Why We No Longer Hear Angels - and a Few Words about Tennis, Chess, Prison & the Healing Power of Classical Music
If you’ve ever visited the circus or a city like San Francisco, then you know a barker is someone who stands outside a theater or sideshow and calls out to passersby to get them interested in what's happening inside the tent. The word comes to mind just now because there seems to be a lot of barking in the public arena these days. And a lot of braying too. All of it a distraction from the things that probably matter most to you—if you haven’t been too distracted by all that noise to figure out what that is.
So, let me depart from my usual commentary in order to share a few things I found touching recently, which you may find interesting too.
WHY WE NO LONGER HEAR ANGELS
The following clip is from Faraway, So Close—a beautiful 1993 film by Wim Wenders, which I heard about this year from a writer friend on Twitter. At only two minutes and fifteen seconds, this bit of dialogue gets to the core of why all that barking can be harmful. It depicts a telepathic conversation between two angels, Raphaela (Nastassja Kinski) and Cassiel (Otto Sander), as they consider why it’s so difficult for their guidance to reach us the way it used to back in the day.
Why the 60th Anniversary of Lorraine Hansberry's 'A Raisin in the Sun' Resonates for Me in a Personal Way
Today marks the 60th anniversary of the Broadway premiere of Lorraine Hansberry's "A Raisin in the Sun." A major American classic by any standard, it is also the first Broadway-produced play by an African-American woman. It's a milestone that remains as relevant on March 11, 2019 as it was in 1959.
Several years ago, a Seattle newspaper asked me to review a staging at Seattle Rep, one of the finest regional theaters in the country. A lifelong theater buff, I was thrilled when the editor promised free tickets and a stipend in exchange for my opinion.
Whenever anyone remounts a beloved classic of film or stage, you hope they won't ruin it. So it was with a mixture of anticipation and dread that I made my way to Seattle Center for the opening. But I needn't have worried. As you might expect from a Tony-winning outfit like Seattle Rep, the production was excellent. Although I hadn't seen the play for quite a while, its impact remained undeniable. The play resonates for anyone with a human heart, but it's especially meaningful to African Americans because it takes a hard look at a family divided by conflicting dreams and the internal and external pressures that challenge and shape the black experience to this very day.
But Hansberry's play also has a special place in my personal memory because my brother, Kurt Hill, performed the role of Walter Lee Younger (the Sidney Poitier character) when my alma mater, Drexel Catholic High School, produced the play during the heyday of the Civil Rights Movement, about a year before the Voting Rights Act became law.
Prop Goes the Weasel: Did the Racial Sideshow at the Cohen Hearings Demonstrate that America's Deepest Wound Will Never Heal?
The vehement exchange between two members of Congress during Michael Cohen’s testimony on February 27 was more than a failure to communicate. The argument itself was not only a distraction from the main event, it struck at the core of America's oldest wound.
In case you missed it, a white congressman (Mark Meadows) trotted out a black female employee of the Trump administration (Lynne Patton) as proof that the president is not racist. A freshman congresswoman (Rashida Tlaib), who is Muslim, responded by referring to Ms. Patton as a prop, claiming that Meadows' tactic was itself racist. This led to a spirited digression, which achieved what sideshows always do--divert attention from the main purpose of the hearings.
Although the president's former attorney and "fixer" called Donald Trump a racist during his opening statement, the main reason for the hearing was not to debate the president’s racism. It was to determine if he had broken the law.
I like big books, and I cannot lie. My background includes talk radio, newspapers and TV news. I've hosted a morning-drive classical music program on the California coast and published nationally in Reader's Digest, the Christian Science Monitor, and Playboy. I've won awards for my journalism and my fiction. One of my essays even made it into an anthology for college English courses. For real? Yes, for real.
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