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The Death Of Trotsky: Difference between revisions
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|data6 = Joe Frank | |data6 = Joe Frank | ||
|header7 = Format | |header7 = Format | ||
|data8 = | |data8 = 60 minutes | ||
|header9 = Chronology | |header9 = Chronology | ||
|label10= Preceded by: | |label10= Preceded by: | ||
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== Synopsis == | == Synopsis == | ||
"Spring Is Here" (Wendy Waldman) | |||
0:30: 'The bus leaves in the evening…' Joe describes what he sees on a bus ride from Mexico City, ends with, 'I'll take you to the prison, to the fortress on the hillside, where the martyrs of the movement gaze out into the plain, scarlet blossoms warm and bleeding, falling in the courtyard, are gathered by the wind and washed by the rain and the nails are for the body and the body for the tree and the tree is deeply rooted at the bottom of the sea.'<ref>Joe re-uses this again at 41:10 and the end. I don't know what it means. </ref> | 0:30: 'The bus leaves in the evening…' Joe describes what he sees on a bus ride from Mexico City, ends with, 'I'll take you to the prison, to the fortress on the hillside, where the martyrs of the movement gaze out into the plain, scarlet blossoms warm and bleeding, falling in the courtyard, are gathered by the wind and washed by the rain and the nails are for the body and the body for the tree and the tree is deeply rooted at the bottom of the sea.'<ref>Joe re-uses this again at 41:10 and the end. I don't know what it means. </ref> | ||
1:30: | 1:30: "Solea" (Miles Davis) | ||
2:10: Joe tells a fictionalized account of Trotsky's assassination, beginning with the assassin's arrival by ship in Vera Cruz. He calls the assassin 'Jackson Mornard'.<ref>Trotsky's assassin, Ramón Mercader, had used the pseudonyms 'Jacques Mornard' (son of a Belgian diplomat) and 'Frank Jackson' (a Canadian engineer) on this mission, was sometimes referred to as 'Mornard-Jackson', a double last name, retrospectively, so as to make sure everybody knew whom they were talking about. | 2:10: Joe tells a fictionalized account of Trotsky's assassination, beginning with the assassin's arrival by ship in Vera Cruz. He calls the assassin 'Jackson Mornard'.<ref>Trotsky's assassin, [https://en.wikipedia.org/wiki/Ram%C3%B3n_Mercader Ramón Mercader], had used the pseudonyms 'Jacques Mornard' (son of a Belgian diplomat) and 'Frank Jackson' (a Canadian engineer) on this mission, was sometimes referred to as 'Mornard-Jackson', a double last name, retrospectively, so as to make sure everybody knew whom they were talking about. | ||
* [https://oncubanews.com/en/world/ramon-mercader-mission-of-silence/ "Ramón Mercader, mission of silence"] | |||
https://oncubanews.com/en/world/ramon-mercader-mission-of-silence/ | |||
I recommend visiting Trotsky's house in Mexico City when you're in town. It's a museum of sorts; the chipped spots made by gunfire have been left. | I recommend visiting Trotsky's house in Mexico City when you're in town. It's a museum of sorts; the chipped spots made by gunfire have been left. | ||
</ref> | </ref> | ||
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11:50: Mornard makes the acquaintance of Trotsky's personal secretary, Sylvia Adelman.<ref>Mercader got into a relationship with a Trotskyite New Yorker, Sylvia Ageloff, whose sister Rita was one of Trotsky's personal secretaries in Mexico City, through whom he hoped to get to Trotsky.</ref> | 11:50: Mornard makes the acquaintance of Trotsky's personal secretary, Sylvia Adelman.<ref>Mercader got into a relationship with a Trotskyite New Yorker, Sylvia Ageloff, whose sister Rita was one of Trotsky's personal secretaries in Mexico City, through whom he hoped to get to Trotsky.</ref> | ||
20:20: Joe recites the 'nada' poem from Hemingway's | 20:20: Joe recites the 'nada' poem from Hemingway's "A Clean Well Lighted Place". | ||
21:10: Joe goes to his therapist; Joe fears nothingness; the therapist tells him he thinks too much; Joe recites the 'nada' poem again. The therapist then takes off on Macbeth's 'Tomorrow, and tomorrow, and tomorrow' soliloquy<ref> which Joe quoted at the end of [[Tomorrow]]</ref> and complains of how badly therapists are treated. | 21:10: Joe goes to his therapist; Joe fears nothingness; the therapist tells him he thinks too much; Joe recites the 'nada' poem again. The therapist then takes off on Macbeth's 'Tomorrow, and tomorrow, and tomorrow' soliloquy<ref> which Joe quoted at the end of [[Tomorrow]]</ref> and complains of how badly therapists are treated. | ||
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45: Mornard is convicted, given 20 years.<ref>This was Mercader's sentence. He survived and returned to the Soviet Union, lived there and Cuba until his death in 1978.</ref> | 45: Mornard is convicted, given 20 years.<ref>This was Mercader's sentence. He survived and returned to the Soviet Union, lived there and Cuba until his death in 1978.</ref> | ||
46: | 46: "Toccata, Adagio, and Fugue C major" BWV 564, JS Bach. | ||
46:40: Joe says all the accused in the Soviet show trials 1936-8 confessed.<ref>True, I think. Koestler's <i>Darkness at noon</i> captures the psychology of this.</ref> Joe talks about the value of confession, that we have a compulsion for it greater than any other, because we all want redemption.<ref>The President rehearses this notion in [[A Tour Of The City (Part 1)]]; Vorst does in [[Nightride]].</ref> | 46:40: Joe says all the accused in the Soviet show trials 1936-8 confessed.<ref>True, I think. Koestler's <i>Darkness at noon</i> captures the psychology of this.</ref> Joe talks about the value of confession, that we have a compulsion for it greater than any other, because we all want redemption.<ref>The President rehearses this notion in [[A Tour Of The City (Part 1)]]; Vorst does in [[Nightride]].</ref> | ||
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== Music == | == Music == | ||
{{Spring Is Here (Wendy Waldman)}} [Intro] | {{Spring Is Here (Wendy Waldman)}} [Intro] | ||
{{Xibaba (Donald Byrd)}} [1:37] | {{Xibaba (Donald Byrd)}} [1:37] | ||
{{Ay Jalisco No Te Rajas (Mariachi Miguel Dias)}} [3:46] | {{Ay Jalisco No Te Rajas (Mariachi Miguel Dias)}} [3:46] <!-- drone track [8:07 & 20:44] --> | ||
{{Nostalgia Flamenca (The Fabulous Sabicas)}} | {{Nostalgia Flamenca (The Fabulous Sabicas)}} [12:36] <!-- orchestra [35:50] --> | ||
{{Toccata, Adagio, and Fugue in C Major, BWV 564: Fugue (J. S. Bach)}} [47:15] | {{Toccata, Adagio, and Fugue in C Major, BWV 564: Fugue (J. S. Bach)}} [47:15] | ||