Gun Control, Gay Marriage, and Home Rule: Three Wrongs Make a ______

For two years now I’ve been the Chair of the DC Advocates for the Arts. The position has made me more aware of local political advocacy work.

The biggest issue in local advocacy is voting rights. It’s like the holy grail for locals involved in politics. The system right now is that DC’s budget, and legislation, have to be approved by an oversight committee in Congress. And we get no votes on national issues, because we have no votes in the House or Senate. Being a constituency of over 600,000 mid-atlantic residents, I know of no DC resident against voting rights, and, as a constitutional issue, you would think that Democrats and Republicans would see this as a no-brainer.

The catch is that DC is Democratic. VERY Democratic. If you want to get right down to it, looking at past votes, it seems there’s a decent chance we’d elect Karl Marx.

As example: in the Bush/Gore election the District went 91% for Gore (the largest margin in the nation.) Because a vote for DC would mean a vote for Democrats, Republicans oppose home rule, as it’s called, for the District.

Now that there’s a Democratic majority you might think we’d get this done. But in terms of priorities, non-District representatives (and that’s the only kind there are) don’t really care about this issue. And, advocacy organizations on other issues are squeezing their issues into Congressional consideration of home rule. The two biggest issues being squeezed in are Gun Control, and Gay Marriage.

Until recently, the District had a very sensible, 21st Century, urban gun policy: handguns were illegal. This did not stop gun crime, but it did reduce it. It meant that any district resident with a gun was breaking the law. This was a good thing. But not to the NRA. After the courts struck down the law (a few months ago), the City Council passed a series of efforts that is opposed – of course – by NRA-backed representatives in Congress. And remember: all our legislation has to be approved by a congressional committee.

For some years the District has had a very sensible set of domestic partnership laws, which provide most of the State marriage benefits. Last week the Council passed legislation acknowledging same-sex marriages from other states. This too must be passed by Congress.

There is currently discussion of introduction of a Gay Marriage bill in the City Council. In deciding whether or not to take up a gay marriage bill, it seems the concern is over the connection between the forwarding of this issue, and its impact on voting rights for the District. Writing on a U.S. News and World Report blog recently, Robert Schlesinger argued just that. He wrote,

“If the City Council moves on gay marriage before the D.C. voting bill is brought back up, one can expect social conservatives to try to attach legislation rolling back that law as well. They may not succeed in banning gay marriages in the district, but they could well sink voting rights in the process.”

Aside from the problems with the writing (I think there are one too many they’s in there, no?) Schlesinger implies that politics has nothing to do with momentum, or judgment. Gay Marriage is a civil rights issue. It used to be illegal in this country for a black man to marry a white woman, or vice versa. It wasn’t until 1967 that the U.S. Supreme Court struck down miscegination laws in, as one blogger put it, “the most aptly named case in all of American constitutional history: Loving v. Commonwealth of Virginia.”

I don’t imagine that conservatives wanted to give the right to vote to blacks, or women. And I don’t imagine that they want to give it to the District. And, as happened with those fights, I’m certain that lots of un-related issues were thrown at the people who wanted to simply do the right thing on those issues. (I realize I’m mixing legislative and judicial decisions here, but it’s clear from the 200 year history of this country that that’s simply the way it goes.)

As long as the government is legislating our relationships, it’s absurd that some adult relationships are being afforded benefits that others are denied. And, gun control saves lives. And, the District should have voting rights. And, as long as I’m a citizen of this country: you don’t get to tell me that I don’t get to vote, you don’t get to tell me who to love, and you don’t get to tell me what to vote for.

So here’s the quiz for local folks working in the political realm, inside or outside of government: three wrongs make a ________. I know that in the political world it’s easy to get very involved in how this is all going to work, and to err on the side of caution. But as District residents can we please not pretend to be something we’re not? We’re liberal. They know it, and we know it. We should be who we are. Three wrongs don’t make a right.

As far as the politics of it all, I like this scenario: There’s no movement on voting rights, cause no one really cares. We pass Gay Marriage. The Representatives from the committee that oversee the District overturn it. There is mobilization and awareness raised around the country for home rule and gay marriage. We end up getting both. Democrats gain a seat, or two or three, in the House.

——————

Editor’s Note: I made a mistake in my assertions about the Congressional oversight process, and have been corrected. All legislation does not have to be approved by Congress. Here’s the deal on Congressional oversight:

All D.C. legislation must undergo a congressional review period, but Congress does not have to approve it for it to become law. Congress can vote to disapprove it, and if both houses of Congress do so it then goes to the President for his signature just lilke any other bill. But Congress does not have to take any action. Congress does have to pass D.C.’s annual appropriations bill–not just the federally funded portion, but the whole thing, including how we spend our own local tax revenue.

My thanks to RR for correcting my error. 5/15/09

More on ‘All Good Men’

05_noltenaz_1I usually get the clicker. I want to be clear about that. But sometimes I don’t. This evening F tuned us into a movie called ‘Mother Night’, right as it was starting. I’m really glad that she did.

The movie Mother Night by Robert Weide- starring Nick Nolte, and with a supporting cast that includes Alan Arkin, John Goodman, and a wee Kirsten Dunst – is based on Kurt Vonnegut’s book of the same name. To see a piece that Weide wrote about the film for Paul Krassner’s The Realist (Autumn, 1997), click here.

The film is about a writer who hides out from his conscious, serving in communications for the Nazi’s. He was a playwright before the war, and really doesn’t care one way or another for politics. What Vonnegut and Weide show very dramatically is that one does not have the option not to participate in the moral/social life of one’s times. That is an issue I deal with/am dealing with for my current project: All Good Men.

Mother Night makes very good use of some film music by Gavin Bryars. While his famous ‘songs’, well utilized in the dance world, develop lovely melodies, this music had the sheen and tension, but just…. kept… going. Somehow the in-monotonous almost beautiful tension filled the spaces just that little bit to help carry the images along without the one relying overly on the other.

My first rehearsal for All Good Men is Thursday evening, and I’ve been thinking about where to start the choreography. I had decided on the most thematically central ‘track’ to start with, thinking it would help us find some meaningful core. But I was unhappy with the choice cause it’s very fast paced, and to develop cast coherence I think something more moderate might serve better. Now I’m thinking of using an Adams track….

We notice interpretation easily with innovation

I spent a very enjoyable early evening last night listening to a classical music house concert. It reminded me of being in college. I went to a college with a conservatory of music, and enjoyed the frequent informal concerts. This was of higher caliber, to be sure. Thanks to BC and TG for the welcome.

One of the players last night was violinist Nurit Bar-Josef.

Nurit Bar-Josef was appointed Concertmaster of the National Symphony orchestra in 2001. She was previously Assistant Concertmaster of the Boston Symphony Orchestra and the Boston Pops, and Assistant Principal Second Violin of the Saint Louis Symphony haza_nurit_smOrchestra. Her solo appearances include performances with the Boston Symphony Orchestra, Saint Louis Symphony Orchestra, Boston Pops, Boston Classical Orchestra, Alexandria Symphony, Virginia Chamber Orchestra, International Symphony Orchestra (Israel), and Corpus Christi Symphony Orchestra. Bar-Josef received her bachelor’s degree from The Curtis Institute, where she studied with Aaron Rosand and was the recipient of the Fritz Kreisler Award for Violin upon graduation. She continued her studies at the Julliard School with Robert Mann. Bar-Josef is a founding member of the Dryden Quartet, a group she formed with NSO Principal Violist Dan Foster and his cousins Nicolas and Yumi Kendall, and the Kennedy Center Chamber Players, which features leading members of the National Symphony Orchestra.

I thought Bar-Josefs playing of an Ysaye Sonata was very strong. Not only technically, but in artistic interpretation. Something about her playing reminded me of a video a friend shared on Facebook yesterday. I think we notice interpretation more when it is innovation. The video documents some really amazing inventive new virtuosity. Worth watching/listening to.

The innovations in the video, by Nathan Flutebox Lee and Beardyman, reminded me of Bobby McFerrin. Bobby McFerrins work goes beyond entertainment, though. I think the video above is just amazing. I do remember being similarly charmed by Bobby McFerrin when I first heard his music.

While at Oberlin one of my friends told me that, having been rejected from conservatory, Bobby developed his technique by sitting in closet singing into a tape recorder for two years.

I found the following on an interview:

He described his technique in simple terms. “There really is nothing to teach. I just tell them that it’s yodeling, that’s what it is. There really is no great secret behind it,” he said.

Inspired by pianist Keith Jarrett’s improvised solo concerts, McFerrin, 56, says he begins his solo shows with a spontaneous work, then adds composed songs.

“The secret behind improvisation is just motion. You sing one note after another and just keep going,” he said. “The moment I walk out I am hearing what you are hearing for the first time.”

In another article I found the following:

Academy: What made you decide to go into this world that is so different than singing regular vocals?

BM: In the beginning I was really fascinated with the “solo art” and solo musicians, like Keith Jared playing solo piano and improvising, and I thought as a singer that I would like to try something like that. So I developed this technique that would enable me to put across melody, harmony and the bass lines. The basis of everything I do is solo concerts, being on stage by myself, improvising, singing tunes or mcferrin-0416-02what ever comes up. I didnt have any coaches. I knew what I wanted to do and could see myself doing it first, but I couldnt hear what it sounded like. I was really fascinated by the challenge of being on stage by myself, because singers more often than not, especially young singers as they are studying music, have a tendency to fall back on, or rely on an accompanist of some sort. And so theyre not self reliant in the beginning. I wanted to make sure that I was very strong in my voice and my technique so that any situation that I went into, regardless of what that was, whatever the ensemble was or whatever, I knew where I was at all times, because I could rely on myself to be wherever I was on stage musically with whoever I was with, instead of pacing my dressing room floor because my accompanist is caught in a snow storm, or the bands plane is delayed and Im the only one out there.

In the beginning, for the first two years, I practiced a lot every single day. Always tape recording and listening to myself. For the first two years I didnt listen to a single singer, no matter what the discipline was, jazz, classical, whatever; I didnt want to listen to anyone because I am very impressionable. I was afraid if I kept looking towards a singer I would find someone I liked and would try and copy them and I would lose myself. So I thought the only to find myself is to shut myself off from all vocal influences and just sing and see what comes up. I knew what I wanted to do; I just didnt know what it sounded like yet. So I would sing for hours and hours everyday for years. Then I discovered this technique and developed some exercises. The challenge of it was staying in tune. Once I had a good idea of who I was, then I started branching out and listening to other singers. By then I was confident enough in myself that I was not afraid at that point that I was going to start mimicking someone elses sound.

And in another:

“I came up with this crazy idea just to walk out on the stage with no band at all and just start singing whatever came to mind,” says McFerrin. “I actually fought the idea for a while because it seemed almost too radical.”

“I like to think that our task as musicians is transcendence,” he says. “When you’re performing in front of people, you don’t want them to leave the same way they came in. You know, sometimes when you go to a concert, your heart is closed for one reason or another, you had a fight with your spouse, you just got fired from your job, one of your kids is sick, they cancelled your favorite TV show, who knows. So you’re dragged to this concert kicking and screaming, and then all of a sudden something happens, and you’re completely changed.”

Ave maria

Blackbird