Category: History

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Who Knows What Heart Lurks in the Evil of Men?

Driving Miss Daisy it ain’t.  The Last King of Scotland, I mean, with which I finally caught up last night at the local movie house. Like Downfall before it, this portrait of a dictator breaks with the conventions of Hollywood melodrama by challenging us to discard with the convenient absolutes of good and evil, the very binaries that clarify much but explain so little. Director Kevin Macdonald—whose next project, a documentary promisingly titled My Enemy’s Enemy, will deal with Nazi Germany and feature archival footage of Adolf Hitler—does not presume to judge his subject, Idi Amin, but to show or suggest the workings of his mind, his joys, sorrows, and fears.

In traditional Western storytelling, be it for stage or radio, for big screen or small, sketches of a certain enemy “other” are often crudely drawn for the sake of ready identification; the resulting picture is not that of an ostensibly evil person, but of evil personified. It is the very stuff of satire and sensational melodrama in which the alleged shortcomings of a dangerous individual may be exposed or playfully defused for the purpose of stirring an apathetic populace or boosting the morale of those stifled by terror. Historical portraits or caricatures of villainy rarely dare to encourage empathy and thus avoid to render their subjects human; they shun any approach suggestive of naturalism—the attempt at a serious and sincere depiction of what is.

Then again, what is? No matter how convinced I was by Forest Whitaker’s deservedly Oscar-nominated performance, I did not once think of The Last King as anything other than a work of fiction, a response largely owing to a lack of knowledge about the historical figure depicted, the culture represented, and the events on which it is based—the kind of ignorance I might pass off as skepticism if I were not hoping to achieve some semblance of naturalism in these soundings of my mind. Years of schooling and pop cultural exposure seem to have made it difficult for me to think of history as anything I sense to be reality. By virtue of seeming real, Whitaker’s Amin became a fiction to me.

My own reservations and prejudices aside, Macdonald’s film raises questions about what, beyond verifiable data, the records that have not been lost or suppressed, should make it into our histories, those stories we (or those acting on our or someone else’s behalf) construct out of scraps of documented facts upon which historians impose the comforting logic of causality. Like All the King’s Men, The Last King documents the corruption of power; yet it is also a corruption of documents. The figure of the young Scottish doctor, through the interaction with whom Amin’s personality is being revealed (for the cinema has to tell by showing), does much to render suspect the historicity of the drama, suspicions that even the facts and figures appended to the film after the conclusion of its narrative cannot lay to rest.

After all, how are we to know what heart lurks in the evil of men? What does it mean to accept that historical figures like Hitler or Idi Amin were thinking, feeling men rather than destructive forces? Perhaps we dread real people in our histories because they make us aware that, given human nature, no tools of social science can prevent us from repeating the horrors of the past.

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Beyond the Walk of Fame: A Monument for Madeleine Carroll

I don’t quite understand the concept; nor do I approve of such an abuse of the medium. The radio alarm clock, I mean. It accosts me with tunes and blather when I am least able or inclined to listen appreciatively. I much prefer being turned on by the radio rather than being roused by it to the point of turning it off or wishing it dead and getting on with the conscious side of life. This morning, however, BBC Radio 2—our daybreaker of choice—managed both to surprise and delight me with the following less-than-timely newsitem. Twenty years after her death, British-born Hollywood actress Madeleine Carroll (whose life and career are documented in this website maintained by her cousin) returns to the place of her birth as the English town of West Bromwich unveils a monument erected in her honor.

Film stars are perhaps least deserving of monuments—not merely because their off-screen antics rarely warrant praise, but because the celluloid on which their contributions to humanity are preserved are fitting enough testimonies to their achievements. Unless, that is, the achievements lie beyond those captured on film. In Carroll’s case, this translates into a return to Britain to serve as a Red Cross nurse during the Second World War.

The star of Alfred Hitchcock’s The Thirty-Nine Steps and Secret Agent put her film career on hold following the death of her sister during the London blitz in October 1940. Just days prior to this personal loss she had already signalled her intentions by contributing to a Canadian Red Cross Emergency Appeal, which aired on 29 September.

Subsequent parts in American radio dramas echoed her new career. In the late 1930s, Carroll had starred in frothy comedies and sensational melodramas produced by the Campbell Playhouse and the Lux Radio Theater; during the war, by comparison, she was most often heard in propaganda plays written for and produced by the aforementioned Cavalcade of America. On 5 October 1942, for instance, she played an army nurse in “I Was Married on Bataan,” scripted by reluctant radio playwright Arthur Miller. Two weeks later, on 19 October, she portrayed a pioneering female doctor in “That They Might Live”; and on 30 November 1942, she played the title character in “Sister Kenny.”

Unlike so many of her glamorous colleagues, Carroll truly inhabited these roles. It is her humanitarian work that is being remembered today.

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The Big Brother Incident

Well, I did not tune in for it; but you would have to be dwelling under a boulder without broadband not to have become aware of the diplomatic incident and international protests caused by the treatment of Bollywood star Shilpa Shetty on the Channel 4’s Celebrity Big Brother program here in the UK. I generally shut off and down at the mere mention of the word “celebrity,” which to me signals the exhibition of some latter-day Zsa Zsa Gaborisms—the state of being prominently stupid for the sake of being stupendously prominent—that I can well do without.

Where is the humility that convinced notoriously competitive Rose Nylund (portrayed by birthday Girl Betty White, born on this day in 1922) to turn down the St. Olaf Woman of the Year award after discovering that the judges had been swayed by a spurious account of her achievements?

That said, confronting undereducated, overexposed, and self-absorbed have-beens or wannabes with someone who is someone somewhere else strikes me as an inspired premise for a potentially edifying spectacle. It might offer a cultural corrective to the culturing of fame, forcing those who fancy themselves somebodies—along with those who buy into or by way of mockery perpetuate the process of celebrification (the fabrication of celebrity)—to reevaluate the limits and merits of popularity. At any rate, it lends a culture clash edge to a program that is otherwise nothing but trash edging itself in on culture.

Now, Celebrity Big Brother has received some twenty-thousand viewer complaints citing the abuse of Ms. Shetty by other housemates, deploring the ethnic slurs and biasides (you know, those tossed in remarks revealing a speaker’s prejudices) that have translated into a ratings bonanza for the program. In a development worthy of satirist Johnathan Swift, these televised housecoolings have led to protests in India and protestations by the British Prime Minister (who, like the folks in the East, has never seen the show).

The public shaming of this guilty pleasure is a remarkable development indeed, considering that much of British entertainment is based on the principle of offending. Apparently, it is acceptable to caricature and be-Little Britain, but not to portray as reality the actual small-mindedness of some of its people who have been elevated to the status of representatives by virtue of their omnipresence.

It’s been good for business, this brouhaha; but might a muzzle put an end to the foul-mouthing? Could Big Brother live up to its Orwellian name by resulting in overzealous watchdoggedness, by causing a backlash more profound than the aftermath of Janet Jackson’s wardrobe malfunction, by pushing any kind of social controversy off the screen and by keeping prejudice private so that it may flourish, undetected and unchecked. Perhaps it is better to permit those in need of publicity to make fools of themselves (and each other) than to fool ourselves into believing such ignorance extinct.

The ongoing debate whether to aspire to cultural universals or favor the ethnically distinct predates the social climate change brought on by political correctness. Jewish writer-actress Gertrude Berg (previously mentioned here), whose sitcom The Goldbergs had its television premiere on this day in 1949, once remarked about the success of her series in the age of anti-Semitic Gentleman’s Agreements that “we all respond to human situations and human emotions—and that dividing people into rigid racial, economic, social, or religious groups is a lot of nonsense.” Worse than nonsense would be to deny that those divisions exist and that an assumed, unquestioned sameness is a healthy substitute for hard-fought equality.

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Langston Hughes, Destination Freedom, and the "Funny Things" White Folks Do

A lot was left out of the picture, no matter how vividly it was being painted by the brush of sound on the canvas of the mind. Radio. No other mass medium could create pictures at once so generic and genuine, as invested as they were with the desires and experiences of those tuning in. And yet, in its soundscapes of the nation, in its portraits of the multitude, US broadcasters too often brushed aside or airbrushed what they dared not echo or evoke; too often they resorted to caricature and counterfeit, unless they altogether erased the experiences and memory of millions of citizens on whom broadcasters turned a deaf ear. 

The Southernaires

In the 1930s and ‘40s, when Amos ‘n’ Andy was America’s most popular work of comic serial fiction, commercial radio rarely permitted the minority population mimicked and minstrelized by the program the privilege of a voice, unless to sing gospel music (as delivered by the Southernaires, pictured here) and the hep tunes to which white folks would try to dance. Two notable exceptions to this misrepresentation of, adopting the parlance of the day, the ‘Negro’ experience on American radio were New World A-Coming and Destination Freedom.

On this day, 15 January, in 1950—when Martin Luther King, Jr. celebrated his twenty-first birthday—Destination Freedom presented “Birth of a League,” a dramatization of the exodus of some two million African-Americans from the South to the urban centers of the North—the “greatest internal migration in American history”—as it accelerated in the years just prior to the first World War. As “The Birth of a League” recounts, this led to the formation of the “Urban League” movement. You might say it was the real story behind Amos ‘n’ Andy, the white fiction of two black boys from Georgia who made their way up to Chicago in the late-1920s.

Appended to Richard Durham’s episodic and chronologically somewhat muddled play was an interview with Sidney Williams, the executive secretary of the League’s Chicago branch, with whose co-operation Destination Freedom was presented by station WMAQ, Chicago—the same station that had introduced America to Amos ‘n’ Andy back in 1928.

Williams deplored that “what other Americans expect and get as a matter of right, we Negro workers have to beg and fight for.” The fight, however, was not to be construed as a violent one. The League’s motto—”Not arms, but opportunity”—and the involvement of white businessmen “of good will” in its foundation made this depiction of the segregated South and the struggle for integration in the North more acceptable both to broadcasters and to a larger audience.

The challenge of such broadcasts was to inform and appeal, to protest yet placate. Despite the hope expressed in its title, taken from the book by Roi Ottley), New World A-Coming was at times cynical in its exposure of the injustices suffered by the Negro population. On 16 April 1944, for instance, the series promised the “Story of Negro Humor” as seen through the eyes of Langston Hughes. While it was filled with laughter, the program offered little amusement. Instead, it recalled Hughes’s own experience of Southern inhospitality, which Hughes had previously shared in his article “White Folks Do Some Funny Things.”

Hughes, who at one time was considered for a radio serial project of his own, found little amusement in the treatment the Negro—as character and creator of characters alike—received on American radio (as previously discussed here). In “The Story of Negro Humor,” and its somewhat toned-down reworking a year later (on 8 April 1945) under the article’s original title, Hughes was portrayed by Canada Lee, who acted out various scenes of humiliation personally witnessed or suffered by the American poet and novelist.

The program presented the prejudice and hatred toward black Americans as an American problem, rather than one faced by the minority population alone. Commenting on those who “practice Jim Crow at home and preach democracy abroad,” Hughes expressed himself puzzled at their “lack of humor concerning their own absurdities.” Having “read that Hitler has no sense of humor either,” he concluded that “the greatest killers cannot afford to laugh” and that those “most determined to Jim Crow” were “grimly killing democracy in America.”

Both New World A-Coming and Destination Freedom are rarities in so-called old-time radio. They are programs seldom discussed or traded by those who twist the dial by proxy and distort its history to meet their needs for light or wholesome entertainment. These two programs should not be dug up in defense of the ignorant or indifferent; they should not be aired for the chief purpose of clearing American radio of charges of misrepresentation. Yet, however marginal their role, it would be equally wrong to neglect or dismiss them, and the talent involved in their production, thereby to propagate the image of American radio drama as historically irrelevant and relegate it to the neither-here-nor-there that is nostalgia.

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Lost and Found: A Blackpool Romance

Well, this is a story sure to give hope to all those who, like me, are prone to misplacing things. Things will show up . . . eventually. In my case, it all started with a set of house keys I buried in a sandbox. Then went my retainers, which disappeared into the trash before they could do much straightening. Nowadays, I am constantly fishing for my glasses, rarely in places where I could have sworn to have left them. So, when I learned today that an earring lost by Marlene Dietrich has been unearthed at last, I just had to pass on the good news. My thanks to James Robert Parish, author of The Paramount Pretties (one of my Christmas presents last year) and It’s Good to Be the King, a new Mel Brooks biography, for alerting me to the story. It goes something like this:

Back in 1934, the glamorous Blue Angel descended upon the spa town of Blackpool, England, where she mingled with the vacationing multitude—purely for the sake of publicity, no doubt—at the Pleasure Beach amusement park. As if to prove that she was almost down to earth, Dietrich took a ride on the Big Dipper, the park’s new wooden rollercoaster. That is pretty much what I did when I went there some seventy years later—except that, rain-drenched as I was, I looked about as glamorous as a pair of wet socks. I sure wasn’t wearing anything that I could not afford to lose. Experience had taught me as much.

Ms. Dietrich, on the other hand, couldn’t afford not to look her most fetching as the stepped into the coaster. She probably looked just as smart leaving the park, with just the one, her hat covering the denuded lobe. At any rate, the earring was missing. No mere bauble, it was dear enough to the future star of Golden Earrings—a romance not based on her Blackpool experience—that she later inquired about it in writing, albeit to no avail. Today, said pearl was dug up from the mud, of which there is plenty in Blackpool, a place so vulgar that it makes San Jose look like a haven of cultural refinement. That, at least, was my impression, not having had the thrill of encountering a star of Ms. Dietrich’s calibre (or any calibre, for that matter), however pleasant the company in which I travelled.

No doubt, the folks who run (or ran down) Blackpool are delighted at this find. It is as if Ms. Dietrich were giving an encore performance from the grave, once again lending allure and intrigue to that aptly named dump of a seaside resort. To me, there could not be a more poignant illustration of the decline of Western civilization than the picture presenting itself to the workers who found said piece of jewelry among false teeth, glass eyes, and a wig, objects not claimed to have been lost by the star. According to a spokesperson for Pleasure Beach, the pearl “appears to have withstood the test of time quite well.” The same can certainly not be said of the site of this dig.

One thing Marlene Dietrich never lost—aside from her place in Hollywood history and the items aforementioned—was her German accent. Nor have I, as you can plainly tell by listening to one of my old-time radio podcasts; but in Ms. Dietrich’s case, the accent was both an asset and an impediment, accounting in part for the many ups and more downs of her career before, during, and after the Second World War.

Just before the golden era of Hollywood and radio drama was up, the aging actress could once more exploit the exotics of her Teutonic timbre. Having to rethink her media exposure at a time when rollercoaster rides and appearances at popular spots like Blackpool were not enough to keep alive a film career that had very nearly run its course, the aging diva began to take full advantage of the magic of radio to star in two dramatic series of her own. Dietrich and the radio—there’s an idea for a future podcast. Now, where did I leave my iPod?

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"We will interrupt all programs": Radio Drops a Bombshell

It certainly threw a wrench into the well-oiled works of radio as a commercial enterprise. The attack on Pearl Harbor, that is. On this day, December 7, in 1941, American broadcasters had to find ways of accommodating the “word from our sponsor” to the considerably more “important message” that would alter—or end—the lives of people the world over. Comedians Edgar Bergen and Jack Benny were both on the air as scheduled that Sunday, entertaining the multitude with their commercially sponsored programs.

Both broadcasts were prefaced by the following announcements: “Ladies and gentlemen. We will interrupt all programs to give you latest news bulletins. Stay tuned to this station.”

The bombing of Pearl Harbor and the subsequent declaration of war on Japan and its allies marked an uneasy transition of American radio as a source of advertising to one of propaganda, of information and indoctrination. As US President Franklin D. Roosevelt declared in his public radio address on 9 December 1941, “free and rapid communication” needed to be restricted in wartime.

It was “not possible to receive full and speedy and accurate reports” from all theaters of war, since even in those “days of the marvels of the radio” it was “often impossible for the Commanders of various units to report their activities by radio at all, for the very simple reason that this information would become available to the enemy and would disclose their position and their plan of defense or attack.”

Still, the medium that had long fallen into the hands of corporations, had an obligation toward the American public it ostensibly served, a duty to operate in the “public interest” that it might have neglected over the years, notwithstanding the President’s occasional and popular Fireside Chats.

Necessary delays in reporting aside, Roosevelt vowed “not hide facts from the country” if such were known and the enemy would “not be aided by their disclosure.” He reminded “all newspapers and radio stations, “all those who reach the eyes and ears of the American people,” that they had a “most grave responsibility to the nation now and for the duration of this war.”

While “sudden” the “criminal attacks” were but the “climax of a decade of international immorality,” Roosevelt argued. From Japan’s invasion of Manchukuo, Italy’s invasion of Ethiopia, Hitler’s occupation of Austria and his invasion of Czechoslovakia, Poland, Norway, Denmark, the Netherlands, Belgium, Luxembourg, and Russia; Italy’s attack on France and Greece, the Axis domination of the Balkans, and the Japanese attacks on Malaya and Thailand, to the bombing of Pearl Harbor—each occurring “without warning”—the events were “all of one pattern.”

America had “used” their awareness of that pattern “to great advantage. Knowing that the attack might reach us in all too short a time,” the US “immediately began greatly to increase” its “capacity to meet the demands of modern warfare.” The war, Roosevelt cautioned, would not only be “long” but “hard,” warning of shortages and a general cutting down on consumerism. He expressed himself confident that businesses and individuals alike would “cheerfully give up those material things that they are asked to give up,” and that they would “retain all those great spiritual things without which we cannot win through.”

Those who recall the attack on and fall of the World Trade Center towers might recall the sudden change in significance of a medium that could be relied upon for its mindless and commercials-riddled entertainment one day and then, suspending all advertising and most regular programs, engaged in an image blitz on a stunned audience that, having had so little introduction to the events leading up to them, regarded them as unprovoked, inexplicable, and without any historical connection to the dramatically altered present.

The image bombardment and the relative blackout of comprehensive world news by a largely irresponsible commercial medium did much to get Americans in the mood for the war that is still being waged and lost to this day. By comparison, the broadcasting day following the attack on Pearl Harbor proceeded pretty much according to schedule; it was only gradually that commercials made way for—or merged with—public announcements, that comedians told topical jokes and soap operas dealt with the realities of war. Before one can fully understand what it means never to forget, one has a lot of catching up to do with the world.

Having spread this “important message” about the imperative of keeping up with and following up on the allegedly out-of-date and the seemingly unrelated or tiresomely repetitive news of the world, the broadcastellan journal will go on a brief hiatus and won’t resume regular day-to-day postings until the beginning of 2007, aside from a few scattered reports of cultural events and reviews of seasonal radio and television offerings. If you have glanced at, read, perhaps even enjoyed, a few of the roughly two hundred essays shared here throughout the year, I encourage you to drop me a line.

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Riot Study: Hunting Catholics with Barnaby Rudge

Well, I would have been reading and writing today, had I not been caught up in upgrading my Blogger account and messing with my “classic” template while trying to take advantage of a few new features. With the exception of added labels, I ended up keeping things as they were, but I will probably tinker with the design over the weekend. Meanwhile, I just got back from the theater (an all-male production of Taming of the Shrew, which I am reviewing shortly). To remind all those of us blogging or shopping or hopping about town that it might be a “far, far better thing” to pick up one of his volumes, young Mr. Dickens has been installed here to usher in the festive season of fireside reading.

It is undoubtedly due to that sentimental ghost story A Christmas Carol and its countless re- or disincarnations that Dickens is so closely associated with December, the darkest month of the year, cheered, as if to reward or placate believers of some faiths, with tunes, tinsel, and treats. No Scrooge in the matter, I got tickets to a stage production of A Christmas Carol starring screen veteran Ron Moody, best known for his role in the musical Oliver! (a more recent production of which I discuss here). Young Twist and old Scrooge, those two have outlasted most of Dickens’s children, in the shadow of which vast nursery lies one Barnaby Rudge.

In the spirit of charity, I have picked up this ill favored Barnaby Rudge, serialized in 1841. Subtitled “A Tale of the Riots of ‘Eighty” it is a fictionalized account of the anti-Catholic uprisings in England, Protestant anxieties stirred by a member of Parliament opposed to the Catholic Relief Act. With the Pope’s visit to Turkey, a Muslim country whose faith he offended a few months earlier, and the multi-million sex abuse claim settlement by the Catholic diocese in Los Angeles making headlines these days, this old page-turner promises to be topical reading. No escapism here.

Say, what’s your literary treat for the “holidays”?

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The History [of] Boys: Alan Bennett and the Gay Social Science

I often ask myself whether I am. History,  I mean.  Not that anyone is opening a museum dedicated to my life, a definitive space for finite time as it is now in the works for 1970s pop act Abba.  To be history, I suppose, means to be quite past it; insignificant, irrelevant, outside of what matters now, someone either to be forgotten or to get nostalgic about.  To be part of history, on the other hand of time, means not only to think of oneself in context but to be thought of as belonging to it, as fitting into its continuum. And to make history is to take part in its continual shaping, be it wilful or inadvertent, by bringing something (or someone) about.  So, am I a manifestation of history? Am I making it? Or am I beyond its bounds as determined by those who assume the authority of authoring it in word and image?

Such questions have been whirring through my mind after watching The History Boys, the film adaptation of the acclaimed stage play by Alan Bennett, the well-known British radio raconteur.  The History Boys documents the quest of a group of students who, in an effort to make something of themselves (or to please their folks), try to get into one of Britain’s most influential or prestigious institutions of higher learning by reading (that is, studying) history.

Bennett sets the action, such as it is, in 1983, which means that, by now, those ambitious, playful and bewildered youngsters would be middle-aged men, like myself (pictured), a spinning forth of their fictional lives the film encourages in its “whatever became of” epilogue.

One of them did not make it this far into the 21st century, having given his life for his country (or those governing it on his behalf) by serving in the military.  Most of his classmates, it seems, have gotten little out of their college education, other than the satisfaction of being able to brag about it.  Except for the one, most vulnerable, least sure of himself, who took his schooling to heart and decided to pass it on.  That one, according to the queer history of Mr. Bennett, is the outsider who, unlike his closeted professor, has a chance to be, make, and impart what he has learned about himself.

At first, I was irritated by the imposed pastness of the action, as much as I can relate to the period as one of adolescent confusion.  Why bother to recreate a certain historial age, to impose a make-believe historicity on the growing-up experiences portrayed, thereby diminishing or obscuring their relevance? How would their story play out if were set in the present day, rather than a past that looks, by virtue of being bygone, quaint to those who have not lived it and to those whose vision is warped by nostalgic longing?

Might not such an act of looking back serve a purpose other than to suggest a past beyond change? The history of those boys turned men, individuals who were not always in control of their paths (as accidents shaped them as much as their actions), is not so much over as it is crossing over into the present.

The History Boys strikes me as an old man’s gesture of bridging what is often thought of as a generation gap, a chasm into which recent lessons and those still present to teach them are tossed to be discarded.  It is an encouragement to learn not from books and experience alone, but from intercourse with those around us, those whose stories might not get into the books other than by being thought of while reading.

The body of our histories, like the history of our bodies, cannot be got at from a distance, scrutinized in clinical detachment by ostensibly objective onlookers; it has to be lived, felt and shared in order to matter.  Beyond the groping for bare facts in hopes of an elusive naked truth, beyond the stripping of traditions exposed as lies and the weaving of postmodern thought in a garish display of thinly veiled self-pleasuring, imparting an understanding of history is a mentoring in the half-forgotten sense of the word.

 “Pass the parcel.  That’s sometimes all you can do.  Take it, feel it and pass it on.  Not for me, not for you, but for someone, somewhere, one day.  Pass it on, boys [and girls].”

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On This Day in 1930: ‘”Mystery Gun” Disappears As Lights Go Out’ in Invisible Courtroom

I don’t suppose I shall ever get used to it. The Welsh weather, I mean, the nocturnal roars and howlings of which I often drown out by listening to the familiar voices of old-time radio, reassuring and comforting voices like those of Harry Bartell or Elliot Lewis, both of whom were born on this day, 28 November, in 1913 and 1917, respectively. Storms are part of the Welsh soundscape, much like the bleating of sheep on the hills. If such climate conditions were faced by the people of New York, among whom I numbered for some fifteen years of my life, I wager that the local television newscasts would report little else. To be sure, last night’s storm did make headlines, being that a tornado wreaked havoc in a village just a few miles from my present home.

Thanks to some well-chosen radio thriller, I managed to sleep through it all, losing myself in dreams that, once radioactivated, tend to become particularly vivid. I often wonder just how much my mind, conscious or not, is influenced by the popular culture I consume by listening in. Sometimes, though, it is what we hear about, and not what we perceive, that stirs our imagination. There are a few listening experiences I can only dream of, plays I have only read or read about and consequently fascinate me no end. One such unheard soundplay is the serial The Trial of Vivienne Ware (previously mentioned here and discussed at some length in Etherized, my study of American radio dramatics). Pulled by the Hearst press and propagated on the air by station WJZ, New York, it was a spectacular publicity stunt designed to promote Hearst’s less than reputable papers.

Those tuning in did not only get to hear the proceedings, but were cast as jurors. They stood a chance of being awarded $1000 for coming up with the most convincing verdict (be it “guilty” or “innocent”), thus making it unnecessary for the author of the story—one Kenneth M. Ellis—to determine upon a reasonable conclusion and the fate of his titular character.

From the 25th to the last day of November, the fictional trial was broadcast live, with eminent figures of law and politics, New York Senator Robert F. Wagner and prominent attorney Ferdinand Pecora, heading a cast that included noted stage actress Rosamund Pinchot. Here is how the New York American, the Hearst paper sponsoring the series, described the session of 28 November 1930:

It was almost at the close of the session that the lights suddenly were extinguished and the court plunged into total darkness. Women’s screams, the shouts and bustle of court attaches, and the hammering of the gavel filled five or six black seconds with sound. Then the lights came on again—but the .38 caliber revolver which George Gordon Battle, chief counsel for Vivienne Ware, had just introduced as evidence had disappeared from the table where it lay.

Now, that’s a melodramatic conjuring act fit for the airwaves. It probably wouldn’t do much good during a stormy night, though, since such interactive thrills—let alone the pondering of the verdict, and what to do with the prize money—are, unlike much else that was presented on American radio with comforting predictability, anything but soporific.

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Now As Then: "Thanksgiving Day—1941"

Well, it took me some time to get it. Thanksgiving, I mean. Being German, I was unaccustomed to the holiday when I moved to the United States in the early 1990s. I didn’t quite understand what Steve Martin’s character in Trains, Planes & Automobiles was so desperately rushing home to . . . until I had lived long enough on American soil to sense the significance of this day. Now that I am living in Britain and, unlike last year, not flying back to America to observe it, I wish I could import the tradition.

I don’t mean to ship over all the trimmings and fixings, the pies and the parade. Just the concept of an annual get-together that encourages one to reflect upon what matters in life—provided that those who matter as “family” are understood to be any gathering of people (and, Montague insists, pets) whose presence spells home.

To the horror of some, an Americanized Halloween has caught on big time here during the last few years. Why not a grown-up holiday like Thanksgiving, regardless of the direction in which the Pilgrims were heading? With an eye to the future, I am not even being ahistorical.

A feast in defiance of the old saw that you can’t go home again, Thanksgiving is often thought of as an occasion to wax nostalgic. Sure, it is a time to look back; but that does not mean it should exhaust itself in sentimentality. It can be an incentive to pull through, an event for which people pull themselves and one other together in the face of adversities.

Belittled as a ritualistic tripping on tryptophan, bemoaned as an annual family headcount that starts with the headache of getting there and ends in a bellyache getting back, Thanksgiving still compels millions to travel hundreds of miles and, unlike Christmas, has remained remarkably free from commercialism. It mobilizes more folks than a national election. It is a day of the people, not of corporation (unless you are running an airline). And despite its culinary excesses, it is simple, solid, and reassuringly primal in its cheering of the harvest and the life we owe the land and its natural riches.

A celebration “wholly of our earth,” is how the aforementioned American poet Stephen Vincent Benét expressed the meaning of the day in a speech delivered by actor Brian Donlevy and broadcast on 19 November 1941, just a few weeks before the US entered the Second World War. “This year it is and must be a sober feast,” Benét reminded the listener. Even if the attack on Pearl Harbor was a surprise, the bombs over London were clear enough signs of the perils ahead:

Today, one hundred and thirty million Americans keep the day they first set apart.  We all know what Thanksgiving is—it’s turkey day and pumpkin pie day—the day of the meeting of friends and the gathering of families.  It does not belong to any one creed or stock among us, it does not honor any one great man.  It is the whole family’s day when we can all get together, think over the past months a little, feel a sense of harvest, a kinship with our land. It is one of the most secure and friendly of all our feasts.  And yet it was first founded in insecurity, by men who stood up to danger.  And that spirit is still alive.

“The democracy we cherish,” Benét concluded,

is the work of many years and many men.  But as those first men and women first gave thanks, in a dark hour, for the corn that meant life to them, so let us give thanks today—not for the little things of the easy years but for the land we cherish, the way of life we honor, and the freedom we shall maintain.

If it is set aside to cherish land, life, and liberty, Thanksgiving cannot mean a retreat into the home, a shutting of doors and a closing of one’s eyes to the responsibilities that lie beyond the closest circle of relatives and friends: the duties of citizenship and the challenges of living in a global community. Some of the liberties fought for, the life and the land enjoyed in the past are now being threatened; not by foreigners alone, but by those of us who rely on or deal in outmoded constructs, who promote the concept of nation while defying the communal for their own profit.

“There are many days in the year that we celebrate,” Benét remarked, “but this one is wholly of our earth.” Although he might have meant his native ground—his speech being a pep talk to potential soldiers and a rallying cry for the home that soon would turn front—it won’t hurt to misread him, to consider “our earth” to be that truly common ground we share and to reflect on the global crises that may lie ahead and that, if at all, can only be met jointly. I hope we are “still alive” to this “spirit” and am thankful to those who keep on conjuring it.