Backlash

“There was also a concerted campaign by British musicians to knock American popular song at every opportunity, seen at its most ludicrous in the composer-conductor Constant Lambert’s explosion: “… the fact that at least ninety per cent of tunes are written by Jews undoubtedly goes far to account for the curious sagging quality – so typical of Jewish art – the almost masochistic melancholy of the average foxtrot.” Well, that goes for Helen Kane; almost all her tunes are in a foxtrot tempo. Helen Kane had one thing going for her so far as British critics were concerned; she was white.”

The quote from the liner notes to Helen Kane: Great Original Performances 1928-1930. It is an attempt to explain why Helen Kane’s music didn’t play in Europe. We all know how much anti-Semitism there was in Europe during the period. Coupled with the onset of the Depression, the switch from flapper to social conscious culture, Helen really didn’t stand a chance.

While her career hit an iceberg in 30s, her influence was far and wide. Remember Betty Boop? Kane sued, believing her material had been stolen. While she lost the case, one can’t help but recognize Kane’s style and vocal patterns in the cartoon. Anyone remember the song, “He’s So Unusual” on Cyndi Lauper’s hit record? Kane sung it first, in a similar style.

But the thing that jumps out at me the most is that quote above. With the world mad at America, do you think American playwrights are feeling the pain? After all, in most European eyes, we’re the dummies who elected Bush.

Do you think there’s a backlash against American playwrights – in our own country? Do you think European political plays are preferred by American theaters?

And most importantly, do you think that as playwrights, we’re distancing ourselves from our identities as Americans because we’re appalled by current events?