Campaigning for the Arts & the Oscars

The 1st Academy Banquet of 1929, designed by union-busting studio execs. Winners had been announced beforehand; many did not show. Wikimedia photo.

In the final week’s run-up to this year’s birthday party for Uncle Oscar, i.e. the 97th Academy Awards, there have been surprises, rumors, and scandals. In other words, the movie and awards business as usual. Each batch of pre-Oscar awards (SAG, BAFTA, Critics Circle) has led journalists to conclude that this movie or that movie is definitely gonna win because of some quasi-statistical calculation. Some of the nominations have been controversial. “The Brutalist” was slammed for using a little bit of AI-based technology. The “front-runner” for Best Actress made numerous racist and Islamophobic statements on social media a few years ago, so now has quasi-apologized, though what this has to do with her performance may seem head-scratching.

Personally, what I find most head-scratching is that movies which premiere in one theater for one day at the end of December can somehow be considered better than any other movie that is seen by the rest of us all year long. It seems like cheating. But then artistic contests have a history of cheating, campaigning, and judging biases. Patriotism, popular sentiment, and politics influence the voting. It’s not just in the movies. Classical art and classical music have also had their own versions of campaigns and contests. Let’s go back a few centuries and take a look.

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Reading Between the Lines in the Life of Susie King Taylor

It’s hard to preserve history. The paper that holds the stories crumbles or sticks together, stored in damp basements or behind walls. Officials throw files away, burn them, or shove them into unlabelled boxes. People die without telling us what happened.

Yet at the same time, it’s not so simple to erase what happened, not with a wave of a wand or the stroke of an expensive pen. Stories once told take on a life of their own. Files are rediscovered; skeleton bones fall out of closets. History can’t simply be ripped off the wall. If you hadn’t heard, a school official recently took Harriet Tubman posters down in advance of a visit from Trump government officials. As if that would remove what Harriet Tubman was or what she did.

If we choose to remember, if we work to remember–dig underneath the bland encyclopedia entries to uncover what we must remember–then nothing will erase the real stories. February is still Black History Month, whether there are posters or not.

I came across the remarkable life of Susie King Taylor, looking for an appropriate subject to write about this month, somewhat discouraged about writing at all. You can read a few paragraphs about her on Wikipedia, at the Library of Congress, or via the National Park Service. She was the first African-American nurse in the Civil War, the first Black woman to teach at a school in a Union camp, the first woman to write about life in the camps. The “first” business doesn’t really matter. The point is that she did things and wrote her story, proving how important a task that is.

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The Badgers of Imbolc

Amused Grace: For the Groundhog, Blessed of Brighid, artwork by Thalia Took

Yesterday was Groundhog Day, so in the true modern, post-1993 meaning of the phrase, I’m going to revisit it. That is, for those who have not seen the Bill Murray movie Groundhog Day, to become stuck in an endless time loop until able to sufficiently reform one’s behavior. I don’t know what behavior I should reform, perhaps getting to the point quicker? So let’s revisit Groundhog Day.

In celebrating the spirit of the season, I will ask three critical questions about Groundhog Day. Why there? Why that? and Why now? Yes, you can read this stuff on Wikipedia, but if you did, you won’t get any jokes. And since it’s 3 questions, it’s kind of magical and mystical, which is also fitting. Although I’m not sure the townspeople of Punxsutawney know this.

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