Saturday, April 26, 2014

***The Roots Is The Toots-The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night – Doris Troy’s Just One Look

 
 
From The Pen Of Frank Jackman
 
I have recently been on a tear in reviewing individual CDs in an extensive Time-Life Rock ‘n’ Roll series. A lot of those reviews have been driven by the artwork which graced the covers of each item, both to stir ancient memories and reflect that precise moment in time, the youth time of the now very, very mature (nice sliding over the age issue, right?) baby-boomer generation who lived and died by the music. And who fit in, or did not fit in as the case may be, to the themes of those artwork scenes. The one for the 1963 CD compilation is a case of the former, of the fitting in. On that cover, a summer scene (always a nice touch since that was the time when we had at least the feel of our generational break-out) we are placed at the drive-in, the drive-in movies for those of the Internet/Netflicks/YouTube generations who have not gotten around to checking out this bit of Americana on Wikipedia, with the obligatory 1950s-early 1960s B-movie monster movie (outer space aliens, creatures from the black lagoon, blobs, DNA-damaged dinosaurs, foreign-bred behemoths a specialty) prominent on the screen.

Oh sure, everyone of a certain age, a certain baby-boomer age, a generation of ’68 age, has plenty of stories to tell of being bundled up as kids, maybe pre-set with full set pajamas on to defend against the late sleepy-eyed night, the sleepy-drowsy late movie night, placed in the car backseats and taken by adventurous parents (or so it seemed) to the local open air drive-in for the double feature. That usually also happened on a friendly summer night when school did not interfere with staying up late (hopefully keeping awake through both films). And to top it all off you got to play in the inevitable jungle jim, see-saw, slide, swing set-laden playground during intermission between the film while waiting, waiting against all hope, for that skewered, shriveled hot dog, rusty, dusty hamburger, or stale, over the top buttered popcorn that was the real reason that you “consented” to stay out late with the parents. Ya, we all have variations on that basic theme to tell, although I challenge anyone, seriously challenge anyone, to name five films that you saw at the drive-in that you remembered from then-especially those droopy-eyed second films.

In any case, frankly, I don’t give a damn about that kid stuff family adventure drive-in experience. Come on, that was all, well, just kids' stuff. The “real” drive-in, as pictured on that cover art just mentioned is what I want to address. The time of our time in that awkward teen alienation, teen angst thing that only got abated by things like a teenage night at the drive-in. Yeah, that was not, or at least I hope it was not, you father’s drive-in. That might have been in the next planet over, for all I know. For starters our planet involved girls (girls, ah, women, just reverse the genders here to tell your side of the experience), looking for girls, or want to be looking for girls, preferably a stray car-full to compliment your guy car-full and let god sort it out at intermission.

Wait a minute. I am getting ahead of myself in this story. First you needed that car, because no walkers or bus riders need apply for the drive-in movies like this was some kind of lame, low-rent, downtown matinee last picture show adventure. For this writer that was a problem, a personal problem, as I had no car and my family had cars only sporadically. Fortunately we early baby-boomers lived in the golden age of the automobile and could depend on a friend to either have a car (praise be teenage disposable income/allowances) or could use the family car. Once the car issue was clarified then it was simply a matter of getting a car-full of guys (or sometimes guys and gals) in for the price of two (maybe three) admissions.

What? Okay, I think that I can safely tell the story now because the statute of limitations must have surely passed. See, what you did was put a couple (or three guys) in the trunk of that old car (or in a pinch one guy on the backseat floor) as you entered the drive-thru admissions booth. The driver paid for the two (or three tickets) and took off to your parking spot (complete with ramp speaker just in case you wanted to actually listen to the film shown on that big wide white screen). Neat trick, right?

Now, of course, the purpose of all of this, as mentioned above, was to get that convoy of guys, trunk guys, backseat guys, backseat floor guys, whatever, to mix and moon with that elusive car-full of girls who did the very same thing (except easier because they were smaller) at the intermission stand or maybe just hanging around the unofficially designated teen hang-out area. No family sedans with those pajama-clad kids need apply (nor would any sane, responsible parent get within fifty paces of said teens). And occasionally, very occasionally as it turned out, some “boss” car would show up complete with one guy (the driver) and one honey (girl, ah, woman) closely seated beside him for what one and all knew was going to be a very window-fogged night. And that was, secretly thought or not, the guy drive-in dream. As for the movies. Did they show movies there? Enough said.

Oh, except that at said drive-in, before the first show started at dusk, between shows and on the way home, girl-matched or not, you were very liable to hear many of the songs in that CD on the old car radio. The stick outs included: Heat Wave (not as good as Dancing In The Streets but good), Martha and the Vandellas; Just One Look (make that look my way, please, even if you are munching on popcorn) Doris Troy; Wild Weekend (just in case you wanted to dance during intermission rather than watch the screen clock ticking off the time until that next film began), The Rockin’ Rebels ; and, Don’t Say Nothin’ Bad About My Baby (yeah, you have got that right, sisters), The Cookies.

***Dashiell Hammett’s Nick And Nora Charles To The Rescue- Yet Another Thin Man





DVD Review

From The Pen Of Frank Jackman

Another Thin Man, starring William Powell, Myrna Loy, Asta, very roughly based on Dashiell Hammett’s original crime detection story, 1939  

The following paragraphs are taken from a recent review of the Dashiell Hammetts’s crime detection novel The Thin Man which the original source for the successful series of films starring William Powell, Myrna Loy and Asta, including the film under review, Another Thin Man.    

“Dashiell Hammett, along with Raymond Chandler, reinvented the detective genre in the 1930's and 1940's. They moved the genre away from the amateurish and simple parlor detectives that had previously dominated the genre to hard-boiled action characters who knew what was what and didn't mind taking a beating to get the bad guys. And along the way they produced some very memorable literary characters as well. Nick Charles (and wife Nora), Sam Spade and Phillip Marlowe are well known exemplars of the action detective. Hammett, on the way to creating these literary works of art did journeyman's work at the detective genre in various pulp detective magazines. Moreover, in the beginning he hid his detectives behind the anonymous, although not faceless or without personality, average detectives of a national detective agency, the Continental Op series(shades of his own past). One of those efforts is an early almost totally unrelated version of The Thin Man that those who have read the later version (or know Nick, Nora and Asta only from the film series) would not recognize.

Dashiell Hammett is perhaps better known for creating the classic modern proto-typical detective, one Sam Spade the detective-hero (or anti-hero, if you prefer) of the literary (and film) noir The Maltese Falcon. With The Thin Man he took a different tack in providing a model detective- the urbane Nick Charles, his side-kick society wife, Nora, and their ever present faithful dog companion, Asta.”

The story line here centers on solving the apparently “perfect” murder of Nora’s estate’s financial manager, a little rich girl’s financial manager (if a rather nice little girl and by the time of this film a mother too).There is an elaborate, too elaborate attempt, to make the deed seem to the work of a disgruntled former employee who took the fall when the investigators saw the books were cooked. An excellent reason to seek revenge, especially after doing a dime’s worth in stir. But as with all such thing that was just a diversion. As usual Nick and Nora followed the dough, or rather who would benefit most from the financial manager’s demise. That’s why Nick and Nora get the big bucks, or the kudos.   

***Out In The Be-Bop Be-Bop 1960s Night- When Sammy Russo Ran The Skee Ball Lanes



 
 
 

From The Pen Of Peter Paul Markin

Click on the headline to link to a YouTube film clip of The Shirelles performing their classic Tonight’s The Night

Scene: Brought to mind by one of the snapshot photos that graced each CD compilation in a rock and roll series that I recently reviewed here. The then newly built Gloversville Amusement Park created out of farmland just west of the old home town, Clintondale. Of course it had all the latest rides, including two Ferris wheels, two different-sized roller coasters (one for the faint-hearted, the other for the brave, or fool-hearty) refreshment stands seemingly without end, and other refinements, including for our particular purposes not one by two game pavilions anchored by rows of skee lanes. Skee lanes that Sammy Russo ruled (that‘s would be the the guy eating the proffered popcorn in the photo I am referring if you could see it) and claimed kingship over and over which Patty Smith (the popcorn profferee in said photo) sought to be his queen. If she could handle the gaffe.

***********

“Christ, Patty how many of these damn, god awful kewpie dolls do you need anyway?,” yelled Sammy Russo, the King Of The Skee Ball night at Gloversville Amusement Park and also a 1960s king hell king of a corner boy at Doc Sweeney’s Drugstore (said store complete with soda fountain, naturally, and a juke box too else why be a corner boy there, or anything else) out in the Clintondale be-bop night to his wanna-be sweetie, Patty Smith. And it was a question that he expected an answer to, a prompt, no sass answer, newness wearing off or not, newness of their “steady” hood-ness, that is.

See, Patty got big eyes for Sammy right here at the FUNland game pavilion (no that is not a typo that is the way the name in front of the game pavilion read) at the beginning of summer, right after school let out. School, of course, being North Adamsville High in the year of our lord nineteen hundred and sixty if anybody asks you, and they might. And, for that matter, how else would I know of the Sammy-Patty love story, I ask you, if that wasn’t so. I am one of Sammy’s Doc’s Drugstore corner boy, uh, associates.

Gloversville proper, by the way, is too new and rural raw to have its own high school so kids from Gloversville come over to North Clintondale where there is some extra room just now. But Gloversville kids, farm boys and girls mainly, are strictly squaresville. No dispute. The only reason that anybody from North Clintonville High, any corner boy (or his girl) would even set foot in Gloversville for one minute, no, one second, was to pass ever-loving Main Street (really Route 16) through to the edge of town seeking the newly built Gloversville Amusement Park. And that is the reason why Sammy and Patty were standing there in front of the FUNland skee ball lanes having their first “argument.” Well, kind of an argument.

Patty was either in some high funk, or did not hear Sammy the first time over the din of the Gene Daniel’s A Hundred Pounds Of Clay followed immediately by The Chieftains Heart And Soul, blaring over the loudspeaker. A loudspeaker that we finally figured out was used by the management to juice up the pinball/skee ball/games atmosphere so no one could think and just drop coins in steadily whatever games were being played. The noise was so loud that Sammy was forced to repeat himself. And Patty faux-demurely answered (as was her way when Sammy got this, well, this Sammy Doc’s corner boy way)-“Until I get the whole set of twelve, and not before.” [Markin: For those who are breathlessly on the edge of their seats waiting to know why there are twelve it is simple. There are twelve kewpies representing twelve different nations/major ethnic groups, naturally, they had that part of the soft sell down easy] “Christ,” said Sammy under his breathe, “We will be here all night.”

All night skee-ing when Sammy, king of the skees or not, had other things, other wrestling in some secluded spot out back by the artificial lake that formed one of the edges of the park things, on his mind. With one Patty Smith, of course. And that would not be the first time, the first wrestling time. Funny, just then the newest Shirelles' hit came over the speaker, Tonight’s The Night. But just now he knew deep in his bones, knew as if he had been married to Miss Smith for fifty years, that tonight was not going to be the night if she did not go home with not ten, not eleven, but exactly twelve f—king kewpie dolls.

Now this skee thing, on an average night is nothing but a sure thing when Sammy has his motor running. When his mind is on skees, okay. But playing enough games to “win” twelve dolls, or for that matter twelve rabbits’ feet or twelve leis (lesser prizes in the skee universe) requires a certain perseverance and good aim.

[Markin: For those who do not know skee it is like bowling, candle-pin bowling (small balls for those not from New England) in that you roll the bowl up a short lane and like darts or rifle target shooting in that you have a target. The idea is to get as many points (and hence coupons) with nine balls as possible. The points convert to coupons which are dispensed near where you place your money to start a game. Get enough coupons and you win prizes from those lame leis to kewpie dolls. Simple.]

But, like I said, Sammy’s mind had been elsewhere, especially when Patty, yes, Patty brought up the subject of wrestling down by that lake if things worked out at skee. And as if to punctuate her sentence Brenda Lee’s You Can Depend On Me came on while these “negotiations” were in progress.

But this night Sammy, king hell corner boy is whipped, just plain whipped by the task before him. It is almost closing time (11:00 PM) and Sammy has won exactly five dolls. And Sammy, while he can be as smooth as any Doc’s Drugstore corner boy, except maybe Fritz Gentry, or as cold as any hard-boiled Hell’s Angel motorcycle corner boy from the Blarney Bar &Grille in the hard-night part of Clintondale is ready to explode at Patty. Not for her foolish girl desire for the damn dolls. That is how girls are and what makes them tick. No, Sammy is fed up that his prowess at skee had to be put in play by Patty’s silly notions.

So come eleven o'clock and defeat Sammy, cold as ice, says to Patty, “Okay, we are finished, I’ll take you home now but I have had it.” So they walked, walked pretty far apart for two people on the same planet, back to Sammy’s father’s car and he did not even open Patty’s door for her. Bad news, no question. She got in and as the car radio heated up wouldn’t you know in a night filled with omens and portents that just then the local all-night rock ‘n’ roll station would be playing Connie Francis’ Breakin’ In A Brand New Broken Heart. And both Sammy and Patty were absolutely quiet while that song was being played.

 

Friday, April 25, 2014

***In The Time Of The 1950s Be-Bop Baby-Boom Jail Break-Out




I have recently been on a tear in reviewing individual CDs in an extensive Time-Life Rock ‘n’ Roll series. A lot of these reviews have been driven by the artwork which graces the covers of each item, both to stir ancient memories and reflect that precise moment in time, the youth time of the now very, very mature (nice sliding over the age issue, right?) baby-boomer generation who lived and died by the music. And who fit in, or did not fit in as the case may be, to the themes of those artwork scenes. This The ‘60s: Rave On is a case of the latter, of the not fitting in. On this cover, a summer scene (always a nice touch since that was the time when we had at least the feel of our generational breakout), a summer night scene, a lovers’ lane summer’s night scene, non-described as such but clearly “boss” Corvette car scene spells it all out for this car-less teen, no car soon in sight teen, and no gas money, etc., etc. even if I had as much as an old Nash Rambler junk car. But not to speak bitterness today, I do want to talk car dream, Corvette car dream, okay.

I have ranted endlessly about the 1950s as the “golden age of the automobile” and I am not alone. As perceptive a social critic and observer as Tom Wolfe, he of Electric Kool-Aid Acid Test and many other tribal gathering-type book screeds, did a whole book on the California car culture, the California post World War II teen car culture that drifted east and “infested” plenty of young working class kids in that time, the time of white tee-shirts, jeans, maybe a leather jacket against life’s storms, and of endless grease monkey tune-up to get that engine revved just right. Moreover, nostalgia-driven George Lucas’s American Graffiti of 1973 is nothing but an ode to that good-night teen life, again California-style.

Sure, and as it drifted back east Sammy the local wizard, car wizard, had all the girls, all the good-looking girls hanging around his home garage just waiting to be “selected” for a ride in Sammy’s latest effort, usually some variation off a ’57 Chevy. And Sammy, believe me, was nothing but very average for looks. But get this, old bookish reviewer, old two-thousand facts and don’t stop counting reviewer, got exactly nowhere even with the smart girls in Sammy-ruled land. Ya, get away kid, ‘cause Sammy is the be-bop daddy of the Eastern ocean night. And books and book-knowledge, well you have old age for books but a ’57 Chevy is now. And here is the unkindest cut of all-"go wait for the bus at the bus stop, boy. Sammy rules here."

But a man can dream, can’t he? And even Sammy, greased up, dirty fingernails, blotched tee-shirt, admitted, freely admitted, that he wished, wished to high heaven that he had enough dough for the upkeep on a Corvette the ding-daddy (his word) “boss” (my word) car of the age and nothing but a magnet for even smarter and better looking girls than the neighborhood girls that “harassed” him. ( I found out later that this “harassed” was nothing but a nothing thing because come Friday or Saturday night he had more than his fair share of companions down by the seashore-every thing is alright night.) Still Corvette meant big dough and as the scene in this CD indicates, probably big “new money” California daddy rich kid dough to look out at the Hollywood Hills or Laguna Beach night. Ya, that’s the dream, and that window-fogged night part too.

And whether you were a slave to your car (or not as with this writer), be it ’57 Chevy, Corvette or just that old beat down, beat around Nash Rambler you had that radio glued, maybe literally, to the local rock station to hear the tunes on this CD. Although truth to tell this writer listening to his be-bop little transistor radio would not have gone crazy over the mix presented here. This is a second compilations of ‘60s hits but it seems to have run out of steam so the few stick-outs here include: Let’s Have a Party (a great rockabilly tune by one of the few woman in that genre, Wanda Jackson; Chains (great harmony by this group that also did backups on a ton of other material), The Cookies; and, If You Need Me (his heyday and much under-appreciated as an early soulful singer except, of course, when they played him as last dance and you got the courage to ask that certain she you had been eyeing all night to dance, thanks S.B.), Solomon Burke.
***Out In The 1940s Screwball Comedy Night-Cary Grant’s My Favorite Wife   

 


 
 
 
 


DVD Review

From The Pen Of Frank Jackman

 

My Favorite Wife, starring Cary Grant, Irene Dunne, directed by Garson Kanin, MGM , 1940

Not all 1930s and 1940s black and white screwball romantic comedies were born equal, even when the same actor (here Cary Grant) starred in both vehicles being compared here. Recently I gave a big thumb’s up to Grant’s performance in 1940’s The Philadelphia Story (Katherine Hepburn and Jimmy Stewart’s as well) where the wit and facial expressions exploded a so-so story line into a great film (little Miss Rich Girl gets her comeuppance and gets the gold ring too). The same cannot be said for the film under review, 1940’s My Favorite Wife, which stretches a small idea well beyond even Cary’s capacity for elegant slap-stick humor.

 

Here Cary is inundated by the thinness of the story line. Cary, a lawyer with two children needing a mother, played by Irene Dunne, a mother who left on sea-borne photography assignment which got shipwrecked and left Cary believing for the required seven years that she was dead. As a result he filed papers in court to have her declared legally dead. The idea was so he could marry another. Funny thing though just as he gets that decree and actually gets remarried Irene shows up. Irene who was stranded on an island all that time (with a good-looking guy to boot). Naturally she uses her feminine wiles to try to sabotage the new marriage to get her man back. She does so by putting Cary through many hoops in the process. Too many to sustain the plot-line. See what I mean.        

 

 

 

"He Could Have Been The Champion of The World"-Rubin "Hurricane" Carter Passes  At 76


The best story I ever heard about Rubin Carter was when he would go to South Africa during apartheid and bring weapons for the ANC liberation fighters in his sachets. Righteous. RIP

 
He Could Have Been The Champion of The World"-Rubin "Hurricane" Carter Passes

Rubin (Hurricane) Carter, Boxer Found Wrongly Convicted, Dies at 76


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Hurricane Carter, Ferocious Boxer and Cause Célèbre

Hurricane Carter, Ferocious Boxer and Cause Célèbre

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Rubin (Hurricane) Carter, a star prizefighter whose career was cut short by a murder conviction in New Jersey and who became an international cause célèbre while imprisoned for 19 years before the charges against him were dismissed, died on Sunday morning at his home in Toronto. He was 76.
The cause of death was prostate cancer, his friend and onetime co-defendant, John Artis, said. Mr. Carter was being treated in Toronto, where he had founded a nonprofit organization, Innocence International, to work to free prisoners it considered wrongly convicted.
Mr. Carter was convicted twice on the same charges of fatally shooting two men and a woman in a Paterson, N.J., tavern in 1966. But both jury verdicts were overturned on different grounds of prosecutorial misconduct.
The legal battles consumed scores of hearings involving recanted testimony, suppressed evidence, allegations of prosecutorial racial bias — Mr. Carter was black and the shooting victims were white — and a failed prosecution appeal to the United States Supreme Court to reinstate the convictions.
Mr. Carter first became famous as a ferocious, charismatic, crowd-pleasing boxer who was known for his shaved head, goatee, glowering visage and devastating left hook. He narrowly lost a fight for the middleweight championship in 1964.
He attracted worldwide attention during the roller-coaster campaign to clear his name of murder charges. Amnesty International described him as a “prisoner of conscience” whose human rights had been violated. He portrayed himself as a victim of injustice who had been framed because he spoke out for civil rights and against police brutality.
A defense committee studded with entertainment, sports, civil rights and political personalities was organized. His cause entered the realm of pop music when Bob Dylan wrote and recorded the song “Hurricane,” which championed his innocence and vilified the police and prosecution witnesses. It became a Top 40 hit in 1976.
Mr. Carter’s life was also the subject of a 1999 movie, “The Hurricane,” in which he was played by Denzel Washington, who was nominated for an Academy Award for the performance. The movie, directed by Norman Jewison, was widely criticized as simplistic and rife with historical inaccuracies.
A more complex picture was provided in accounts by Mr. Carter’s relatives and supporters, and by Mr. Carter himself in his autobiography, “The 16th Round,” published in 1974 while he was in prison. He attracted supporters even when his legal plight seemed hopeless, but he also alienated many of them, including his first wife.
With a formal education that ended in the eighth grade in a reform school, Mr. Carter survived imprisonment and frequent solitary confinement by becoming a voracious reader of law books and volumes of philosophy, history, metaphysics and religion. During his bleakest moments, he expressed confidence that he would one day be proved innocent.
“They can incarcerate my body but never my mind,” he told The New York Times in 1977, shortly after his second conviction.
Troubled From the Start
Rubin Carter was born on May 6, 1937, in Clifton, N.J., and grew up nearby in Passaic and Paterson. His father, Lloyd, and his mother, Bertha, had moved there from Georgia. To support his wife and seven children, Lloyd Carter worked in a rubber factory and operated an ice-delivery service in the mornings.
A deacon in the Baptist church, his father was also a disciplinarian. He put Rubin to work cutting and delivering ice at age 8, and when he learned that Rubin, at 9, and some other boys had stolen clothing from a Paterson store, he turned his son in to the police. Rubin was placed on two years’ probation.
A poor student and troubled from the start, Rubin was placed in a school for unruly pupils when he was in the fourth grade. At 11, after stabbing a man, he was sent to the Jamesburg State Home for Boys (now called the New Jersey Training School for Boys). He said he had acted in self-defense after the man had made sexual advances and tried to throw him off a cliff. At Jamesburg, guards frequently beat and abused him, he wrote in his autobiography.
After six years in detention he escaped and made his way to an aunt’s home in Philadelphia, where he enlisted in the Army. Recruitment officers apparently accepted his word that he had grown up in Philadelphia and made no inquiries in New Jersey, where he was wanted as a fugitive.
Thriving in the Army, Mr. Carter became a paratrooper in the 101st Airborne Division in Germany and put on boxing gloves for the first time. He found he enjoyed associating with boxers. “They were strong, honest people, hardworking and equally hard-fighting,” he recalled. “There were no complications there whatsoever, no tensions, no fears.”
He won 51 bouts, 35 by knockouts, while losing only five. He became the Army’s European light-welterweight champion.
Mr. Carter also took speech therapy courses and overcame his stutter. He became interested in Islamic studies. Although he never formally converted, he sometimes used the Muslim name Saladin Abdullah Muhammad. Honorably discharged, he returned to Paterson in 1956 and took a job as a tractor-trailer driver. But the authorities tracked him down and arrested him for his escape from the reform school before he had joined the Army. He was sentenced to 10 months at the Annandale Reformatory for youthful offenders.
Shortly after his release, in 1957, he was charged with snatching a woman’s purse and assaulting a man on a Paterson street. He said he had been drinking. He served four years in Trenton State Prison, where “quiet rage became my constant companion,” he wrote. He also rekindled his interest in boxing and attracted the attention of fight managers.
On Sept. 22, 1961, a day after his release from prison, he fought his first professional fight, winning a four-round decision for a $20 purse. “I was in my element now,” he wrote. “Fighting was the pulse beat of my heart and I loved it.”
Mr. Carter was an instant success and became a main-event headliner. With a powerful left hook, he was more of a puncher than a stylist, winning 13 of his first 21 fights by knockouts.
Showman in the Ring
Promoters capitalized on his criminal record as a box-office lure, suggesting that prison had transformed him into a terrifying fighter. One promoter nicknamed him Hurricane, describing him in advertisements as a raging, destructive force.
Mr. Carter was a showman in the ring. Solidly built at 5-foot-8 and about 155 pounds, he would enter in a hooded black velvet robe trimmed with metallic gold thread, the image of a crouching black panther on the back.
He also made sure he was noticed on the streets of Paterson, where he had returned to live. He dressed in custom-tailored suits and drove a black Cadillac Eldorado with “Rubin Hurricane Carter” engraved in silver letters on each side of the headlights. In 1963 he married Mae Thelma Basket.
Mr. Carter’s biggest victory came in Pittsburgh in December 1963, when he knocked out Emile Griffith, the welterweight champion, who was trying to move into the middleweight division for a crack at its world title. A year later, at the peak of his career, Mr. Carter battled the reigning middleweight champion, Joey Giardello, for the title in Philadelphia, Mr. Giardello’s hometown. He lost a close decision.
Mr. Carter received unfavorable attention when an article in The Saturday Evening Post in 1964 suggested that he was a black militant who believed that blacks should shoot at the police if they felt they were being victimized. He denied he had expressed that view. It was around this time that the police began harassing him, he said. One night, when his Cadillac broke down in Hackensack, he was jailed for several hours without being charged with a crime.
Before bouts, the police compelled him to be fingerprinted and photographed for their files on the ground that he was a convicted felon. He discovered that the Federal Bureau of Investigation had opened a file on him and was tracking his movements.
On the night of June 16 and the early morning of June 17, 1966, while his wife and their 2-year-old daughter, Theodora, were at home, Mr. Carter visited several bars in Paterson, winding up at one called the Night Spot.
A half-mile away, about 2:30 a.m., two black men entered the Lafayette Grill and killed two white men and a white woman in a barrage of shotgun and pistol blasts. The police immediately suspected that the shootings were in retaliation for the shotgun murder that night in Paterson of a black tavern owner by the former owner, who was white.
Mr. Carter had encountered John Artis, a casual acquaintance, that night and was giving him a lift home when they were stopped by the police. They said Mr. Carter’s leased white Dodge sedan resembled the murderers’ getaway car. Except for being black, neither Mr. Carter nor Mr. Artis matched the original descriptions of the killers. They were released after both passed lie detector tests and a patron who had been wounded in the Lafayette Grill failed to identify them. But they remained under suspicion.
On Aug. 6, 1966, in Rosario, Argentina, Mr. Carter lost a 10-round decision to Rocky Rivero. It was his last fight. His record would remain 27 wins (20 by knockout), 12 losses and one draw. Two months later, he and Mr. Artis were charged with the three murders.
Burglars Testify
At their trial in 1967, three alibi witnesses placed them elsewhere at the time of the killings. They were nonetheless convicted, primarily on the evidence of Alfred P. Bello and Arthur D. Bradley, two white prosecution witnesses with long criminal records. Mr. Bello testified that he saw both defendants leave the tavern with guns in their hands; Mr. Bradley identified only Mr. Carter.
Both witnesses admitted that they were in the vicinity of the Lafayette Grill at the time of the murders because they were trying to burglarize a factory nearby.
The prosecution offered no motive for the slayings.
Facing the possibility of death sentences, Mr. Carter received 30 years to life and Mr. Artis 15 years to life. Their appeals were denied unanimously by the New Jersey Supreme Court.
Back in prison, a defiant Mr. Carter refused to wear a uniform or work at institutional jobs. He ate in his cell, sustained by canned food and soup that he heated with an electric coil. He scoured the trial record and law books and typed out unsuccessful briefs for a new trial.
Mr. Carter also lost his vision in his right eye after an operation on a detached retina, a condition he attributed to inadequate treatment in a prison hospital. His celebrity boxing background and his outspoken contempt for prison rules made him a hero to many inmates. The prison authorities credited him with trying to calm down rioters at Rahway State Prison in 1971, and one prison guard reportedly said Mr. Carter had saved his life.
Witnesses Recant
By 1974, Mr. Carter’s prospects for a new trial seemed hopeless. But that summer the New Jersey Public Defender’s Office and The New York Times independently obtained recantations from Mr. Bello and Mr. Bradley. Both men asserted that detectives had pressured them into falsely identifying Mr. Carter and Mr. Artis.
Moreover, it was revealed that the prosecution had secretly promised leniency to the two witnesses regarding their own crimes in exchange for their cooperation in the Carter case.
Based on the recantations and the new information, the New Jersey Supreme Court overturned the guilty verdicts in 1976. Overnight, Mr. Carter was hailed as a civil rights champion, with a national defense committee working on his behalf and fund-raising concerts headlined by Mr. Dylan at Madison Square Garden and the Houston Astrodome; the Garden concert also included Joni Mitchell, Joan Baez and Roberta Flack. Muhammad Ali attended a pretrial hearing in Paterson in 1976 to show his support for Mr. Carter.
At a second trial, in December 1976, a new team of Passaic County prosecutors resuscitated an old theory, charging that the defendants had committed the Lafayette Grill murders to exact revenge for the earlier killing of the black tavern owner. Mr. Bello resurfaced as a prosecution witness and recanted his recantation. He was the only witness who placed Mr. Carter and Mr. Artis at the murder scene.
After being free for nine months on bail, Mr. Carter and Mr. Artis were sent back to prison and deserted by most of the show business and civil rights figures who had flocked to their cause. Mr. Carter’s second child, a son, Raheem Rubin, was born six days after the two men were found guilty.
Racial Revenge Theory
Over the next nine years, numerous appeals in New Jersey courts failed. But when the issues were heard for the first time in a federal court, in 1985, Judge H. Lee Sarokin of United States District Court in Newark overturned the convictions on constitutional grounds. He ruled that prosecutors had “fatally infected the trial” by resorting, without evidence, to the racial revenge theory, and that they had withheld evidence disproving Mr. Bello’s identifications. Mr. Carter was freed; Mr. Artis had been released on parole in 1981.
When the prosecution’s attempts to reinstate the convictions were rejected by a federal appeals court and by the Supreme Court, the charges against Mr. Carter and Mr. Artis were formally dismissed in 1988, 22 years after the original indictments.
During his second imprisonment in the case his wife had sued for divorce, after learning that he had had an affair with a supporter while he was free on bail awaiting trial.
Information about his survivors could not immediately be learned.
On his final release from prison, Mr. Carter — with a full crop of curly hair, clean-shaven and wearing thick eyeglasses — moved to Toronto, where he lived with a secretive Canadian commune and married the head of it, Lisa Peters. He ended relations with her and the commune in the mid-1990s.
He founded Innocence International in 2004 and lectured about inequities in America’s criminal justice system. His former co-defendant, Mr. Artis, joined the organization. In 2011 he published an autobiography, “Eye of the Hurricane: My Path From Darkness to Freedom,” written with Ken Klonsky and with a foreword by Nelson Mandela.
In his last weeks he campaigned for the exoneration of David McCallum, a Brooklyn man who has been in prison since 1985 on murder charges. In an opinion article published by The Daily News on Feb. 21, 2014, headlined “Hurricane Carter’s Dying Wish,” he asked that Mr. McCallum “be granted a full hearing” by Brooklyn’s new district attorney, Kenneth P. Thompson.
“Just as my own verdict ‘was predicated on racism rather than reason and on concealment rather than disclosure,’ as Sarokin wrote, so too was McCallum’s,” Mr. Carter wrote.
He added: “If I find a heaven after this life, I’ll be quite surprised. In my own years on this planet, though, I lived in hell for the first 49 years, and have been in heaven for the past 28 years.
“To live in a world where truth matters and justice, however late, really happens, that world would be heaven enough for us all.”