Author Archives: Louis Galdieri

Roy Stafford Reviews 1913 Massacre

Roy Stafford has written a lengthy review of 1913 Massacre — which screened today at the Bradford International Film Festival in the UK — on The Case for Global Film. His thoughtful review touches on a number of themes and questions the film raises, and draws parallels with other films that tell “people’s history.”

The film turns out to be about [Woody Guthrie's] song, about the memories and about the narration of history. And now this film has become part of that history. It’s clearly a history that needs to be retold for succeeding generations and also as an example of a ‘people’s history’.

1913 Massacre is a conventional documentary film but it is skilfully constructed so that it enables several discourses around the history, culture and politics as well as the personal tragedies of that day…

Watching the film brought back memories of similarly themed documentaries such as The Wobblies (1979), the story of the International Workers of the World (available in full on YouTube) and features such as The Ballad of Joe Hill (Sweden/US 1970), sadly unavailable and also Claude Jutra’s classic Mon Oncle Antoine (Canada 1971) set in a ‘company mining town’ in Quebec in the late 1940s. Watching 1913 Massacre in the UK on the day before the funeral of Margaret Thatcher, the biggest union-basher in UK history, has made me think a great deal about the narration of ‘people’s history’. I suspect that I’ll return to these films.

You can find Stafford’s full review and join the discussion about the film here.

People’s History is Alive

I love this tweet:


This is from the Twitter account of Voices of a People’s History.

I suspect it was posted partly in response to David Greenberg’s vituperative account of Howard Zinn’s life and work in The New Republic. Greenberg portrays Zinn as a deeply flawed, philandering charlatan, who didn’t keep pace with work in his own field, and kept “aloof from the intellectual ferment of the seminar rooms, journal offices, and conferences where radical history was being born.” As for Zinn’s best-selling A People’s History of the United States, Greenberg dismisses it as “a pretty lousy piece of work.”

Zinn has always had his detractors and defenders, and plenty of people have risen to his defense. (Clement Lime wrote one of the stronger responses to Greenberg, I think.) It’s interesting to think that our film might have a place in the conversation.

But that’s not what I like so much about this tweet. If there’s one thing we discovered about “people’s history” in the course of making our film, it’s that people’s history is alive. History lives and breathes in people; their memories, the stories they tell, the songs they sing, the photographs they cherish — all those things aren’t just artifacts or objects of study, even if historians say they are.

History is at work in everything people do — and in a place like Calumet, where past troubles were never really laid to rest, history can work in mysterious ways. People talk about the past in order to talk about the present; and if they do not want to talk about the past it will find a way to assert itself in the present. People may see in the past some faint image of ourselves and our lives, but more importantly we carry the past with us; it’s our constant companion. It comforts us and causes us pain; it can be a source of pride or shame, pleasure or remorse. It can entrap us and enrich us.

People’s history is alive not because there are historians who study it, but because, like it or not, deny it or embrace it, study it or try to forget it, it’s our story.

1913 Massacre in Athens on 04/14/13

For International Women’s Day – A Sketch from the Cutting Room Floor

This is an early sketch of a scene in 1913 Massacre that ended up on the cutting room floor. It features some excerpts from an interview with Helen Winter.

At the time we interviewed her, Helen was in her 90s and, as she herself told us, she felt her life “ebbing away.” But she remembers the day she met Ella Reeve Bloor. This was probably in the 1920s.

Woody learned the story of the Italian Hall disaster from Mother Bloor’s book, We Are Many.

It was an honor to spend time with Helen and hear her stories. We thought we’d share this short sketch with you on International Women’s Day.

1913 Massacre in Bradford on 04/16/13

1913 Massacre in Kalamazoo on 02/15/13

Talking 1913 Massacre at the New School for Social Research Doc Studies

Here’s the video of a Q & A we did back in September at the New School for Social Research about the making of 1913 Massacre. We both loved being back in the classroom and hope to do lots more of this in 2013.

Ken Ross and Louis V. Galdieri on the film 1913 Massacre from NEW SCHOOL DOC STUDIES on Vimeo.

Frank Christian, 1952-2012

We were shocked and saddened to learn that Frank Christian, who wrote and played music for our film, passed away on Christmas Eve.

We came to Frank through a friend who was taking guitar lessons from him. We needed someone to play some riffs on “1913 Massacre,” which Frank did, beautifully, making variations on his guitar even during our first conversation about the project. Frank Christian and Odetta We also knew there was something special about a Finnish immigrant’s song called “Remembrance” that Oren Tikkanen plays in the film, and we were wondering if there was a connection — some musical connection — between Woody’s song and this sad old Finnish tune. Frank was skeptical at first. But he quickly found or, better, made a connection.

It was one of those master strokes. That tune, which in the editing process we came to refer to simply as “Frank’s Original Riff,” guided our telling of the Calumet story. In a single session, Frank produced five variations of his original riff. Here’s one of them.

Play

In the end, Frank didn’t just play and score some music for us; he told the story in his own way, with his guitar, and made himself into one of the film’s primary narrators.

There was a memorial service for Frank yesterday in New Jersey.There’s a book of memories, where people are posting condolence messages. You can find various other remembrances for Frank online: an obituary in the Star Ledger; a short write up on the FolkCityAtFifty blog; another over at the Tennessean. Frank even has a Wikipedia entry now.

Another way to remember Frank — maybe the best way — is just to listen to him play. Here’s Frank playing a variation on “Remembrance.”

Play

Thanks for sharing your gifts with us, Frank. Peace.

It’s 1913 Again In Michigan

I’ve run across a few people drawing connections between the Italian Hall disaster and the school shooting yesterday in Newtown, Connecticut (e.g., here). Maybe listening to Woody’s song helps people register Newtown’s loss, or the horror of Newtown helps us understand a little better what it must have been like for the Italian Hall parents and the Calumet community as a whole in 1913. But beyond that I don’t think there’s a very meaningful connection to be made.

It is, however, worth reflecting on what happened in Calumet in December of 1913 and what’s happening in Michigan right now. This week, the Michigan legislature — without allowing much debate or deliberation, and over the protests of thousands — handed Governor Rick Snyder a bill making Michigan a “right to work” state. They added insult to injury a couple of days later when they passed Emergency Manager Legislation that Michigan voters had rejected on November 6th. This one-two punch is supposed to remedy Michigan’s economic woes and get the state back on the road to recovery. It looks more like a last-minute power grab before the next legislature is seated, enabled by another big-money subversion of democratic process.

Indeed, a provocative piece by labor historian Nelson Lichtenstein published last week cast the “right to work” legislation in Michigan as part of a “coup.” Lichtenstein sees here “a serious defeat not only for the unions but for the very idea of social solidarity.”

this conflict is about something far bigger — the meaning of solidarity, a way of feeling and thinking about the world of work that is the basis not just of the union idea, but of a humane cooperative society.

I am not entirely persuaded by Lichtenstein’s argument: I just don’t think the “idea of social solidarity” goes down in “defeat” so easily.

It was under attack in Calumet in 1913. The Christmas party at the Hall was itself an exhibition of solidarity, six months into a brutal strike. And after the Christmas Eve tragedy, the town came together, again, to mourn. They grieved, but they didn’t give up, even after they lost their bid to unionize and the strike was over. As Joe Krainatz says in our film, “They did go on. They did survive. They raised their families. They went to work in the mines again.” And what’s most remarkable is that they rebuilt their community; their feeling of solidarity and shared humanity survived even the closing of the mines and the ruin that came in its wake.

Maybe the lesson of Calumet is that human solidarity runs deep. Money and power have never really won out over it. So far, I haven’t seen any white flags waving in Michigan.

1913 Massacre in Toronto on 11/25/12