How Trump’s efforts to ban critical books violate the Constitution

Illustration (cc) 2006 by Bill Kerr.

Previously published at WGBHNews.org.

For those keeping track of the various ways by which President Donald Trump is trampling on the Constitution, move this to the top of your list: his former lawyer Michael Cohen was sent back to prison earlier this month to prevent him from writing a tell-all book about Trump.

Cohen, serving a federal sentence related to various corrupt acts on behalf of the president, was allowed to go home when the COVID-19 pandemic hit. But he was locked up again after he refused to promise not to publish his Trump book, “Disloyal,” before the November election. Cohen was sprung for a second time by U.S. District Judge Alvin Hellerstein, who ruled last week that federal authorities had violated Cohen’s First Amendment rights.

“How can I take any other inference than that it’s retaliatory?” Hellerstein asked prosecutors, according to The Associated Press, adding: “Why would the Bureau of Prisons ask for something like this … unless there was a retaliatory purpose?”

The Justice Department’s short-lived effort to silence Cohen by imprisoning him was egregious even by the thuggish standards of the Trump era — but it was also just the third recent move by the president and his minions to prevent critics from publishing books about him. The others:

• Former national security adviser John Bolton’s book, “The Room Where It Happened,” was held up for months while undergoing review for the ostensible purpose of ensuring that Bolton did not reveal any classified information. That, at least, was a legitimate reason. But Bolton and his publisher, Simon & Schuster, ultimately chose to defy the White House after it became clear that the process was being drawn out for reasons of politics rather than protocol.

In allowing the book to proceed, federal judge Royce Lamberth wrote that Bolton may very well have been improperly revealing secrets — but that the First Amendment remedy for all but the most dangerous breaches of national security is to punish the perpetrator after publication, not to prevent publication ahead of time. According to NPR, Lamberth wrote that Bolton had “gambled with the national security of the United States,” but that “the government has failed to establish that an injunction will prevent irreparable harm.”

• Trump, through his brother Robert, sought to prevent the release of his niece Mary L. Trump’s devastating book about the president, “Too Much and Never Enough,” by claiming that she was violating a nondisclosure agreement she had signed many years earlier.

Although a lower-court judge granted Robert Trump a temporary restraining order, that order was overturned by Judge Hal Greenwald of the Supreme Court of New York. In a nice turn of phrase, The Washington Post reported, Greenwald wrote the Constitution “trumps contracts.”

Though the circumstances of Cohen’s, Bolton’s and Mary Trump’s books couldn’t be more different, there is a common thread: the First Amendment demands that publication not be prohibited, and that if the authors are to be subjected to any legal penalties, those penalties must come later.

The principle that prior restraint is the worst and most indefensible of assaults on free expression goes all the way back to the English poet John Milton, who in his 1644 tract “Areopagitica” argued against the requirement that printers obtain licenses on the grounds that everyone should be free to print what they wished without government interference.

In stirring language, Milton wrote that “though all the winds of doctrine were let loose to play upon the earth, so Truth be in the field, we do injuriously by licensing and prohibiting to misdoubt her strength. Let her and Falsehood grapple; who ever knew Truth put to the worse in a free and open encounter?”

Milton also anticipated modern First Amendment law by arguing in favor of unimpeded publication first, punishment (if warranted) after — though his ideas about what constituted proper punishment were suffused with a distinct 17th-century sensibility, writing that “the fire and the executioner will be the timeliest and the most effectuall remedy.”

In the 20th century, the U.S. Supreme Court ruled in two landmark cases that, with very few exceptions, punishment should come only after publication.

In Near v. Minnesota (1931), the court ruled that prior restraint could be invoked only in cases involving a serious violation of national security, obscenity or incitement to violence. Thus was a Minneapolis-based scandal sheet allowed to resume publication even though every previous issue had contained outrageous libels.

In New York Times Co. v. United States (1971), the court upheld the Near precedent and ruled that publication of the Pentagon Papers could resume because the national-security implications were not serious enough to warrant censorship — although a majority suggested that they might be serious to justify post-publication prosecution, as my friend and occasional collaborator Harvey Silverglate has shown.

In Trumpworld, the revelations of Michael Cohen, John Bolton and Mary Trump are so horrifying that they justify being repressed even more than the Pentagon Papers, the government’s secret history of the Vietnam War. Yet as President Richard Nixon argued at the time, the Pentagon Papers really did undermine the war effort. Today’s revelations have resulted only in embarrassment to the president.

And it continues. Last week The New York Times reported that Immigration and Customs Enforcement was blocking the release of a Netflix documentary that depicts the agency’s abuse and mockery of immigrants. The filmmakers, Shaul Schwarz and Christina Clusiau, said they’d been told that objections to their work extended “all the way to the top.”

Unfortunately, Schwarz and Clusiau had signed an agreement granting approval rights to ICE. And though that agreement supposedly included “strong protections for their journalistic independence,” as the Times put it, it’s now being wielded as yet one more way to protect Trump from scrutiny and criticism.

There is a school of thought that Trump’s ranting about the media — calling them “Enemies of the People,” threatening to loosen libel protections and the like — is little more than bluster. His two Supreme Court justices, regardless of what else you might say about them, appear to be as dedicated to protecting the First Amendment as their colleagues. And Trump rarely follows through on his threats.

But there is a connection between his rhetoric and his actions: anyone who speaks against him must be silenced and punished — even jailed and put at risk of death, as with Michael Cohen.

With federal troops cracking down on mostly nonviolent protesters against the wishes of governors and mayors, the scent of authoritarianism is in the air. Will we pay attention? Or will we simply move on to the next outrage, as we have so many times in the past three and a half years?

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Album #14: Charlie Parker, ‘Bird/The Savoy Recordings (Master Takes)’

When I was in my teens and early 20s, there were a number of albums that I would have liked to buy but couldn’t afford — intriguing records I hadn’t heard and couldn’t justify spending the money on. What if I bought one and hated it? I was out $12 or $15, and that just wasn’t acceptable.

So record reviews were important. I discovered several albums on this list from reviews. One of them is an awkwardly titled Charlie Parker double-record anthology called “Bird/The Savoy Recordings (Master Takes),” which comprises every officially released piece that the great alto saxophonist recorded for Savoy, from 1944 to ’48.

Needless to say, it was not the sort of thing I could pick up on a whim. But I ran across a review by Robert Palmer in Rolling Stone, dated Sept. 9, 1976, that convinced me to give it a try. (Yes, I still have it, tucked inside the album sleeve.) Among other things, Palmer wrote:

Parker didn’t just “sing” the blues, he preached them with the fervor of an evangelist; only in the world of born-again church, healing services and holy dances are there adequate analogies for his particular kind of power.

Of the Savoy anthology, Palmer added: “Should we call it the one essential jazz album? The most important collection in American music in print? The most rewarding musical compendium in the world?” It was pretty hard to resist such praise. And the album lives up to the hype.

No one could play like Parker. His technique was unparalleled; the sheets of notes that he’d call forth from his horn sounded literally impossible to play, and by anyone else they would have been. His tone was flawless. And he played with depth and feeling.

There are some odd match-ups on the Savoy recordings, with a number of early songs featuring a neophyte Miles Davis on trumpet and Dizzy Gillespie on piano. Parker must have heard something in Miles that showed what he would become. Gillespie, already a star in his own right, probably just wanted to be there.

Many of the pieces sound similar and are played at a breakneck tempo; you just listen to Parker and try to hang on. For me, though, the standout is “Parker’s Mood,” a slowed-down blues into which Parker pours every last piece of his humanity. It is an astonishing accomplishment. If the Savoy recordings are the greatest American album, then “Parker’s Mood” may be the greatest American song — the mark of a genius who, tragically, would soon fall victim to addiction and an early death.

It’s a shame that so many great compilations are allowed to go out of print, only to be replaced by newer collections that lack the charms of their predecessors. “The Savoy Recordings” appears to be long gone, and I don’t have a record player. It looks like “The Complete Savoy & Dial Master Takes” is a reasonably good facsimile.

For me, Charlie Parker’s Savoy recordings represent not just the power of music but the power of the written word as well. Thank you, Robert Palmer.

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The Globe’s early endorsement of Markey isn’t quite as early as it seems

It’s generally understood that when newspaper editorial boards endorse candidates, they do so as late as possible in order to avoid the perception that their news coverage will be slanted in favor of the endorsee. So I was surprised to see The Boston Globe endorse U.S. Sen. Ed Markey over his Democratic primary challenger, U.S. Rep. Joe Kennedy, a full five weeks before the primary.

What gives? According to the Globe’s editorial-page editor, Bina Venkataraman, it’s later than it seems: mail-in voting will begin soon, so the Sept. 1 primary date is merely the last day that people can cast ballots. I’d honestly forgotten that, even though I’ve applied to vote by mail.

https://twitter.com/binajv/status/1288085330034294784?s=20

In fact, as David Bernstein recently pointed out at WGBH News, the two campaigns are engaged in furious get-out-the-vote efforts already. Huge numbers of Massachusetts voters are expected to take advantage of the mail-in option in order to avoid exposure to COVID-19 at the polls.

There’s still a dilemma, though. Because Markey and Kennedy will be campaigning right up until Sept. 1, the Globe’s news reporters will have to fend of complaints of bias for more than a month. The editorial pages at a quality paper like the Globe do not affect news coverage (for example), but try explaining that to the general public.

Should newspapers endorse candidates at all, or is that an outmoded custom? I’ve found that my students are dubious about the merits of news organizations’ telling people whom to vote for. But I think it can be a valuable exercise, especially in situations where an endorsement might really make a difference.

In this case, the Globe endorsement might matter. Markey and Kennedy hold similar progressive views, and readers will sit up and take notice that the Globe isn’t endorsing a Kennedy, as they might have been expected to do — although, as a longtime Globe reader, I can’t say I was all that surprised that they went with Markey.

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Union to protest outsourcing of jobs at Northampton’s Daily Hampshire Gazette

The Pioneer Valley NewsGuild, the union that represents press and distribution employees at the Daily Hampshire Gazette of Northampton, will rally Monday afternoon to honor the 29 employees who are being laid off as the Gazette closes down its presses and outsources its printing. The work will be handled by Gannett, which owns the Telegram & Gazette of Worcester and a printing plant in nearby Auburn. The move was announced in mid-June by Gazette publisher Michael Moses, who wrote:

While our decision to get out of the business of manufacturing newspapers was economically motivated, it also reflects our desire to focus on the Gazette’s core mission. Content, particularly local news content, is unequivocally that mission. This is, without question, the business model that best positions us for the future, allowing us to continue the award winning coverage our readers require.

The Gazette — owned by a small independent chain anchored by the Concord Monitor of New Hampshire — becomes the latest daily paper to job out its printing. With press runs much smaller than they used to be, it makes little sense these days for a paper to operate its own presses unless it can take on enough outside work to make it economically viable. Still, it’s a sad day for the employees who are losing their jobs.

The text of the union statement is below.

WHO: The Pioneer Valley NewsGuild and YOU, the community

WHAT: A socially distant rally honoring the workers who have helped make our paper for years on their last day before a massive layoff.

WHEN: Monday, July 27 at 5:15 p.m.

WHERE: On the sidewalk in front of the Daily Hampshire Gazette, located at 115 Conz St. in Northampton

WHY: We are standing in solidarity with those who have worked shoulder to shoulder during a global pandemic to bring this community vital news every single day. After all of that hard work and risk, Newspapers of New England is eliminating their departments, ending the 233 year history of printing the paper in Northampton in order to outsource that work to media giant Gannett. This means 29 people, including 24 union members, will be laid off. Bring signs to show appreciation for these essential workers — the people who actually make this paper. (Signs telling Newspapers of New England how shameful their behavior is are also welcome.) For more information, please contact The Pioneer Valley NewsGuild at mailto:pvnewsguild@gazettenet.com

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Album #15: ‘The Essential Johnny Cash, 1955-1983’

Johnny Cash was one of the coolest people in music. With that pompadour, that rugged face and that utterly self-assured manner, he projected authenticity and pure charisma. He was larger than life — the son of poor Arkansas farmers, outlaw, drug addict, Christian, family man, country music personified. Bob Dylan wanted to be him. Who didn’t?

One of my biggest regrets as a music aficionado is that I never got to see Cash in concert. My memories extend back to childhood, when my parents and I often watched “The Johnny Cash Show.” My parents didn’t like country music, and neither did I; but we liked Johnny Cash. Years later, on a long drive to Washington and back for a book project, I passed much of the time by listening to “The Essential Johnny Cash, 1955-1983,” a three-CD set released in 1992.

Cash was a transformational figure, welding country music with early rock and roll and later, through his marriage to June Carter, uniting country music’s earliest roots with the present. His final albums, produced by Rick Rubin, are spare and heartbreaking, with each one harder to listen to than the one before as illness took its toll.

But it’s his peak that’s on display in “Essential.” What can you say about a song like “Folsom Prison Blues,” maybe his greatest and most emblematic song? It begins with a line that he ripped off from someone else (“I hear that train a-comin’ / It’s rolling ’round the bend”) and quickly segues to a line of his own that would justify any writer’s entire career: “But I shot a man in Reno / Just to watch him die.” You’ve heard it hundreds of times. Pause and let it settle a bit.

That’s just one of the 75 songs on “Essential” — farm songs, gospel, songs that sound like they were someone’s idea of turning him into Buddy Holly (“Ballad of a Teenage Queen”), novelty songs (“A Boy Named Sue”) and social-justice songs. It’s this last category that seems especially relevant today — especially “Man in Black,” which you could imagine him and June singing in front of Donald Trump’s White House:

I wear black for the poor and beaten down
Livin’ on the hopeless, hungry side of town
I wear it for the prisoners who has long paid for his crime
But is there because he’s a victim of the times

And the hits — good Lord, so many hits. Who doesn’t love “Ring of Fire,” with its crazy mariachi-band accompaniment, written by June as her marriage was breaking up and she was falling in love with Johnny? Or their duet on “Jackson”? Or his cover of Kris Kristofferson’s “Sunday Morning Coming Down”? The album’s also got one of the best Dylan covers ever (“Wanted Man”) and a pretty good Bruce Springsteen cover (“Highway Patrolman”).

He frequently sang off-key, and he wasn’t much of a guitar player. It didn’t matter, because he was Johnny Cash. What a life. We miss you, Johnny.

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COVID Diary #9: Commuting in the age of pandemic

A cyclist heads north on Mass Ave just north of Harvard Square.

Previously published at WGBHNews.org.

A little after 11 a.m. this past Saturday, I eased myself onto my bike and headed toward Boston. My destination was Northeastern University, where I teach in the journalism program. I wanted to see if it was realistic to commute by bicycle once in-person classes resume this September.

What prompted this experiment was a story in The Boston Globe. According to Steve Annear, even as ridership begins to recover from the pandemic, more passengers are refusing to wear masks — and the MBTA is taking a decidedly laid-back approach to enforcement.

“What I’ve been doing as a rider whenever I see people not wearing a mask is I’ve been getting off in between stations and running to the next car, hoping the people on the new car will all be wearing their masks,” a rider named Victoria Kroeger told Annear.

Terrific.

For more than 20 years, I’d commuted to Boston from the North Shore by car, a soul-sucking ordeal that grew worse every year. Then, in 2014, we moved to West Medford, returning to a neighborhood where we’d lived for a few years in the early 1980s. I discovered the joy of walking to the train station and then hopping onto the subway at North Station. Commuting became almost a pleasure. We all love to complain about the T, but it rarely let me down.

That doesn’t mean, though, that I want to get onto sealed trains and subway cars with hundreds of strangers, any one (or dozen) of whom could be carrying the coronavirus that causes COVID-19. Especially if maskless morons are spewing aerosolized particles of disease into the air.

Which is why I was on my bike Saturday, maneuvering on side paths and urban streets. From the Alewife Greenway I picked up Mass. Ave, then headed toward Harvard Square. From there I followed the Charles River to Boston and back to Mass Ave. I turned right onto St. Stephen Street at Symphony Hall and from there pedaled to my office, which I couldn’t actually get into because of pandemic restrictions.

I’d covered 8.9 miles in 53 minutes, a little faster than it would take by public transportation. I was no worse for the wear; but it was a hot day, and I was sweating freely. If this had been an actual commute, I’d want to take a shower — but the locker rooms at the campus recreation center are closed for the foreseeable future because of the pandemic. (And I wouldn’t take the risk, anyway.)

I’d proved that I could do it, but I hadn’t convinced myself that I would do it. After shattering my elbow in an encounter with a wet speed bump 10 years ago, I didn’t ride a bike again until last year. So I’m ever wary about the hazards of urban biking. I’m also not going to ride in the rain or in the dark. For me, biking to work is a maybe option under perfect conditions, but hardly a comprehensive solution.

So what am I — what are all of us — supposed to do?

A couple of years ago, we decided to become a one-car family. My wife takes it for her short drive to work, and she has no other options. I’ve thought about trying to lease a car until V (Vaccine) Day. But I’ve heard from many of my colleagues that they’re also thinking of driving because of concerns about the T, so it seems more than likely that parking will be a nightmare. I’ve thought of relying on Lyft, but I’m not convinced that would be a COVID-free experience, either.

The message on the MBTA website is simple and direct: “All riders and employees are required to wear face coverings while riding the T.” But will the T start doing a better job of enforcing it? What about social-distancing? What about air quality? What happens when a subway car stops, the electricity goes off and air circulation is cut off?

These are things we all ought to be concerned about, especially when thousands of college students from all over the country — most definitely including states that are surging now — arrive in Boston a few weeks from now.

It had been a couple of months since I’d been on campus, so I spent a little time looking around. I was surprised by how many students were sunning themselves on Centennial Common — not huge numbers, but enough to make the campus feel at least semi-populated. Then I headed home, this time skipping the river route and taking Mass. Ave from Hemenway Street into North Cambridge, shaving a half-mile off my trip.

It was fun. But I couldn’t help but notice how light traffic was compared to what it will be like on weekdays after Labor Day. Maybe some hardier, younger folks than I could make the transition to commuting by bike. But I’m almost certainly going to have to depend on the T, and I’m not going to be alone.

Multiply my story, and my concerns, by tens — if not hundreds — of thousands, and you’ve got an idea of what challenges the region is going to face this fall. According to the T, there were 1.16 million trips taken in February, the last month before the pandemic hit. Safe public transportation is indispensable to our economy and to the well-being of our community.

We can’t let the T become a vector for a new COVID surge. We have to get this right.

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Album #16: Paul Simon, ‘Graceland’

One night in 1986, I tuned in “Saturday Night Live” to see Paul Simon, who back in those early years was practically a regular. He had a new album to promote. At the appointed hour, out he came with an enormous band of African musicians, launching into “You Can Call Me Al.” What the hell was that?

Soon enough, I learned that it was the first single from “Graceland,” Simon’s masterpiece, a deft and compelling blend of South African and American music. It’s hard to come up with enough superlatives for this album; 34 years after its release, it still sounds fresh. The title track, “The Boy in the Bubble,” “Diamonds on the Soles of Her Shoes,” “Homeless” — these are all wonderful songs, a completely unexpected gift from a musician who was already a superstar on the basis of his ultra-polished folk-rock as half of Simon & Garfunkel and the gospel-, jazz- and even Bach-inflected pop of his early solo career.

“Graceland” was not without controversy. For one thing, by traveling to South Africa to record the album, Simon had violated the boycott called by many of his fellow musicians who were fighting against that country’s apartheid regime. (And let us pause here to watch “Sun City,” by Artists United Against Apartheid, one of the three or four greatest music videos ever.) For another, Simon was hit with charges of plagiarism that were not only well-founded but also completely unnecessary. Everyone understood that “Graceland” was a collaborative effort, and a number of the songs have co-writing credits. Why not be more generous?

Simon followed up with another album of world music, “Rhythm of the Saints” (1990), focusing on the music of South America — and damn if it wasn’t almost as good as “Graceland.” Throughout his long career, from the 1960s right up until recently, Simon has made a lot of great music. But “Graceland” will stand as his singular achievement.

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Rashida Tlaib and the perils of our first-across-the-finish-line elections

Photo (cc) 2008 by H2Whoa!

I was reading a New York Times story about a serious primary challenge to U.S. Rep. Rashida Tlaib when I came across this sentence: “Had the 2018 primary been a head-to-head race, many believe Ms. Jones would have prevailed.” Jones is Brenda Jones, the Black president of the Detroit City Council, against whom Tlaib is running once again. I decided to look a little more deeply to find out what had happened.

Tlaib, as you no doubt know, is a member of “the squad” — four progressive women of color, all Democrats, who were elected to the House in 2018. (The others are Alexandria Ocasio-Cortez, Ilhan Omar and Ayanna Pressley.) What I didn’t know was that Tlaib’s brief political career stands out as an example of what’s wrong with our first-across-the-finish-line method of determining elections.

Tlaib first ran in a special election to replace John Conyers, who resigned following charges of sexual harassment. She came in second in a multi-candidate field. Jones, the winner of the Democratic primary, received 37.7% of the vote, becoming the acting congresswoman. (In Tlaib’s district, winning the Democratic primary is tantamount to winning the election.) Tlaib came in second with 35.9%

A few months later, another primary was held to choose a regular replacement for Conyers. This time, in a five-candidate field, Tlaib finished first, with 31.2%, and Jones came in second, with 30.2% Note that Tlaib’s support had actually dropped nearly five points since the special election. About 69% of voters cast ballots for someone other than Tlaib. But she was declared the winner, which is how it works under our system.

According to Ballotpedia, the 2020 primary, which will be held Aug. 4, will feature just two candidates, Tlaib and Jones, thus guaranteeing that the winner will receive a majority. That’s the way it should be. If no candidate receives a majority, then there ought to be a runoff election between the top two finishers or ranked-choice voting. (I wrote about ranked choice, also known as instant-runoff voting, and other election reforms for WGBH News in 2018.)

In any case, this will be an interesting primary to keep an eye on. The outspoken Tlaib, who’s Palestinian-American, is, along with Omar, one of the first two Muslim women elected to Congress. Jones represents a more moderate African American constituency.

At least this time, we’ll have a chance of finding out whom voters actually prefer.

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CommonWealth report shows that the state’s new public records law isn’t working

Following up on my WGBH News column about the legislative exemption to the state’s public records law, I want to call your attention to this excellent article (which predated mine) in CommonWealth Magazine by Colman Herman.

Herman took a look at the (slightly) improved public records law more than three years after it took effect — and what he found demonstrates the need to go back and reform the law root and branch. Among the lowlights:

  • Provisions aimed at toughening the penalties for compliance have been ineffective. Among the most egregious offenders are the State Police and the Boston Police, which, he writes, “take extraordinary measures to withhold documents in their entirety from public view.”
  • A provision that was supposed to make it easier for members of the press and the public to access public records without having to pay high fees has fallen short of that goal. Herman reports that when he asked for copies of disciplinary actions taken against massage therapists over a five-year period, “officials demanded $2,000 before it would turn over any records.”
  • Agencies regularly cite the multiple exemptions built into the law in order to deny access to such obviously public documents as MBTA General Manager Steve Poftak’s contract — which was turned over, Herman writes, but only after a considerable delay.
  • Turning enforcement over to Attorney General Maura Healey has had mixed results, with the attorney general’s office in some cases failing to uphold orders issued by the secretary of state’s office.

“The adages are many — information is the currency of democracy, sunlight is the best disinfectant, democracy depends on an informed citizenry,” Herman writes. “But in Massachusetts, these beliefs often still get shunted aside when it comes to accessing public records even under the new Public Records Law.”

Herman’s article is further evidence that open government in Massachusetts is more myth than reality.

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Album #17: Various artists, ‘The Harder They Come’

Like many people who went to college in Boston during the 1970s, I visited the Orson Welles in Cambridge one midnight to see “The Harder They Come,” the Jimmy Cliff movie that introduced us all to reggae. Oh, sure, Eric Clapton had had a huge hit with “I Shot the Sheriff” and Johnny Nash with “I Can See Clearly Now.” But this was the real thing.

The movie, released in 1972, stars Jimmy Cliff as an outlaw who tries to elude the police while a record that he made on a whim moves up the charts. Cliff is the focus of the soundtrack album as well as the movie, singing the title track and classics like “Many Rivers to Cross” and “You Can Get It If You Really Want.” But my favorite tracks are by Toots and the Maytals, who burn it up with “Sweet and Dandy” and “Pressure Drop.” Another favorite: “Johnny Too Bad,” by the Slickers.

Among other things, “The Harder They Come” is one of the greatest summer albums ever, along with Bruce Springsteen’s “The Wild, the Innocent & the E Street Shuffle” and the Beach Boys’ “Endless Summer.” What’s odd, in retrospect, is that there’s nothing here by the Wailers, even though Bob Marley, one of the Wailers’ three front men, would soon emerge as reggae’s biggest star.

Unfortunately, I don’t think you can see “The Harder They Come” these days — but you can listen to it. Perfect for a socially distanced backyard summer cookout. And check out that album cover!

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