Category Archives: Culture

Why Hamilton?

 

There is one positive aspect about the founding of the United States which is beyond reproach.  Cinematic productions of award-winning Broadway musicals about the era are among the best transformations of content from stage to screen.  Such was the case with Peter Hunt’s 1972 production of 1776 and Disney’s presentation of Lin-Manuel Miranda’s Hamilton.  What do they have in common?  Both films (I know it’s an anachronism) featured the original Broadway casts and neither relied on B-roll clips or CGI to enhance the atmosphere of the stage settings.  Such devotion to capturing the source material in its original format allows one to focus on the “cattle” rather than the “hat.”  NOTE: For non-Texans, this reference comes from the Lone Star State axiom about an individual of no substance, “All hat; no cattle!”

Without the distraction of bizarre camera angles and disco-esque light shows, I fixated on the question, “Why Hamilton?”  Was this the alternative to Peter Hunt’s having already examined the process of drafting the Declaration of Independence in melody and lyrics.  Given the opportunity, would “The Room Where It Happened” have been about the chamber in Independence Hall when Jefferson trades abolition of slavery for South Carolina and Georgia’s ratification of the the document rather than a dinner where Jefferson and Madison swap the location of the future seat of government for Hamilton’s national bank.

The obvious answer?  Alexander Hamilton and Miranda share the same Puerto Rican roots.  What better personal choice for a metaphor about the on-going desire for freedom and respect.  Yet, Edward de Bono, the father of “lateral thinking,” implores us never to stop at the first adequate right answer.  Keep searching.  For me, that next right answer emerged when Jonathan Groff enters as King George III.  You immediately notice Groff, who is whiter than white (hopefully with the aid of make-up), is the exception to the rule.  He is the only Anglo character in the story played by a Caucasian.  And quite the dandy.  Ashley Wilkes and Rhett Butler rolled into a single persona.

It is not just his looks, but his words, especially the chorus to his first solo number “You’ll Be Back,” which expose his character.

You’ll be back
Soon you’ll see
You’ll remember you belong to me
You’ll be back
Time will tell
You’ll remember that I served you well

You are better off a colonist than responsible for your own care and feeding.  The theme re-emerges during King George’s second appearance following the surrender at Yorktown in the song, “What Comes Next.”  The monarch further demonstrates his disdain and lack of respect for his “beloved” subjects.

What comes next?
You’ve been freed
Do you know how hard it is to lead?
You’re on your own

Sound familiar?  The exact words every plantation owner told his slaves at the end of the Civil War.  Right answer #2.  Hamilton is not about the American Revolution.  It is not about the colonists seeking independence from The Crown.  It is the realization that emancipation from the lingering attitude toward former slaves was harder than abolishing the institution of involuntary servitude.

But again, why Hamilton?  Could the narrative not been equally effective if the musical had been about Pedro Albizu Campos, a Puerto Rican attorney and politician who championed the territory’s independence movement in 1950.  Or Harriet, The Musical.  Ironically, right answer #3 is handed to us in Act 1, Scene 1, when Aaron Burr (Leslie Odom, Jr.) cannot understand his rival’s success.

How does a bastard, orphan, son of a whore and a
Scotsman, dropped in the middle of a forgotten
Spot in the Caribbean by Providence, impoverished, in squalor
Grow up to be a hero and a scholar?

If you thought Hamilton  was a metaphor for emancipation, substitute the words “absentee father” for “Scotsman” or “project in Chicago” for “spot in the Caribbean.”  Or consider the following excerpts from Miranda’s first solo, “My Shot.”

Hey yo, I’m just like my country
I’m young, scrappy, and hungry

The problem is I got a lot of brains, but no polish
I gotta holler just to be heard

I’m a diamond in the rough, a shiny piece of coal
Tryin’ to reach my goal

These are not the words of a colonist or a slave.  They are the words of too many disadvantaged Americans of color and Dreamers who have much to offer if only given the chance.

But still, why Hamilton?  Why not Martin Luther King or Medgar Evers?  Which brings me to right answer #4.  Hamilton is as much about unfulfilled potential and legacy as it is about the title character’s life.  And what better examples of the unfairness in the world than the cruel reality when King is assassinated at age 39 and  Evers at age 40 is gunned down while those responsible for their deaths live to be 70 (James Earl Ray) and 80 (Byron De La Beckwith).  Is it a coincidence that Burr also lived to be 80 while Hamilton died at 47 or 49, depending on the conflicting records of his birth?  Miranda captures this message in the lyrics of the closing number, “Who Lives, Who Dies, Who Tells Your Story,” in which Hamilton’s sister-in-law Angelica Schuyler sings:

Every other founding father story gets told
Every other founding father gets to grow old

The same question could be asked about George Floyd, Breonna Taylor, or Admaud Arbery.  In their own way, each found themselves in the middle of a modern day movement, one more attempt to reach the vision of a more perfect union where all are “created equal with inalienable rights.”  And each protester who takes a knee or marches in support of Black Lives Matter is echoing the lyrics, “I gotta holler just to be heard.”

Hamilton is not about the past.  It is a metaphor of the moment.  Why Hamilton?  Because it is a story for all time, all places and all people.

For what it’s worth.
Dr. ESP

 

The Villages People

 

[NOTE:  In hopes of stemming a flood of comments from Trumpsters and Russian bots, the following is not FAKE NEWS.  It is what we call parody intentionally designed at the outset to be humorous.  Please do not confuse it with Trump apologists’ attempts to disguise Donald Trump’s ignorant and offensive remarks as “jokes,” after the fact.]

 

The Rolling Stones are threatening legal action against President Donald Trump’s campaign for using their music at his campaign rallies.

~CNN/June 28, 2020

Following receipt of the cease and desist order, Trump campaign manager Brad Parscale immediately began searching for replacements.  [NOTE:  The remainder of this paragraph is not FAKE NEWS!]  He approached the following artists.  Neil Young. NO!  Elton John.  NO!  The Tom Petty estate.  NO!   Rihanna.  NO!  R.E.M.  NO!  Adele. NO!  Axl Rose.  NO!   Pharrell Williams.  NO!  Brian May (Queen).  NO!  Earth, Wind and Fire.  NO!  Eddie Levert (The O’Jays).  NO!  The George Harrison estate.  NO!  The Prince estate.  NO!  Steven Tyler.  NO!  Dee Snider.  NO!  Perhaps the best response came from Brendon Urie, frontman for the band Panic! At The Disco following use of his song “High Hopes” at Trump’s June 26 rally at the Dream City megachurch in Phoenix .  “Dear Trump Campaign, F*** you.  You’re NOT invited.  Stop playing my song.”

Unable to contract with actual musicians or their bands, Parscale decided to create his own “tribute band,”  The Villages People (shown below).

When asked why he settled on a 1970s-80s disco band, Parscale replied, “It reflects the candidate’s interest in taking the nation back 40 years.  And what could possibly be more representative of the past four years than an exclusive club in which the atmosphere is dependent on fog and sparkly mirrors?”  In response to a query about which of the group’s hits would be the campaign’s central theme song, Parscale said that decision was pending.  “There are so many to choose from.”

Always willing to provide assistance when I can, I would suggest the following:

  • Muncho Man/1978
  • Y.M.I. an A./1978
  • (Not) In the Navy (or any other branch of the armed services)/1979
  • Ready for the 80’s (the 1880s)/1979
  • Sleazy (no explanation needed)/1979
  • Can’t Stop the Muslims/1980
  • 5 O’Clock in the Morning (Tweet Time)/1981
  • Do You Wanna Spend the Night (Anybody?)/1981
  • (In)Action Man/1982
  • MAGAmix/1989
  • Living in the WhiteLife/1989

POSTSCRIPT

The original Village People have announced they will perform  a revised version of “Happiest Time of the Year,” which appeared on the group’s 2019 Christmas album, at Joe Biden’s victory celebration on election night.  In the new version, lyrics such as “People SHARING all over the world” will now proclaim, “People CHEERING all over the world.”

For what it’s worth.
Dr. ESP

 

Propped Up

 

Recognize the name Scott Thompson?  Probably not.  Maybe you know him by his stage name, “Carrot Top.”  For the past 13 years, with the exception of an occasional tour, Thompson has been the comedian-in-residence at the Luxor Hotel in Las Vegas.  His schtick consists largely of dated celebrity jokes during which he exaggerates his targets’ stereotypical flaws with the help of trunks full of props.  For example, a crowd favorite involves his pacing a darkened stage with a flashlight while U2’s “I Still Haven’t Found What I’m Looking For” plays in the background.

Prop comedy has a long and storied station in show business history.  Consider the following.  Harpo Marx’ horn.  The Harlem Globetrotters’ bucket of confetti.  Steve Martin’s arrow through the head and bunny ears.  One can argue ventriloquists from Edgar Bergen to Paul Winchell to Jeff Dunham are a unique form of prop comedy.  Without Mortimer Snerd, Jerry Mahoney or Walter, respectively, their jokes would more likely be greeted with silence rather than laughter.

In case you have not noticed, these icons of prop humor have a new rival who, since June 1, has expanded his routine by adding a a number of new accessories to his arsenal of visual aids.  Welcome to the comedy stylings of the comic-in-residence who performs nightly in the Lincoln Room at 1600 Pennsylvania Avenue, Donald J. Trump.  Always seeking to be in the public eye, Americans had the unique opportunity to watch him first test new material in a smaller venue before the launch of the official tour.  In his case, Trump chose an outdoor setting–Lafayette Park.  Accompanied by an entourage of police, national guard and unidentifiable federal agents, he entertained the crowd with the latest gadgets in his trunk of tricks.  First, a tear-gas canister.  Then, an upside-down Bible.  What a show!  People have been talking about it for weeks.  You can’t beat that kind of publicity.

Next it was off to West Point where Trump demonstrated there was no end to his implements of distraction.  Who can forget the water glass, the ramp or his leather-soled shoes.  But that event was just one more preliminary run-through for the main event,  the first stop on his comeback tour, Tulsa, Oklahoma.  And that is where “Cotton Candy Top” exhibited true creative genius, making connections between props which previously had served a singular purpose.  His trademark red silk tie was now the rescued victim of the two-handed glass of water caper.  The audience became “brave warriors,” replacing his federalized posse when it came to facing off against peaceful protesters.  And slick ramps magically transformed into ice skating rinks.  Forget, he had just reminded the audience he needed to wet his lips because the hot sun was “pouring down” on him as he saluted newly commissioned army officers.  “A Zamboni!  A Zamboni!  My kingdom for a Zamboni!”

Despite the promise of an overflow crowd, Trump’s press puppet Kayleigh McEnany claimed her boss, the eternal optimist, saw the arena as one-third full, not two-thirds empty.  It is not uncommon to cancel future tour dates when it becomes clear playing to unfilled, cavernous arenas just is not worth the embarrassment.  But do not expect any such move by the Trump campaign.  Trump is more likely to follow the advice of fellow comic Gary Mule Deer.  “It’s great to be in a business where if you come back each year for a little less money, you can work for the rest of your life.”  Except in Trump’s case, just substitute the word “audience” for “money.”

Recognizing this White House sh** show may end on January 20, 2021, Trump recently acknowledged he is already thinking about his next gig.  Considering his new-found affinity for prop humor, one possibility would be as guest headliner in the Luxor’s Atrium Theater when Thompson is on the road or taking a break.  Such an engagement would be ironic considering the act in residence across the walkway from Carrot Top’s venue–The Blue Man Group.

For what it’s worth.
Dr. ESP

 

NIMBY

 

Language evolves.  It adapts to changes in culture.  When I first arrived in Charlottesville in the fall of 1967, students at the University of Virginia would sing “The Good Old Song,” following each home team score during a Saturday afternoon of football at Scott Stadium.  The lyrics included, “We come from old Virginia, where all is bright and gay.”  In hindsight, considering the undergraduate college at Mr. Jefferson’s University was at the time an all-male school, maybe the description was more appropriate than we imagined.  After all, we were quite dapper, required to wear coats and ties to class, and the code of student conduct referred to a student as “a Virginia gentleman.”

Among words or phrases that experience this transformation is the acronym “NIMBY” which is the short form of “not in my back yard.”  Its origin goes back to the early 1970’s and the environmental justice movement when undesirable public or private activities ranging from nuclear power plants to prisons were proposed for low and middle income communities.  The rich and powerful who generally used or profited from such facilities were fine with them as long as they were not subject to the economic, safety or aesthetic consequences of their locations.

A view from Fittie of the wind farm President Trump didn't want ...Among the most recent cases of NIMBY mentality was the 2015 case of Trump International Golf Club Scotland Ltd v Scotland in which you know who challenged the government’s authority to approve wind farm applications, especially one that would be visible from his Aberdeen resort.  If it makes you feel any better, the United States is not the only country in which Donald Trump confuses the personal from the public interest.  Prior to initiating legal action, Trump wrote to assumed friend Scottish First Minister Alex Salmond and claimed he was “fighting for the benefit of Scotland.”  When the Scottish Supreme Court ruled against the Trump Organization, Salmond described Trump as “three times a loser.”  (Readers are encouraged to make up their own parody of Lionel Richie and the Commodores’ “Three Times a Lady.”)

Which brings me to the emerging new meaning of NIMBY.  In 2020, one can argue the term also refers to things specific demographics ignore or consider irrelevant as long as they do not occur close to home.  Consider the following two examples the coronavirus pandemic and the “Black Lives Matter” movement.  Both started as localized phenomena, but now leave no corner of the nation untouched.

Let’s start with Americans’ attitude to the government’s response to COVID19.  According to the FiveThirtyEight average of polls, on March 28, 2020, Trump’s margin of disapproval dropped to 3.9 percent (49.7 disapproval versus 45.8 approval), its lowest level during his three plus years in the White House.  On March 27, Trump asked the CDC to issue a travel advisory for the tri-state area (NY, NJ, CT) in which an overwhelming majority of the 2,010 COVID-related deaths confirmed to date had occurred.  In other words, Trump benefited from the fact most Americans felt unaffected as long as people were not dying in their back yards and Trump’s executive order was designed to prevent exactly that.

This morning Trump’s margin of diapproval is 14.5 percent (55.3 disapproval versus 40.8 approval).  Why?  Because residents in the Sunbelt and farm states can no longer feel safe under the misconception COVID19 is confined to the Northeast and West Coast.  And all of Trump’s and Mike Pence’s assurances cannot convince them otherwise.  Predictions and promises have little meaning when red state residents watch as family, friends and neighbors become ill or die from a disease that refuses to recognize geographic borders.

The same can be said of the newly energized and broader response to excessive police force.  Prior to the deaths of George Floyd, Breonna Taylor and other African-Americans at the hands of law enforcement officers, those injustices were something that only happened in the Deep South.  Protesters were only gassed and hosed at the behest of overt white supremacists such as Alabama governor George Wallace and Birmingham sheriff Bull Connor.  Lynchings occurred in Mississippi, not California.  “Black Lives Matter” was a response to isolated instances of police misconduct.  Until it wasn’t.  Even in localities that have so far escaped the trauma of the outrage which brought protesters out into the streets, a majority of Americans now recognize their good fortune is more a matter of luck than culture.

So, if you were to ask me what movie best captures the extraordinary time and conditions in which we now live, I would not gravitate to films like Contagion or Do the Right Thing.  My first choice is Independence Day, except I would rename it Election Day.  And in my remake, Joe Biden would be cast as President Whitmore and his speech on the eve of election day 2020 would sound something like this.

We can’t be consumed by our petty differences anymore. We will be united in our common interests. Perhaps it’s fate that tomorrow is the 3rd of November, the same date in 1979 on which the Klan and neo-Nazis in Greensboro, North Carolina opened fire on protesters, killing five marchers and injuring scores of others.  You will once again be fighting for our freedom not from corruption, dishonesty or division but for soul of America.

November 3rd will no longer be known as an American experience, but will be the day when our allies around the world and every human being who seeks freedom and justice declare in one voice, “We all share the same back yard.”

For what it’s worth.
Dr. ESP

.

 

Cannot “Not Be”

It is amazing what you can hear when there is no background noise.  The on-field chatter during a live German soccer match in an empty stadium provides a different experience when not masked by the constant chant of “Ole, ole!”  Or how we hang on every word when conversations with friends and family are one-on-one events without the distracting din of conversations at adjacent tables or Muzak from an overhead speaker.  I always taught my students about the difference between hearing and listening.  What I never realized, until now, was how much easier it is to listen when your ears are not bombarded with extraneous sounds.

Which brings me to the topic du jour.  You may have noticed, I have avoided commenting on the “Black Lives Matter” protests following the murder of George Floyd.  It was not for lack of empathy for the cause.  I just  felt inadequately prepared to write anything of value to add to the conversation.  Until the debate over renaming military bases which are currently associated with Confederate generals.  Lethal force by police against African-Americans is the ultimate manifestation of systemic racism.  But there are also the thousands upon thousands of daily reminders of something short of full citizenship.  Perhaps it is time we recognize this is about more than situations involving life or death.  Maybe it is time to bring out posters and t-shirts which also remind us, “Black Feelings Matter.”

While the deaths of Floyd, Breonna Taylor and Ahmaud Arbery grab the headlines, we must also listen to the stories which do not involve physical violence.  For example, Kimberly Atkins’ appearance on Deadline White House last Friday.  Atkins is a senior news correspondent for WBUR, Boston’s public radio station.  Before that she served as Washington bureau chief for the Boston Herald.  She recounted her sense of surprise when she first arrived in the nation’s capital and found herself driving to work on the Lee Highway.  She had never previously imagined anyone would name a major thoroughfare after someone who led soldiers in a war AGAINST the United States for the purpose of protecting slave owners’ right to human chattel.

There are all varieties of blatant and latent discrimination.  However, with the exception of race, each of us has the ability to deny our heritage.  I am not immediately identified as Jewish, of eastern European descent, liberal or over-educated.  When I walked into a job interview, bought a home or applied for a mortgage, I could not be immediately profiled.  And if I so chose, I could deny any or all of these distinguishing characteristics.  I could “not be” who I know I am.

Not so for African-Americans.  They do not have that same choice.  They CANNOT “not be” black.  They cannot, as some German Jews tried, attempt to disappear into the crowd by refusing to wear a yellow Star of David on their clothing.  Or survive the Inquisition by surrounding themselves with the trappings of the Catholic Church.

Yet, there are occasions on which I can identify with African-Americans.  When negotiating the price of a new home, I was once asked, “What are you, Jewish?”  In the 1950s, there were deed restricted communities in my home town of Richmond, Virginia which banned Jewish families.  Some of my schoolmates came from those communities.  Though I suspect they never looked at me in class and thought, “He’s one of them.”

Reflecting on those experiences, I now realize I was wrong.  It does not matter whether I have distinguishing physical traits which set me apart.  As I watched neo-Nazis march at my alma mater, I could not “not be” Jewish.  Just as Kimberly Atkins cannot “not be” black, even when she is in the isolation of her own car, when no one is looking at her.  She does not need external validation of her status in American society.  But, neither should I.

When it comes to realizing the genesis of the “Black Lives Matter” movement, I keep hearing that old refrain, “You can’t understand how someone feels until you’ve walked a mile in their shoes.”  Easier said than done.  Instead, maybe the answer lies in the ability of each of us to walk a mile in our own shoes.

FBI director quotes 'Avenue Q' song 'Everyone's a Little Bit ...There is a musical number in the Broadway show Avenue Q titled, “Everyone’s a Little Bit Racist.”  The final chorus contains the following lyrics.

If we all could just admit that we are racist a little bit.
And everyone stopped being so P.C.
Maybe we could live in harmony.

That only comes about when each of us recognizes the inconvenient truth we cannot “not be” biased and takes a moment to understand what that means and how it should make us feel.

For what it’s worth.
Dr. ESP