Sometimes life’s moments dovetail in an unexpected coincidence that you couldn’t script even if you tried. I experienced such a moment the other night in the wake of the president’s brief words on Libya, designed to double as a lead-in to Dancing with the Stars.
As expected, said Libya-words/Dancing-intro made little impact on the universe, apart from, I would imagine, inspiring the slobbering lapdog media minions who consistently herald anything this president says as the greatest speech ever made by the greatest human in the history of humans…blah, blah, blah. (This would include, I will presume, the lapdogs this administration locks in closets to prevent objective reporting, which has allegedly happened more than once, the incarcerated lapdogs in question claiming it was a-okay with them).
Well, immediately following Obama’s latest attempt to appear hawkish to those anxiously awaiting a dance competition show, my son popped 1964’s Dr. Strangelove in the DVD player for an essay he was writing for school. For those unfamiliar, with the talents of, among others, George C. Scott and Peter Sellars, this satirical treatise on the Cold War paints both the U.S. and the U.S.S.R. as foolish countries narcissistically bent on destroying each other, and, in the process, the world.
I wasn’t paying much attention to the film until I was called to it by a rant from American General Jack D. Ripper (such a clever, subtle name for the man who ultimately drops the bomb on the Soviets). “…today, war is too important to be left to politicians,” says the General. “They have neither the time, the training, nor the inclination for strategic thought.”
Brilliant, I’d say, especially from a film meant as a satirical indictment of the United States military — the same United States military, mind you, that less than 20 years before this movie was made brought an end to Hitler’s final solution, as well as to Hitler himself, but Hollywood has never been known for a firm grasp of history, or morality.
No longer relevant is what General Ripper’s rant meant back in the 60s. His words find new meaning today in a post-9/11 America, a meaning far more dangerous, far more damaging than anything some avant garde film makers may have fancied back in 1964. Coming as this rant did for me personally on the heels of a speech made by an inexperienced, incompetent, anti-military career politician perfectly embodying General Ripper’s description of such a player, it is downright frightening to watch this politician using our military like little toy soldiers for his own narcissistic ambitions. Like I said, we couldn’t script this material or its timing better if we tried.
I would guess that General Ripper’s speechwriter back in 1964, who further “satirized” military commanders with the General telling his men that “…in conclusion, I would like to say that in the two years it has been my privilege to be your commanding officer, I have always expected the best from you, and you have never given me anything less than that…”never dreamed that his words could possibly reflect a clear and unexpected truth beyond the confines of a “revolutionary” film of the 1960s. Indeed who would have guessed that on March 28, 2011, in a dramatic coincidence, those words would serve to illuminate and expose a so-called commander-in-chief commanding the U.S. military without benefit of time, training, strategic thought or fundamental respect for our men and women in uniform in a genuinely, and increasingly, dangerous world. Dangerous times indeed. God help us all.






A Wicked Masterpiece for Wicked Times
May 15, 2011 | Comments (3)I had the great privilege the other day of seeing the hit Broadway musical, Wicked. For years I had heard that this alternate take on The Wizard of Oz was must-see theater, but I had no idea what I was in for.
I purposely went in knowing only that this is the so-called “untold story” of a beloved American classic. And I understood that it involved serious themes, which, as I have said here before, lie at the heart of my own passion for theater. I thus expected a story that would touch on prejudice and bigotry, and indeed I found that, but what I did not expect was such brilliant and unblinking attention paid to domestic violence, the abuse of children and animals, power and control, torture, tyranny, courage and redemption. Without revealing details, let me say as a dissident voice recently targeted for silencing, that what resonated most personally for me was the silencing of dissident voices by corrupt authority figures and fawning, feel-good minions. Sound familiar?
What I saw in the theater on that day was a retelling of a beloved American classic that mirrors what at least one member of its audience (me) sees occurring beyond those theater doors in our own non-Ozian world. I both hope and expect that I am not alone in this, that this accounts for this show’s wild popularity, despite what the show’s creators might have intended originally. The moment art of any kind is released into the atmosphere, it becomes whatever an individual reader/viewer/audience member wishes it to be, a fact I first experienced personally years ago when a short story I had written for an undergraduate fiction seminar was suddenly being discussed as a retelling of the fall from grace in the Garden of Eden. News to me.
I speak here then as an audience member who was never a rabid fan of the original Wizard, but who now includes the “untold” version of that tale, one filled with rich and desperate themes – including one of the most powerful scenes I have ever witnessed on the stage (hint: torn flesh, the stain of blood) – on my list of all-time favorites. I urge others to see it, as well, just as I urge us all to resist the silence and the goosesteps.