons and cutting taxes for the Super Rich. That the problem came to a head with a Democrat in the White House is simply an accident of timing, and it is especially outrageous that the most enthusiastic cheerleaders of the illegal Bush-Cheney invasions, as well as reductions to the VA’s budgets and the tax cuts for 1%, now pretend that they care about soldiers.
            Equally farcical is the commencement of yet another round of hearings on the deaths of four Americans in Benghazi. Such hearings would certainly be valuable if everything related to US actions in Libya since the launch of the 2011 assault were up for review, but there is virtually no chance of that happening. The deaths of tens of thousands of Libyans in yet one more illegal military strike, as well as the resulting chaos and violence in that country, is of no concern to those who long for the good old days of Bush-Cheney and are interested only in scoring political points.  
Bowe Bergdhal
            Then there is the saga of the much-vilified Bowe Bergdhal, a heroic young man who came to see the criminal nature of the US invasion of Afghanistan. The refusal of working class youth to fight for Empire is the ruling class’s biggest nightmare and the attacks on Bergdahl, like the show trial that convicted Chelsea Manning, show how far they will go to punish those in uniform who dare challenge their objectives. A hidden aspect of the movement that ended US carnage in Southeast Asia is that it was the widespread opposition of soldiers, both as embodied by organizations like Vietnam Veterans Against the War as well as active duty resisters, that decisively turned the tide.
            So alarming was this development that two massive disinformation campaigns were immediately launched: the myth of the hostility of the anti-war movement for returning soldiers that sought to drive a wedge between active duty and homefront resistance (see, for example, Jerry Lembcke’s outstanding book The Spitting Image: Myth, Memory and the Legacy of Vietnam); and the completely fraudulent MIA blitz (expertly exposed by Bruce Franklin in MIA, or Mythmaking in America) concocted by the Nixon Administration to shift attention away from the death and destruction wrought by the US to the plight of nonexistent prisoners of war.
            Because preventing any similar development of resistance among soldiers is central to imperial objectives, discussion has largely avoided what Bergdahl actually said about his service in Afghanistan, including his telling declaration in a 2009 e-mail to his parents, as quoted by Amy Goodman on Democracy Now!: “The future is too good to waste on lies and life is way too short to care for the damnation of others as well as to spend it helping fools with their ideas that are wrong. I've seen their ideas, I'm ashamed to even be American. The horror of the self righteous arrogance that they thrive in.” Rather than joining in the Bowe Bergdhal lynch mob, US soldiers everywhere, not to mention those with loved ones in the military, would do well to heed his words and experience.
The Supreme International Crime
            Lastly, the same standard that applies to the war crimes of others applies to the US. As articulated by Robert H. Jackson, chief US prosecutor at Nuremberg, a war of aggression such as committed by the US against Afghanistan and Iraq “is not only an international crime; it is the supreme international crime, differing only from all other crimes in that it contains within itself the accumulated evil of the whole.” In such a circumstance, what Bergdahl did was proper and, it could be argued, obligatory for anyone party to war crimes. So amidst the flag waving and speechifying that glorifies imperialism, we should support him and prisoners of conscience like Chelsea Manning. We should demand that all services veterans require be provided, that US bases around the world be closed, that soldiers be returned home and that the US cease its campaign of endless aggression. And as enticing as the military may seem in such desperate economic times, we should counsel young people to stay away no matter how bleak the alternatives may be.     
           Andy Piascik is an award-winning author whose novel In Motion was recently published by Sunshine Publishing. 

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Waiting for Lefty Still Timely

The Bridgeport Herald Wages an Important Free Speech Fight by Andy Piascik

Originally published at the website of the Bridgeport Public Library.                                                                                                                                        
Rarely has an American play met with the kind of government opposition that Clifford Odets’ Waiting for Lefty faced in 1935. Mayors and police departments forbade the staging of the play in a number of cities and stopped performances mid-play in others. Audience and cast members were arrested for protesting police actions. The Bridgeport Sunday Herald rallied to the cause of the play after it was banned in New Haven and thus played an important and honorable role in defending free speech.

Clifford Odets was 28 years old and a member of the left-wing, New York-based Group Theatre ensemble when he wrote Waiting for Lefty. (1) It was the first of his plays to be staged when it opened in a Group production at the Civic Repertory Theater on West 14th Street in Manhattan on January 5, 1935. (2) Among those in the cast were Odets, Elia Kazan and Lee J. Cobb. (3)

Waiting for Lefty is often described as a play about a strike of New York taxicab drivers. While it is that, it’s more a penetrating look at the lives of a group of people who happen to be cab drivers as they cope with poverty and related personal, family and relationship problems at the low point of the Great Depression. The cabbies do discuss going on strike, and they also struggle with the risks involved, one of which is the fact that their union is controlled by racketeers violently opposed to any kind of independent labor action.

The drama in Waiting for Lefty was straight out of the front pages of newspapers throughout the country and thus resonated with audiences. In the months leading up to the play’s opening, there had been general strikes in San Francisco, Minneapolis and Toledo. Workers were organizing in great numbers and left-wing parties and organizations were stronger than in many years.

Waiting for Lefty’s run at the Civic was such a rousing success that it moved to Broadway in June, 1935. Because of great demand and in keeping with their philosophy of making plays easily accessible to the poor and working classes, Odets and the Group took the unusual step of approving productions throughout the country before the play’s Broadway premiere. In no time, labor unions and cultural organizations began staging Waiting for Lefty in dozens of cities and towns. Among them was a production by the New Haven John Reed Club’s Unity Players at Yale University’s University Theatre. (4)        

In at least six cities including Philadelphia, Boston and Newark, city officials either shut productions down after performances had begun or forced cancellation of performances before they could be staged. In Newark, the play was stopped in mid-performance and a number of audience members who protested were arrested. The stated reason in some cases was that the play was “Communist propaganda” and “un-American.” In Boston, profanity — use of the word “God-damn” was specifically cited – was the pretext.

The production in New Haven, meanwhile, won the George Pierce Baker Cup for first prize in the Yale’s annual Drama Tournament on April 11th. In response to the wildly enthusiastic reception, the Unity Players booked space at Commercial High School for additional performances. Several days before the first scheduled show, however, the New Haven Board of Education rescinded the agreement and Police Chief Philip Smith declared that the play was not to be performed anywhere in the city on the grounds that it was “blasphemous and indecent.” He added that anyone attempting to do so would be arrested.

The Unity Players brought together the American Civil Liberties Union, community organizations, and students and faculty from Yale, among others, and formed the New Haven Anti-Censoring Committee. They held rallies and meetings demanding that the city allow the play to be staged but Smith did not budge. Then the Bridgeport Sunday Herald got involved.

Founded in 1805 and located at 200 Lafayette Boulevard, the Herald’s motto was “No Fear, No Favor – The People’s Paper.” The paper first reported on the controversy in New Haven on the front page of its April 14th edition. In that same issue, it ran a glowing review across three pages of the New York production of Waiting for Lefty by Leonardo Da Bence. In the April 21st edition, in response to the continuing ban in New Haven, the Herald’s editors printed the play in its entirety. Also included was a lengthy introduction that included criticisms of Chief Smith and that concluded that the Herald’s intention was to give “its readers an opportunity to judge for themselves.”

Though based in Bridgeport, the Herald had influence well beyond the city. It published editions and special sections for areas throughout the state including a New Haven edition that was available on newsstands in that city. (5) Among its criticisms of New Haven officials, the Herald noted that the city had granted space to an avowedly fascist organization for a meeting at a public school simultaneous to the banning of Waiting for Lefty.

In its edition of May 5th, the Herald reported the results of a poll of readers in which it stated that respondents in favor of the staging of Waiting for Lefty in New Haven outnumbered those who supported the ban by 10 to 1. The Herald regularly featured a Letters to the Editor section that often extended over several pages and one letter from Allen Touometoftosky began as follows: “Long live the militant, truthful Bridgeport HERALD! Long live ‘Waiting for Lefty!’”  

With the groundswell of protest growing, Chief Smith and the City of New Haven finally relented. The Unity Players were allowed to reserve the Little Theatre on Lincoln Street several blocks from Yale and performances of Waiting for Lefty began there on the evening of May 9th. The play was received much as it was around the country by enthusiastic full houses, without incident or further police interference. (6)

While Waiting for Lefty has never been revived on Broadway, it remains popular in local theaters and union halls. It has played many times in Connecticut over the last 72 years including a production by The Connecticut Repertory Theater that ran earlier this year in Storrs. When the play was most recently done in New Haven in 2012 by the New Haven Theater Company, some newspaper commentary recalled the controversy of 1935. (7)    

The Bridgeport Herald, meanwhile, published until 1974. It is remembered with a degree of fondness by older Bridgeporters and was the subject as recently as 2015 of a panel at the Fairfield Museum and History Center. (8) It should also be remembered for the important role it played in a free speech fight 82 years ago.

                                                                  Thanks to Danielle Reay of Yale University for research assistance
1.Clifford Odets (1906-63) was best-known for his plays Awake and Sing (1935) and Golden Boy (1937), in addition to Waiting for Lefty. He also wrote a number of Hollywood screenplays, most notably None But the Lonely Heart (1944) and Sweet Smell of Success (1957). The lead character in the Coen brothers’ 1991 movie Barton Fink was inspired in part by Odets.
2. Real Life Drama: The Group Theatre and America, 1931-1940 (1990) by Wendy Smith is the best account of the story of the Group Theatre. The Group also had deep Connecticut ties; see, for example, my article The Hills of Connecticut: Where Theatre and Life Became One posted, among other places at http://www.counterpunch.org/2016/07/01/the-hills-of-connecticut-where-theatre-and-life-became-one/
3.Among the Group’s members were actors Phoebe Brand (1907-2004) and Morris Carnovsky (1897-1992), who married and lived for many years in Easton. Though neither appeared in Waiting for Lefty, both had distinguished theater and film careers interrupted by many years of being blacklisted because of their political affiliations. Carnovsky in particular was a long-time fixture on Broadway and at the American Shakespeare Theater in Stratford.   
4.The John Reed Clubs were named after the American journalist and revolutionary John Reed (1887-1920) best known for his eyewitness account from Russia in 1917 Ten Days That Shook the World. Reed is the subject of the 1981 movie Reds.
5.Because of the involvement of the Bridgeport-based Herald in advocating for the showing of Waiting for Lefty, some accounts mistakenly refer to the controversy as having occurred in Bridgeport rather than New Haven.
6.Also featured during Waiting for Lefty’s run at the Little Theatre were modern dance performances by Miriam Blecher (1912-79) and Jane Dudley (1912-2001). Dudley in particular was a trailblazer of modern dance who featured themes of social protest in her work. She was for many years a leading force in the New Dance Group and a teacher at the Martha Graham School of Contemporary Dance.
7. http://patch.com/connecticut/westport/museum-after-dark-remembering-bridgeport-herald-0
8.See, for example: http://scribblers.us/nhtj/?p=2675
The controversy surrounding Waiting for Lefty is covered in a number of books including Censorship of the American Theatre in the Twentieth Century (2009) by John Houchin; Banned Plays: Censorship Histories of 125 Stage Dramas (2004) by Dawn B. Sova; and Censorship: A World Encyclopedia (2002) edited by Derek Jones.
Bridgeport native Andy Piascik is a long-time activist and award-winning author whose novel In Motion was recently published by Sunshine Publishing (www.sunshinepublishing.org). He can be reached at andypiascik@yahoo.com.

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