New York’s Fourth of July Centennial 1876 in front of Madison Square. No Taylor Swift but lots of fireworks. From alamy.
We long for that perfect Fourth of July. Perhaps there was some festival, some county fair, some town picnic you went to as a kid, and you can still remember the crispness of the coating on the corn dog or the smell of the kettle corn.
2015 Capital Fourth with a proper crowd, listening to rollicking music.
The enthusiasm of the band, banging out some Sousa with gusto or even some toe-tapping rock ‘n’ roll, the dusk dropping slowly, sky melting into fireworks which, as a kid, were bright and loud and wondrous. If you were born before 1970, you might even wax nostalgic for the tall ships that glided with so much grandeur and grace into New York Harbor. Even just 11 years ago, the Capital Fourth was mobbed with people of these diverse United States, welcomed to eat the overpriced snow cones in humid Washington and spread out on the National Mall to listen to cannons go off in the “1812 Overture” and whisper to each other, “that’s not about the War of 1812, y’know.”
Oh, the nostalgia of the corn dogs and our tall ships.
It’s a masterpiece I say! They will cheer every word, every letter!
from “The Egg”
Adams, Franklin, Jefferson waiting for the chirp, chirp, chirp of an eaglet being born. Photo from Columbia Pictures.
Yep, the movie is full of historical inaccuracies. But as the Columbia Companion to American Film says, “few are very troubling.” The musical 1776 was produced in 1969, during the Vietnam War and the Nixon administration, although it wasn’t especially anti-war or preachy. (Other than the song “Cool Considerate Men,” which was clearly aimed at Republicans, or at least Nixon thought so because he pressured the producer, his friend Jack Warner, to cut it from the cinema version. Warner tried to have the negative destroyed, but someone saved it, and you can see them minuet ever to the right in the restored version. And the anti-slavery part… Anyway…)
The movie was politely applauded at the time, and now it has a cult following. We watch it every year for the holiday. The original musical was more enthusiastically greeted, as it won the Tony for Best Musical, even though the idea of staging the story of Congressional debate over the wording of a political document seemed foolhardy. Where was the romance? Where was the action?
It comes from the moment John Adams bangs open the door to Independence Hall and yells at his colleagues: I have come to the conclusion that one useless man is called a disgrace, that two are called a law firm, and that three or more become a Congress! To which they respond:
Sit down, John Sit down, John For God’s sake, John Sit down!
Samuel Chase: Someone ought to open up a window!
It’s dramatic, it’s bold, it’s operatic, with Congressmen singing back and forth at each other, immediately debating hotly whether or not to let in the flies. Is that historically accurate? Surely, it must be! That’s the beauty of the film. Even if there isn’t proof for every single thing that happens–from Hopkins bullying the aide McNair to bring him rum or the delegates rushing outside when a fire wagon goes by or the stiff argument over about “unalienable” vs. “inalienable” –surely, most of these things happened.
