"A Mother of a Revolution," the Streisand Effect, and Good Trouble

Two nights ago there was an end-of-the-school-year band concert by students at Watertown High School in Wisconsin.  That’s hardly headline-making news, of course.  Curmie regrets that he can’t even tell you, Gentle Reader, what selections were played.  That’s because the important part of the story, the part that makes people across the country (including Curmie) pay attention, is what was not played: Omar Thomas’s “A Mother of a Revolution.”

That composition, you see, was dedicated to Marsha P. Johnson, a black trans activist who participated in the Stonewall uprising in 1969.  That is apparently enough for the district’s clown car board of education to forbid the piece from being performed.  They describe Stonewall as “a six-day riot which included the beating of police officers and attempting to burn down a building with human beings trapped inside.”  They leave out the whole “finally had enough of police brutality” part.  Oh, and the “was a seminal event in giving agency to the LGBT community” part, too.  We might color Curmie unsurprised.  

Using the board’s logic, of course, the American Revolution could be characterized as an armed insurrection against the lawfully constituted authority of His Majesty’s government, resulting in the deaths of thousands of loyal British soldiers.  Equally importantly, we know that Johnson was an “agitator” in Stonewall, but it’s unclear exactly what that means.  Moreover, Curmie would suggest that she was a significant figure before and especially after, as well as during, Stonewall.

A couple other factors would seem to be important.  First off, “A Mother of a Revolution” is an instrumental piece.  You can hear it here, performed by the University of North Texas Wind Symphony, if you’re interested.  Whether you like the tune or not, there’s nothing to suggest that there’s anything political in the music per se.  It’s not like they brought in the choir to sing the Internationale or even “Do You Hear the People Sing.” We’re going to get upset by whose memory is being invoked?  Seriously?

More problematically, this whole commedia is very much the product of the process, which is designed primarily as an exercise in prior restraint.  You can do something “controversial,” but only if you get prior approval from parents.  The band director sent out the appropriate forms last fall, got the necessary signatures, and started rehearsals in October.  But here’s the bind: if you don’t send out the notifications, then you’re in violation of the stupid rules.  If you do, then you’re admitting that someone might object, and that honesty will come back to bite you in the ass more often than not.  It’s also worth noting that the board had also signed off on using the piece… until, of course, they didn’t, only a few days before the concert.

As usual in such cases, there were “parental complaints” from unnamed sources.  Band members’ parents had already given consent, so this was some other kids’ parents.  All this presumes that the board is even telling the truth, but a Watertown parent Katie Vanderlinden said at Monday’s board meeting that she was told by the superintendent that “there were zero parental complaints.”  Anyway, the board does what such bodies always do: they capitulated. 

The correct response, of course, would have been to tell those folks who didn’t want to hear the piece not to come.  Usually, a board’s failure to do so is the product of cowardice.  There may have been some of that here, too (there’s no question that they’re avoiding the subject now), but the problem seems to be more that the majority of board members seem to have been elected on a platform of “ending indoctrination in radical curriculum.”  Those, by the way, are the words of an attendee at Monday’s board meeting, not of a board member per se.  The argument is that playing the song encourages violence.  The actual reason Johnson is celebrated, of course, is her demand for acceptance and inclusion, but… whatever.

There’s always a rationale for censorship, and it’s always bullshit.  Whether the board acted out of cowardice, stupidity, or partisanship doesn’t matter.  They earned their nationwide humiliation.

But the story gets better.  News spread to Madison, a little under an hour away, where Kirk Bangstad, the owner of the Minocqua Brewing Company, offered to host the group in his beer garden (the event was later moved outside to the parking lot to accommodate more people) and charge admission, with proceeds to go to the band.  There’s some legalistic stuff, but basically it works out like this.  The band director was not involved in the offer or the planning, so one hopes (at least) that he will suffer no repercussions.  Not all members of the Watertown Wind Symphony will participate, and those who do will do so as individual volunteers.  Those who choose not to play for whatever reason will be replaced by alumni, college kids, guest artists, whoever.  We’ve subsequently been assured that “as of last Saturday, there were enough students who wanted to do it and enough people who could actually play who had volunteered to play it.”

Of course, the school board then insisted that no school-owned instruments could be used for an unsanctioned event.  Bangstad and the leadership of the Band Boosters found a way around that, too, as “Band directors and music stores from around the Midwest immediately sprang to action and loaned the band the instruments they needed to play this concert.”  Aaaaand they’re setting up a 501(c)3 that will be completely separate from the school per se, so the board gets no say in how their money is spent.  Curmie doesn’t have up-to-date figures on how much money has been raised, but as of the middle of Saturday afternoon, it was almost $66,000.  Musical instruments are expensive, but that kind of money would make a good start.

Bangstad says he wanted to create the Streisand Effect, and he did.  The song will now be played twice, as there will also be a performance tonight at Immanuel Evangelical Lutheran Church in Watertown.  (EDIT: The video of the performance at the church is available here.) The conductor will be the composer, Omar Thomas, who is apparently flying in from Austin, Texas, for the event.  The church’s website lists the rules for attendees (no recording, no posters, that kind of thing) and notes that,

The purpose of this event is to experience a piece of music that has been prepared by and for people who are rooted in our Watertown community. The performers do not desire to be the center of attention, and we are not gathering for a rally or protest. Instead, the musicians’ hope is for an audience to focus on the work they put into A Mother of a Revolution! and for the music to tell its own story.

It’s unclear—to Curmie, at least—whether the percentage of high schoolers playing this evening will be higher than on Saturday.  It’s certainly reasonable that a parent might think that a local church might be a more appropriate venue than a bar 40 miles away for their teenager to play.  Or they might support both or neither.

Traffic has been heavy on the YouTube pages of a host of universities and youth orchestras that have played the piece.  As Curmie writes this, the first comment we come to on the University of Georgia’s Wind Ensemble’s version sort of says it all: “Raise your hand if you're here because you won't be told what not to listen to.” Well said, acdeeiprrt!  Curmie suspects Thomas’s composition been heard by more people in the last few days than ever before.  Good.

It’s worth noting that Bangstad is a controversial figure to say the least.  He’s a rather virulent anti-MAGA, and apparently something of a hothead.  Just in the last few weeks, he’s pleaded guilty to disorderly conduct, been interrogated by the FBI and Secret Service for comments about President Trump, and declared his candidacy for governor.  Busy lad!

There have also been allegations that he used funds from a PAC he established to pay his personal expenses.  There’s sufficient smoke, in other words, to suspect there’s a fire around there somewhere.  Is it possible that this whole business is a scam, that there will never be a concert at the Minocqua Brewing Company, or that few if any of the musicians will be high school kids?  Could the tens of thousands of dollars raised for a still not finalized 501(c)3 find their way into Bangstad’s pocket, instead?  Is this the left’s small-scale response to the Trump phone scam, which netted Dear Leader and his family something in the neighborhood of $59 million for a product that may never be made?

Curmie supposes so, but it seems improbable here: not because Bangstad is above reproach, but for two independent other reasons.  First, it’s difficult to imagine that a local church would make promises they can’t keep.  Second, everything is too public.  If there’s no performance in Madison in Saturday, we’ll know.  If none of the musicians are high schoolers, we’ll know.  If the Band Boosters don’t get access to that money, we’ll know… and we’ll know whom to blame. Kirk Bangstad may be all the horrible things his detractors say about him, but he’s not stupid.  Neither are the leaders of the booster group, who’ll be sure that they’re getting all the money they should.

Ultimately, we’ll know something tonight, more on Saturday, and more still a few days after that.  Bangstad said recently that the story here is that “Thousands of people have gotten together to say ‘We won’t stand for censorship.  We won’t stand for bigotry.  And we’re gonna get into some good trouble.”  That part is true, whether Bangstad is on the up and up or not.

Curmie was not in band in high school, but Beloved Spouse was.  And we’re both fans of free expression.  We sent in a few bucks.  Here’s hoping it ends up where we intended.

BTW, Gentle Reader, if you’d like to make a donation, go here and click on “get tickets.”  The event is sold out, but there’s a “donate to the band” option.