East West Players (EWP), the Los Angeles-based Asian American theatre company, recently announced their 43rd Season, which will open this fall with a show I am directing, "Be Like Water," written by my good friend, award-winning performance artist, Dan Kwong.
This announcement comes after over a year of developement of this piece, through my theatre company, Cedar Grove OnStage (CGO), which will be working in association with EWP on the production. CGO originally planned on producing the play at THE NEW LATC in downtown Los Angeles, where we are in residence. But, when 2008 funding didn't quite come through there, we brought the piece to EWP. Many who know me know that EWP is where I got my start as an actor back in the mid 80s. It's also where I met my producing partner, Tim Toyama, and our production manager, Irma Escamilla. So, the three of us were extremely pleased when EWP decided to go with us this fall. Dan has written a touching, revealing, very funny play, which will allow us to showcase some Asian American talent onstage in an original and entertaining way. I am so looking forward to getting to work!
I am about to get heavy into prepping for this play production, beginning with some very challenging casting. This family drama – with a twist – features a cast of 7, 4 of whom will be 13 or 14-year-olds. In addition to the dramatic and comedic demands of these young actors, one needs to be proficient at gung-fu, and another a great disco dancer. Then there's casting the major adult role in the play, which will be no small feat: finding an actor able to bring legendary Martial Arts icon Bruce Lee to life onstage.
Auditions will be later this month. Actor submissions are due July 14. All casting info follows below.
WRITER: Dan Kwong DIRECTOR: Chris Tashima CASTING DIRECTOR: Meg Imamoto AUDITION DATES: TBD – Approx mid to late July START DATE: Rehearsals begin mid-August, performance begins Sep 11, runs thru Oct 12 PAY RATE: AEA LOA to BAT or non-Union LOCATION: David Henry Hwang Theater, Los Angeles, CA
EAST WEST PLAYERS CASTING 120 JUDGE JOHN AISO ST. LOS ANGELES, CA 90012
SUBMISSIONS DUE BY MONDAY JULY 14
NOTE: Auditioners for roles of Tracy and Ghost please be prepared to demonstrate gung-fu ability. For role of Bruce (teenage nerd) please be prepared to dance disco routine, to "Disco Inferno," by The Trammps (playback will be provided).
Sides will be made available for all roles.
SEEKING BOTH UNION AND NON-UNION PERFORMERS FOR THE FOLLOWING:
[ TRACY FONG ] Female, early teens, Asian American. Tomboy, quick-tempered, defiant. Gung-fu experience a plus.
[ BRUCE LEE ] (teenage nerd) Male, early teens, Asian American. Nerd, loves disco. Tracy's best friend. Dance ability required.
[ JEREMY MORTON ] Male, mid-teens, Caucasian. Bully, street tough. Chicago accent preferred. Stage fighting experience a plus.
[ TINA KAWAI MACDONALD ] Female, early teens, Hapa (bi-racial Asian) or Asian American. Popular cheerleader type. Aloof and superficial.
[ GHOST OF BRUCE LEE ] Male, early 30s, Asian/Asian American. Excellent physique. Charismatic, philosophical with sense of humor. Authentic sounding Hong Kong accent required. Must be able to move, gung-fu experience preferred.
[ KIMIKO FONG ] Female, Late 30s, Asian American. Uptight, overbearing. Tracy's mother.
[ FRANK FONG ] Male, Mid-30s, Asian American. Easy going with dry sense of humor. Tracy's father.
STORY LINE: Set in 1978 Chicago, themes of racism, identity and oppression are explored as 13-year-old Tracy Fong navigates her world of gung-fu, a neighborhood bully, disco and an overbearing mother, with some guidance offered from the Ghost of Bruce Lee.
Last Friday, my theatre company, Cedar Grove OnStage threw a party... and it was a smash-hit. It certainly helps when you throw a party, to have a hugely popular guest of honor. And, for it to be for a worthy cause.
As I stated in my brief words before the show, my personal thanks go to friend Soji Kashiwagi, for bringing Rodney's plight to my attention and to the community's attention, and for helping to bring them to the event, and to Tim Toyama, whose idea it was to do an event for Rodney, and to him and to Irma Escamilla, who did all the work behind this event.
Thanks for reading,
—CT
RE-POST: Cedar Grove OnStage blog:
Regular visitors to our MySpace will know we recently hosted a benefit performance of "PIPPIN" at East West Players (EWP), for our good friend, actor Rodney Kageyama, who is recovering from a recent bout with Non-Hodgkin's lymphoma. We are happy to report it was a HUGE SUCCESS!
Tim cheers as Rodney closes the evening with some grateful, heartfelt words of thanks (photo by PHIL NEE)
Well over 200 friends, fans and family members were on hand to wish Rodney well, and donate to a fund which exceeded – blew away, really – our initial goal of $4,000 (by close to 50%). Due to Rodney's long history in the community, many organizations were represented in the audience, including the Nisei Week Foundation (over 20!) + the Nisei Week Court, Japanese American Optimists, Grateful Crane Ensemble, Cold Tofu, Visual Communications (VC), Japanese American National Museum, Coalition of Asian Pacifics in Entertainment (CAPE), and EWP. Notable individuals included Councilwoman Jan Perry, "Songbird of Manzanar" Mary Kageyama Nomura, JANM Founder Bruce Kaji and new CEO Dr. Akemi Kikumura Yano, New VC Executive Director Shinae Yoon and founder Robert Nakamura, CAPE President Adele Yoshioka, and EWP Board President Lynn Fukuhara Arthurs. Among the dozens of actors and artists present were (in no particular order) Ken Narasaki & Sharon Omi, Emily Kuroda, Kim Miyori, Patti Yasutake, Jack Ong, Saachiko & Dom Magwili, Jeanne Sakata, playwrights Nic Cha Kim, Sachi Oyama and Soji Kashiwagi, newscasters Ted Chen (KNBC) and David Ono (KABC), and filmmakers Karen Ishizuka, and Amy Kato & John Esaki (plus many, many more...).
PIPPIN Benefit for Rodney - Make Your Donation/Get Your Tix
Category: Parties and Nightlife
As you are likely aware, my theatre company, Cedar Grove OnStage, is sponsoring a benefit performance of PIPPIN at East West Players in less than two weeks – Friday, June 6 at 8pm. Ticket sales have been going well, but there are still plenty of seats left. I hope this is because people, like me, tend to procrastinate. Which also would mean, there may well be a rush for tickets at the last minute. So, if you're planning on attending – if you'd like to see a great show, help out a friend in need, and gather with old friends – GET YOUR TICKETS NOW!
Okay, enough with the soft-sell.
Thanks for reading, —CT
A Benefit For Rodney Kageyama PIPPIN at East West Players Sponsored by Cedar Grove OnStage Proceeds to help Rodney through his recovery from Non-Hodgkin's lymphoma
Rodney Night at PIPPIN at East West Players is just around the corner! Deadline to receive mail orders is Friday May 30 (this is to ensure that we receive and process all mail orders before the June 6 performance).
After May 30, you can still buy tickets by phone or fax (323-668-1018).
Another great review for PIPPIN just came in -- LA Weekly:
GO PIPPIN Tim Dang's hip-hop/anime staging of Roger O. Hirson and Stephen Schwartz's 1972 Candide-like musical is one of the most taut and accomplished spectacles seen on this stage in some time. Much of the credit goes to Blythe Matsui and Jason Tyler Chong's rambunctious and snappy choreography, sharply performed by leading player Marcus Choi. Ethan le Phong in the title role of a callow young Pippin — based on the hunchbacked son of Charlemagne — has an ethereal, sweet voice that easily handles Schwartz's pop score. Musically, the three-person band produces an overly synthesized, tinny tone, but that's not enough to impede Dang's lush comic book spectacle that's part Hollywood and Highland, part Kabuki. Plastic boots and mop wigs (hair and makeup by Jackie Phillips) punch up the fairy tale, further accentuated by Naomi Yoshida's otherworldly costumes. Pippin's search for meaning in life involves an escapade in war, competition with his prancing, vain half brother (Cesar Ciproampo), flirting with sex and a smidgen of patricide, leading to an epiphany that's as obvious and true as pop art is meant to be. The fleshy journey may be more life-changing for Pippin than for the audience, but Dang's exercise in style and sizzle accomplishes most of its ambitions. (Steven Leigh Morris)
DATE: Friday, June 6 at 8 pm • 7 pm Wine & Cheese Reception hosted by East West Players PRICE: $100 VIP seats, $60 Orchestra, $45 Balcony LOCATION: East West Players 120 Judge John Aiso Street Little Tokyo, Los Angeles, CA 90012
Like most of you, I've been following the campaign and I have now seen and heard enough to know where I stand. Senator Obama, in my view, is head and shoulders above the rest.
He has the depth, the reflectiveness, and the resilience to be our next President. He speaks to the America I've envisioned in my music for the past 35 years, a generous nation with a citizenry willing to tackle nuanced and complex problems, a country that's interested in its collective destiny and in the potential of its gathered spirit. A place where "...nobody crowds you, and nobody goes it alone."
At the moment, critics have tried to diminish Senator Obama through the exaggeration of certain of his comments and relationships. While these matters are worthy of some discussion, they have been ripped out of the context and fabric of the man's life and vision, so well described in his excellent book, Dreams of My Father, often in order to distract us from discussing the real issues: war and peace, the fight for economic and racial justice, reaffirming our Constitution, and the protection and enhancement of our environment.
After the terrible damage done over the past eight years, a great American reclamation project needs to be undertaken. I believe that Senator Obama is the best candidate to lead that project and to lead us into the 21st Century with a renewed sense of moral purpose and of ourselves as Americans.
Over here on E Street, we're proud to support Obama for President.
I'm happy to report that my friend, veteran actor and community volunteer, Rodney Kageyama, is cancer free! He has so far survived his recent battle with Non-Hodgkin's lymphoma, and is recuperating from all the chemo, with the help of many letters of support (and checks!), sent to him thanks to an extensive online campaign (thank you everyone, for pitching in!). But, his battle is not over, and in an effort to bring him more good cheer and financial support, my theatre company, Cedar Grove OnStage, has set up a benefit performance of "PIPPIN" at East West Players:
Please join us at East West Players for a special evening of theatre and friends, coming together to help Rodney.
Note to Friends of Rodney Kageyama
Category: Friends
I received the following note from Soji Kashiwagi, who has been spearheading the group effort to lend assistance to our friend, actor Rodney Kageyama. Thanks to all who responded to my earlier post, those who have given, and to those who have sent well-wishes. Keep the gifts coming!
Help Rodney fight Non-Hodgkin’s lymphoma.
Please make your check payable to FRIENDS OF RODNEY KAGEYAMA, and mail to:
Rodney Kageyama 4891 Round Top Drive Los Angeles, CA 90065
Many Thanks, —CT
REPOSTED NOTE:
Dear Friends of Rodney,
Great news to report--in just 10 days Rodney has received $10,898.98 in gifts, and so much love and admiration that the whole thing has brought him to tears!
People he knows and loves have given generously. People he doesn’t even know have given. It’s been an amazing outpouring of support!
Thank you all for everything you’ve done to get the word out. Funds are continuing to come in on a daily basis, and there are people out there taking up collections. I’ll keep you posted as we get closer to our goal. So far, we are 44% there!
Thanks again for all you’ve done. Keep those checks coming!
Today marks the release of "21," based on the best-seller, "Bringing Down The House," about a group of MIT students who figured out a card-counting scheme, and cracked the blackjack tables in Vegas, taking them for millions. It has been noted that Hollywood changed the ethnicity of the central character – modeled after Chinese American Jeff Ma – to your generic White-guy hero, "Ben Campbell," played by new-comer Jim Sturgess.
I have always proclaimed that Hollywood – the flim and TV business – is one of the most racist industries around, blatantly able to discriminate (in hiring/casting) under the guise of "artistic freedom," so this type of old-school racism shouldn’t surprise me. Nevertheless, I am shocked by how brazen Hollywood still is about this type of racist practice, here in the 21st century, and equally saddened by some of the ignorant excuses behind it, and equally ignorant mindset of those defending it, including Ma himself. But, Racism is ignorance. So, the educating that needs to happen definitely is far from done. For the producers of the film, and others who may wish to be informed, let me try to shed some light.
In examining the core issues it is important to distinguish what they are, as well as are not. What needs to be asked of the filmmakers is not "Why did you make the central figure White?" but rather, "Why did you change the central figure to White?" This story is based on real history, and real people. It’s one thing if the writers are creating a character in whole, but not the case here, so the filmmakers need to be held accountable for making this specific change. In addition to asking the filmmakers this question, they need to be asked also, not "Why did you do this?", but "Why do you keep doing this?" Hollywood has a long history, and each film does not exist in a world unto itself, but in a time, in a genre, subject to trends, history of styles, etc. It is part of an extended tradition. Filmmakers need to be knowledgeable and informed, socially as well as technically, about the medium they are creating in. Filmmaking is not just about employing cutting-edge technology, but involves social implications of their choices as well. If they choose to change the race of a character, they need to understand what that means in a context, which is our society, and not in a vacuum, which might be their imagination.
In short, Hollywood’s answer to both questions boils down to "White is better."
Historically, Hollywood has continually demonstrated in a number of ways, the belief that White is better. Back in the day, it’s understandable how this all started. Asians were a miniscule minority, especially in a strongly European-rooted Hollywood, so maybe the talent pool was shallow. Laws specifically prevented Asians from immigrating here, and those here from becoming citizens, so it’s not too difficult to look back and see that anti-Asian sentiments were common. But, we should hope that some change has occurred over the last 80-90 years, not just in attitude, but in practice.
Hardly so. Racism is still rampant. Here are a few examples.
"Yellowface" casting has been around since the earliest days, but is still happening as recently as 2007, with Brian Dennehy playing Kublai Khan in the TV mini-series, "Marco Polo." Cultural Hijacking had all the White Norris/Seagal/VanDamme types stealing the martial arts genre in the 70s and 80s, and today, the Fast and the Furious movies are exploiting the Asian American car culture, but with White leads. Identity theft switched a real-life 11 y.o. South Asian med student to a White Doogie Howser M.D., and a Dutch-Afro-Cuban-Chinese Mariane Pearl to Angelina Jolie in "A Mighty Heart" (2007). History is re-written to allow Tom Cruise to be a Samurai, and Anime icons Speed Racer and Astro Boy, originating from Japan, are turned White, as are entire films, with the recent trend of remaking Asian blockbusters for the "American" market. Countless other examples exist – choices made, changes made – saying loud and clear, "White is better." Throughout history, Hollywood has undeniably favored the White character, erasing the Asian, celebrated the White movie star, oppressing the Asian (these practices are not exclusive against Asians either; examples can be found shutting out Blacks, Latinos, American Indians and others).
This is the history that precedes "21," where for no apparent reason (Sturgess hardly has marquee name value) an Asian character is changed to White. In understanding and admitting that a change was made, one has to acknowledge the significance of that choice. To the filmmakers I ask, given the discriminatory history above (and assuming one can understand the harm in it), one has to ask, "why continue it?" Yes, you have the "creative freedom" to cast whomever you wish, but why do you keep making this choice? What does such a choice say about you? What about "White is better" do you truly believe?
I present the argument this way because I don’t think this is the belief of the filmmakers. I trust that people believe in equality, justice and truth. That there is ignorance behind these choices, and perhaps by illuminating on that ignorance, the choice next time will be different.
Even though the film is not about Jeff Ma’s Chinese American heritage, his ethnicity has tremendous significance in the larger picture, in Hollywood, in the outlook of young generations of Asian American moviegoers – how they are viewed, and how they view themselves. In the American landscape. In all of us.
I don’t think the producers of "21" meant it, they’re just ignorant. So it’s up to us to continue to work to educate, inform, and make our voice heard. Go ahead and write to Columbia Pictures, and production companies Michael De Luca Productions, Relativity Media and Trigger Street Productions (Kevin Spacey).
I would also encourage us all to support our Asian American filmmakers who are continually putting out quality films on low-budget scales. Now in theaters or coming soon (among others): Grace Lee’s "American Zombie" [americanzombiemovie.com] and Michael Kang’s "West 32nd" [www.w32nd.com] ... oh, and me, in Eric Byler’s "Americanese" [www.americanesethemovie.com].
One of my first gigs, back in 1984, was a series of Coke commercials, for Japanese TV. They were shot at a 50s diner in Visalia, CA, and at Magic Mountain. I was an extra, which wasn’t the highest profile, or most challenging work, but it was fun. I got to travel out of town, learn the Japanese lyrics to the "Coke is it!" song, learn choreography, play dress-up (50s), and dream of being broadcast over the airwaves in Japan – and becoming an international star. I never saw the completed spots, until recently: thanks to YouTube, I discovered these long-lost ads, and was finally able to see the fruits of my labor:
Two spots start at 00:30.
Long lost indeed – lost way, way in the background. I think I can spot myself in one shot, way in the blurry distance, for all of maybe 1.5 seconds.
The memories are still fond, though. One very clear memory is meeting renowned character and comedic actor, Rodney Kageyama (at 00:41 in the above video). Not only did this swell guy befriend me on this shoot, he later introduced me to many of the folks at East West Players in Los Angeles, and to many more in the larger Japanese American community in Southern California. He also supported all of my work, designing costumes for my first film project with Visual Communications, and volunteering on crew for both "Visas and Virtue" and "Day of Independence." In countless many other ways, he has helped me continue with the work that I do, and aspire to do. As I think about all that he has done for me, sadly, I can’t say I have done much in return. But, the warmth of his friendship hasn’t ever made me feel like I needed to. Well, now’s my chance to try to give back.
Rodney Kageyama needs our help.
Late last year, Rodney was diagnosed with Non-Hodgkin’s lymphoma, a group of cancers that affect the cells that play a role in the immune system. Since his diagnosis, he has been undergoing intense chemotherapy treatments. So far, the results have been hopeful, but his fight against this disease is far from over. This illness has knocked Rodney out of work, and he misses everyone because he hasn’t been able to appear at any community functions or support our community organizations as he has for so many of us over the past 25 years. Rodney has spent a lifetime giving so many of us his time, giving us so much joy and laughter, and has helped us all in so many ways along the way. His greatest gift is his ability to laugh and to make us laugh, sometimes at him, sometimes at ourselves.
Now is the time for us to give something back. This is where everyone can help.
Our goal is to raise at least $25,000 so that Rodney can put all his energy into fighting this fight, and not have to worry about rent, food, utilities and hospital bills for the next year. One hundred percent of your contribution will go directly to Rodney, and his fight for his life. For all he’s done for me, and so many others, I ask you to give a gift from your heart.
The $25k is an estimated minimum, to help Rodney for one year. I don’t think it’s much to ask, especially considering how far and wide-reaching his efforts for the community have been. If all who his gift of giving has touched, reached out to give something back, I think this figure would be blown out of the water, which wouldn’t be a bad thing.
Very fitting, I’d say.
Thank you for your consideration. And, thanks again, for reading
—CT
PS: Please make your check payable to FRIENDS OF RODNEY KAGEYAMA, and mail to:
Rodney Kageyama 4891 Round Top Drive Los Angeles, CA 90065
RE-POST: Eric Byler’s Essay on Clinton’s Campaigning
Category: News and Politics
Very often I will cheat, and repost blogs from others on topics I'd like to write about but haven't been able to find the impetus, or words. This past weekend (prior to Feb. 5 primaries), my reaction to Sen. Clinton's exaggerated negative attacks on Sen. Obama have been so filled with furor, I hadn't been able to formulate any response. Then I read Eric Byler's blog, and was grateful that there are those with the intelligence, reasoning and collective sense, and their own blog, to offer something smart.
Eric, as you might know, directed me in the indie film, "Americanese", back in 2005 (film is yet to be released), and has been very active since, in various political causes. Among other things, he is currently in Japan to address issues regarding Japan's history of sexual slavery during World War II. To read more on his activities you can read his new blog, Through Our Lens on AsianWeek.com, or visit UnitedForObama.
Thanks for reading, —CT
RE-POST: Eric Byler blog
Thursday, March 6, 2008 - 12:26 AM
Arrived in Tokyo, Japan -- Essay About Hillary's Victories Tuesday
I just completed a 16 hour journey to Tokyo, Japan. Soon I'll add more about our weekend in Houston, including video footage on United For Obama. Below is an essay I wrote on the plane:
Tuesday's primary victories for Hillary Clinton will prolong the Democratic nomination process, probably until the convention in August. I welcome the fact more Americans will have the opportunity to participate in a way that is meaningful and potentially decisive. The tragedy is that Clinton strategists have now reached a consensus that "going negative" is the only way they can win. For the Clintons, this may be so. But for our nation, "going negative" is a step in the wrong direction.
A continuation of this type of politics makes it more likely the Republicans will hold on to the White House and continue the disastrous policies of the past seven years. Polls show Hillary Clinton tied or losing to John McCain in the general election, while Barack Obama wins the White House by a 10-point margin. Perhaps more importantly, Obama's advantage over McCain will be compromised if Bush, McCain, AND the Clintons go on attacking him throughout the summer.
During the past three weeks, few can recall a positive statement offered by the Clintons. Their calculated and hyperbolic attacks on Senator Obama have overshadowed all substantive discussion. The Clintons have complained about media bias (a classic Republican tactic) while using the media to spread rumors and put forth stories that are irrelevant and/or dishonest. They have delivered negative speeches criticizing Obama for making positive speeches, and crafted negative slogans to criticize Obama's positive slogans. Worst of all, they have devised attack ads that employ the same fear-mongering manipulation we saw in the darkest years of the Bush Administration.
Barack Obama's candidacy, and more importantly, the movement he has inspired, offer us a chance to move beyond a diseased and dysfunctional era of American politics, and commence a 21st century approach to the deliberative process, in which "government by the people" involves an engaged, honest, and substantive conversation. Barack Obama is the leader best suited to conduct that conversation. That is why the Clintons are seeking to prolong the previous era. But this election is not just about who will be our President; it's about who we will be as a people.
For Republican strategists, misrepresentations and distortions are necessary to induce us into supporting policies that are not in our interest: tax breaks for oil companies, war profiteering, corruption and incompetence at all levels of government, etc. The Clintons are forced to employ such tactics, not to distract from bad policy (their policies are sound), but to compensate for "high negatives," that is, a high percentage of Americans who vehemently dislike them. Because over 40% of voters say they will not vote for Hillary Clinton under any circumstances, Clinton strategists are forced to "go negative" in order to raise the negatives of her opponents.
But there is a price to pay for this style of politics. It hardens and embitters the politicians who employ it. It causes them to look upon the voters in much the same way marketers look at advertising audiences. They rely on exaggerated or fabricated "attacks" and distortions to manipulate as many people as possible in one fell swoop. They assume that we are too passive to see through their tactics, and too distracted to be persuaded by anything else. The result is a vicious circle. We tune them out because we feel manipulated. They seek to manipulate us because we tune them out. This style of politics benefits Republicans more than Democrats. But it also benefits the Clintons more than Barack Obama. Thus, we see the Clintons "going negative" in the Primary race. If they do manage to engineer a takeover at the convention in August, Bush/Clinton politics will continue into the general election, and, whether or not they are successful against McCain, it will continue in Washington for another four years.
As we have seen during each of the previous administrations, a government that is dominated by negative politics makes it difficult, indeed dangerous, for elected officials to tell us the truth. For example, during the run-up to the Iraq War, Democrats in Congress, including Senator Clinton, felt compelled to vote according to public opinion, because public opinion at that time had been so masterfully manipulated by slogans like "we don't want the smoking gun to be a mushroom cloud," and lies like "there is no doubt that Saddam Hussien has weapons of mass destruction." Barack Obama, then an Illinois State Senator, displayed the courage and integrity to tell us the truth, even though truth was unpopular. Obama has made this a top issue during the primary campaign. In response, the Clintons' have offered the disappointingly cynical argument that speaking the truth to the American people would have been too dangerous for Obama if he, like Clinton, had been a U.S. Senator at the time. This to me illustrates the sharp contrast between the Bush/Clinton approach to politics and the approach being offered by Senator Obama. I don't want my leaders deciding when it's safe to tell me the truth. We've tried that for 15 years and the results have been less than satisfactory.
Our addiction to "negative politics" is what allowed Republicans to overshadow the accomplishments of the Clinton Administration (a balanced budget, a powerful peacetime economy) by obsessing over an extramarital affair. It allowed the mediocrity and intellectual laziness of George W. Bush the candidate to be glossed over by astonishingly dishonest slogans like "I'm a uniter not a divider," and "I'll restore the dignity of the White House." It allowed the tragedy of September 11th to be parlayed into an inhuman war for profit, waged against a people whose only infraction was having the same religion and skin color as our attackers. It allowed John Kerry's heroism during the Vietnam War and his lifetime of public service to be turned against him by the infamous "Swiftboat" lies propagated through TV commercials.
If Bush/Clinton Era politics were the only option available, I would embrace the Clintons as proven warriors in a world of partisan gridlock. But until and unless the Super Delegates decide to reverse the will of primary voters, I will be asking Americans to aim higher. Bush/Clinton politics is not the only choice. We can make a different choice by electing a President in Barack Obama who doesn't calculate the pros and cons of telling the truth; he does so as a matter of principle. If instead, we continue to reward the politics of the Bush/Clinton Era, we must also accept responsibility for the results.
En route to Japan, I was wearing an Obama hat, and I was asked twice by strangers whether the new generation of leaders that Obama has inspired would continue to participate if Clinton somehow managed to steal the nomination. My answer, "Many of those who are new to the process (people of color and young people in particular) might go back to being apathetic. But many would stick around, much the way those who were empowered by Howard Dean's candidacy became major contributors to the party and to our government. People like me would be there anyway, but I am hoping we won't have to gamble the White House on the people who would be there anyway."
In my estimate, with Hillary Clinton as the nominee, our chances of winning back the White House would be below 50 percent. The fractured Republican party would be unified against a familiar enemy, and, even if we do squeak out a victory, we could well lose seats in Congress. By contrast, Obama as the nominee HELPS Democratic Congressional candidates instead of hurting them. We would take part in a "wave" election in which we win a filibuster-proof majority in the Senate and a commanding majority in the House.
Now, if the Clintons were fortunate enough to win the White House again, we'd see a continuation of partisan gridlock, only in its preferable form: with Clintons in the White House instead of Bushes. The coming years would be better than the Bush years, and perhaps even as good as the Clinton years. I'd be pleased to see the Clintons get another chance, and use the experience they've gained to avoid all the pitfalls that plagued them the first time around. It would essentially be an 8-year last hurrah for 20th century prejudices, 20th century politics, and 20th century culture. It's just that so much more would be accomplished in a new era of participatory democracy, led by those of us who are already living in the 21st century.
I've written in previous blogs about the various political actions taken by my friend, filmmaker Eric Byler. I was happy to hear early on that we were both behind the same democratic candidate, Sen. Barack Obama. Of course, many months ago Eric got involved in the Obama campaign, organizing, recruiting, promoting... As I've also said, some of his truly remarkable and effective efforts come when he utilizes his gifts as a filmmaker, and is able to combine that with his passion for justice, his love of community, and of country — of what America can be.
Here is his most recent effort, a music video by artist Andres Useche. It speaks for itself. Please view it, listen to it, feel the message. Pass it on:
