Just a quick post on two Warner Brothers cartoons from the forties and their reception today. They’re from the 1940s, and both present black people in ways that would be unacceptable today. One is much worse than the other, but it’s the less nasty one that takes all the heat.
“Coal Black and de Sebben Dwarfs” is a spoof of Snow White with all-black characters. This isn’t a problem in itself, or we’d have to protest against The Wiz. The difficulty is that WB cartoons always drew characters as caricatures, and the ones in this cartoon draw on minstrel-show blackface. It wasn’t done to be offensive; it’s just what the Termite Terrace cartoonists did whenever they drew people. “So White” is quite sexy, and the jazz music makes for a lively short. The dwarfs are “in the Army now.” In a twist ending, it’s a dwarf rather than the prince who awakens So White with his kiss, insisting that how he did it is a “military secret.”
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Musical annotation is a language in its own right. Its words come from Italian, but the syntax is very different, and the meaning of the words often is too. I’m sure linguists have studied it in detail. I’m neither a linguist nor a professional musician, but I have a strong interest in both areas, so let me offer a few thoughts on the subject.
Since the nineteenth century, musical directions have come in other languages, usually the composer’s native language. I think Schumann was the first major composer to do it. For this piece, I’m just talking about annotations based on Italian.
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In July, I’ll accompany the 1920 German silent film The Golem twice. On Tuesday, July 16, I’ll livestream it with keyboard accompaniment on YouTube at 8 PM Eastern Time. On Friday, July 26, I’ll accompany it live at the Plaistow Public Library at 1 PM. Watch both if you like; you’ll hear it accompanied two different ways. Please “like” the YouTube item if you’re inclined to give it a boost; that will make it more discoverable.
This is the third Golem movie that Paul Wegener made and the only one that survives. Its full title is Der Golem: Wie er in die Welt kam (The Golem: How he came into the world). Unlike the others, it deals directly with the legend of Rabbi Löw’s creation of a golem to protect the Jewish people.
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Ergo: The Campus Voice of Reason. That was the name of our paper. Like all college students, we were more confident we were right than we should have been, but we stood apart from the crowd. As an organization, we were never “liberal” or “conservative” in the popular sense of the words. Our position was libertarian, strongly influenced by Ayn Rand’s philosophy of Objectivism. Ergo challenged university administrators, the campus left, politicians, and academics. My association with Ergo helped me to develop a framework of thought that I still go by. My views on what is important and how to achieve it have changed, and so have some of my conclusions, but my basic principles have changed very little.
Ergo came into being during a time called the “sixties,” which lasted from about 1965 to 1975. The founder was J. R. M. Seitz, who allegedly acquired all the parts necessary to build an Atlas missile (except the nuclear warhead) on the open market. It was the time of the Vietnam War and urban riots. It was a time of protests and violence. People marched and occupied buildings. Some thought that totalitarian Communist states were a great idea. Others just wanted the government to stop drafting people and sending them into an undeclared war on the other side of the globe. Once I was punched in the nose, and another time the sweater I was wearing was set on fire. I can’t count the number of times I was called a fascist. Interesting times.
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Upon hearing Mozart’s Singspiel The Abduction from the Seraglio, Emperor Joseph II is alleged to have said, “Too many notes.” The claim increased in popularity when Peter Schaffer put those words in his mouth in the travesty Amadeus. Quotations are tricky things, though. If I gratuitously claim someone said something, how do you know they didn’t? It’s the old issue of proving a negative.
The quotation, or something like it, has a source that long predates Schaffer. It’s the 1798 biography of Mozart by Franz Xaver Niemetschek. The full title is Leben des K.K. Kapellmeisters Wolfgang Gottlieb Mozart nach Originalquellen beschrieben (life of the music director Wolfgang Gottlieb Mozart, written based on original sources). The attribution given there is:
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Looking around the Internet and stores, the most obvious signs of Black History Month are ethnically targeted marketing. That’s what advertisers do, I guess. But the original idea was a good one: call attention to people whom older histories tended to ignore.
Writers might get some ideas from looking at black historical figures they admire. Let me just list three:
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My latest article for Liberty Fund’s Online Library of Liberty, “The Peasants’ War and Martin Luther,” is now online. Marxist claims have largely dominated historical discussions of the Peasants’ War, but it was a revolt in defense of property rights, not against them. Its Twelve Articles contain ideas that appeared in the United States’ Declaration of Independence.
I’m the kind of person who always needs to have a project or two going. Things have been slow in that department lately, and FAWM is still about six weeks away. The two novels I wrote were enjoyable to do, but fiction isn’t my strongest point. The research I did for them has proven fruitful, though. I thought about writing a book on the Protestant Reformation and its effect on the emergence of personal freedom. I can’t claim to be a professional historian, though, and the readership would undoubtedly be small.
But I can write songs. The idea I’ve developed is a song cycle which combines music and history while connecting to my novels. Hans Lorenz is Thomas and Frieda’s son in The Magic Battery and Spells of War. He’s a small child and isn’t developed much as a character, but he has strong musical abilities. In this cycle, the adult Hans is the singer of songs which could get him into bad trouble for the ideas they expressed; but doing that runs in his family. (His father was on trial for his life, his mother’s book was burned, and his grandmother was killed in prison, accused of witchcraft.)
The first song, which I’ve put up on SoundCloud, is “Deva Prison.” It presents history which most listeners won’t know, so it’s followed by a short talk by “Hans” to his audience about the facts behind the song. This is a pattern which I plan to follow in other songs in the cycle.
A fact that might get a few people more interested: Dávid Ferenc, the subject of the song, was the founder of Unitarianism.
If I achieve my goal, this cycle will present some important history which isn’t familiar to most modern audiences in an entertaining way. Let me know what you think.
This post is a signal boost for Ada Palmer’s very interesting John Nuveen Lecture on censorship at the University of Chicago Divinity School. A lot of you reading this blog may know her better from her songs and the group Sassafrass, but she’s amazingly knowledgeable about a lot of things.
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