Yeah, buddy!

There has been a lot of ink spilled, and online, a lot of pixels lated over the inglorious ousting of Jerry Lewis from the Muscular Dystrophy Telethon. There are those that feel that the MDA have loused up royally by not allowing him to leave on his own terms, there are those that say Lewis was a horrible man to deal with and what he got is what he deserved, others (in particular a friend of mine who is in a wheelchair due to polio) felt that they didn't care for the way that MD sufferers were portrayed.

Ken Levine, in his wonderful blog mourns not only the exit of Lewis, but the loss of that era of showbiz and accompanying schlock factor. I agree. Where else would you see the tap-dancing alligator routine performed by a very bored-looking Charlie Callas? Heck, when would you see Charlie Callas? I would argue, that there are other telethons in my memory that are just as schlocky, even though their causes were and are laudable.

My brother and sister-in-law remembered watching the "Parade of Stars" with Lou Rawls and said that Rawls may have worshipped a tad too ardently at the Shrine of Bacchus and said "Yeahhh, Buddy!" ad nauseam.



My favorite was the Sickle Cell Anemia Telethon, hosted by Nipsey Russell. Mind you, a telethon is not what you call a big-budget event, like the Academy Awards, since the idea is to RAISE money, but this show was very much the waif-at-a-bakery-window quality show. I can't recall where it was here, or the Parade of Stars, but I remember Douglas Grant (Zack of the Short Circus in the "Electric Company" and Eddie in "Good Times") singing "I Can't Stop Loving You" and I remember him being introduced as having performed and choreographed his routine.

He sang the song and stamped one foot. Choreographed?

The greatest feature of this telethon was the fact that when someone contributed money, they had someone ring a bell, Russell would then say, "Ring that bell, for Sickle Cell!", which, on the face of it sounds as if one wants to contract the disease, not combat it. I don't remember a tote board, so the bell and what Russell said was the record of the donations. Not surprisingly, the bell became quite intrusive. As some executive was speaking the bell was rung and this fellow said, "...and that beautiful noise should be stopped", at which point Russell said, "She's just ringin' that bell, for sickle cell!", in the hope of smoothing ruffled feathers. By the way, that's singer Big Maybelle (singer of the original version of "Whole Lotta Shakin' Goin' On", the co-composer Roy Hall and Jerry Lee Lewis' version came after, as well as "Candy" and "Gabbin' Blues") standing next to Russell.

For those of you mourning in Southern California, there's always the Chabad Telethon...

P.S. Lou Rawls, according to his website, he helped raise $200 million dollars for education. You can read about that here:

You can donate to Muscular Dystrophy here.

The Quiet Revolution of the Electric Company

From 1971-1976, there was a small revolution being waged. The Children's Television Workshop was successful with Sesame Street and they created a second show for a slightly older demographic. "The Electric Company" was, by the time it came on, too "young" for me, but I enjoyed and still enjoyed the humor of the show.

"Love of Chair", the odd faux-soap,
- A prince played by Skip Hinnant finding out that a Duke had a daughter of marrying age, so he writes a letter to the Duke saying, "Dear Lord Ellington...", but, the real revolution of this show, for me was in its casting.

My favorite exchange, perhaps of the entire series, was this one between Skip Hinnant as a carnival barker and Judy Graubart as a young customer. She was guessing various words Hinnant was showing her (correctly), which prompted the following:

Hinnant: Say, little girl, that's right! You're not as dumb as you look.
Graubart: (shyly, with a smile) My Daddy says no one's as dumb as I look.

Because there were so many shows and there were so many sketches, everyone had to do a lot. Perhaps out of expediency, everyone was cast according to talent and it was a rare thing for any show of the time to have people of color in so many roles.

The show had my attention when they cast Bill Cosby, who left before the end of the run, but look how some of the roles were spread around:

- Luis Avalos played a doctor (albeit a pretty goofy one, Dr. Doolats), an infuriated orchestra conductor and a plant shop owner.
- Rita Moreno played a bratty little girl and a movie director
- Morgan Freeman played a clown, a park ranger, Marcello the put-upon cue card holder for Moreno's director and a DJ (well, that role dates a bit)
- Judy Graubart was Jennifer of the Jungle and even took a shot or two as a director.

As a little boy, the takeaway from this was that I could do anything. I wonder if other kids got the same message? It was and is astounding to me at the time to see. The times were slooowly, with extra o's moving for diversity in casting, at this time, "Room 222" featured a multiracial cast, "Temperatures Rising" fetured Cleavon Little as a doctor, Flip Wilson hosted a show, but there was still the air of novelty about people of color (you'll note the lack of Latinos and Latinas on this list).

"The Electric Company" jumped in with both feet. "Sesame Street" certainly did as well, however by dint of longevity, they've managed to address a lot more communities, but for a five-year run, TEC did quite a lot.

...and it made me laugh a lot, too. Catch it on DVD.

Are women stupid?, or the Tale of the Sad Rich Guy.

I DON'T think women are stupid.

The Lifetime Movie Network might hold this view.

One of my weirder hobbies, not that the internet nurtures this, mind you, is advertising. Advertising changed with the times. Radio ads are different from TV ads, which differ from print ads and...

Men and women get different ads. A football game is shown and while there are certainly no shortage of women football fans, you tend to see ads about shaving cream and trucks. If you look at "The Good Wife" or "The Young and the Restless" here come the lady ads.

Radio ads of old, were by and large, verbal, pretty literal and said the name of the product over and over. Early TV ads tended to be radio ads with cute pictures, as the ad world learned how to use the new medium. By the 1960's the ad world went for more daring concepts, for example the wild ads of Stan Freberg, which sometimes parodied the very idea of advertising, like the Jeno's Ad cigarette ad that seems like a swipe at this Lark's ciggie ad.

By the 1970's while there were certainly some interesting ads, they became more specialized and more targeted to a specific audience. Of late, there are ads that are highly budgeted and/or are extremely funny.

However, the workaday daytime ads for women have not gotten this message. They are still stuck in "this is the product, this is what it does, buy some today" mode.

I am not sure why advertisers consider half the TV population too simple to grasp anything more than an ad that has the subtlety of an '80s heavy metal video. However, as I watch "The Soap Network" (which, I gather, is geared towards women and I watch for the articles, really), I see a NutriSystem ad that is basically a string of home videos of women-just-like-you! who have lost weight. Within the same hour, there was another commercial for eDiets that was a string of testimonials ("What are you waiting for? Call our eDiets hotline and get started, now!" is an actual line from this commercial). Not very subtle, (and by the way, if you're watching this channel you are FAT! FAAAAAAAAAAAT!!!) or the Gerber Life program which was basically a voice and title cards, because PowerPoint presentations SELL, but let's flip over to the Lifetime (which brands itself as "women's entertainment") Movie Network.

I have not watched any of the films I am about to mention but I will give titles and synopses. For me, a title has to grab me or at least be evocative of the contents. It isn't necessary to the success or indicative of the quality of a film, but a good title helps a film along. I might not spend any money to see "The Tale of the Sad Rich Guy" but I do own a DVD of "Citizen Kane". I like the double meaning of "Damages", because we know that lawyer's can sue for damages and we also know that Glenn (or is it Gleen? That is how she is credited on an old "Up With People" album) Close plays a "damaged" character. I might not be as intrigued if it was called "The Evil Attorney". Even the children's book, "Two Bad Ants" has enough titular intrigue to stop me in my tracks. How would an ant misbehave?

LMN is courteous enough to get rid of that subtext thing for all you girls out there! Here is a smattering some of the upcoming movie titles, as of December 30. 2010. All synopses are from the site:


"Fatal Trust" - "After the death of her husband, Kate is looking for solace, so she moves in with her sister in a small rural community. Trying to get back on her feet, she takes a job at a doctor's office. But peace of mind is hard to find when the patients keep turning up dead! After some serious snooping, Kate discovers that the esteemed doctor is actually a complete psychopath who kills his prey with snake venom -- and if she isn't careful, she may be his next victim!"

By the way, men can be sleuths, detectives, muckrakers, etc. Women "snoop".

"Don't Talk To Strangers" - "Jane has divorced her husband (the creepy Terry O'Quinn of "Lost"), taken their son and embarked on a new life with a new man (handsome 007, Pierce Brosnan). Starting fresh is just the thing to help her be happy again, but her scorned ex has other plans -- namely, stalking and terrorizing her! Luckily, her new love, Mr. Tall Dark & Handsome, is determined to protect her, as they try to escape her ex's terror and put him behind bars. Fun!"

Whew. For a second, I was concerned who I was rooting for.

"Engaged to Kill" - "Abby's overjoyed that her 19-year-old daughter has found herself the perfect boyfriend in Nick — or so she thought! Turns out Nick has been counting the days till he could get revenge on Abby because of some mysterious grudge. Will Abby catch on to this madman's scheme before it's too late?"

Revenge and a grudge don't necessarily a madman make. Neither does thirteen soap sculptures of Tom Hanks with the eyes gouged out in my...SOMEONE'S basement mean anything.

The latest film that is being hyped on site is "The Craigslist Killer", which, if the above trend is adhered to is either about people that are lured by a killer using a popular internet site OR it's about people bartering via word of mouth and church bulletin boards.

I think women deserve better. So does Sarah Aswell who wrote reviews of LMN movies.

In Lifetime's defense, there is also the Spike Network...

Undercovers - 1976's breakout hit!

It's fall preview season, 2010. I'm African-American and I am 46 going on 47 and Julie Andrews is certainly NOT singing a twee song to me about passing from one age to the next.

Within my lifetime I have seen TV shows that have used blackface for "comedic" effect ("Soap" "Designing Women", although the character was castigated for using it and some unnamed and long-forgotten unsuccessful pilot that had someone blacking up before they did some horrible faux-Polynesian dance) show after show after show where there was only one Black character, blessedly few that starred Blacks, almost none of them being dramas and a blessed few of them being particularly good.

On the other side of things, we are now in an environment that a show that features two attractive people of color that are happily married and high-level spies is, in and of itself, no big deal and that's a good thing.

Is it enough?

J.J. Abrams' new show, "Undercovers" features Boris Kodjoe and Gugu(lethu) Mbatha-Raw as two ex-spies, running a successful restaurant and are pulled back into the game by the somewhat too cranky Gerald McRaney (because federal law requires McRaney to be in a TV show once every five or so years). The show breaks no ground, which is no well...crime, heh-heh, but not every show needs to break ground and push the envelope to be good. "Modern Family" for example, is not a pioneering form of new television, however, it is enormously funny and deserving of an Emmy for Outstanding Comedy. You want an African-American spy? Bill Cosby starred in "I Spy" with Robert Culp, a year later, Godfrey Cambridge guest-starred on the "Dick Van Dyke Show" in the "Man From My Uncle" episode. You want 'em married? Well, Tim and Daphne Maxwell-Reid tried the married crime-fighting act in the regrettable "Snoops". So, why don't I just shut the heck up? Isn't it enough that, rare as it is that there have been enough people of color doing the spying? Can't I just watch Lance Reddick in "Fringe" and be a happy chappy?

Well, I am no longer worried that if "Undercovers" bombs I will never see the like of it again. I don't cringe at their sassy janitor (there is no sassy janitor). They are happy in their marriage and they express that, they are successful in business, they OWN their own business, they don't speak in some kind of urban patois that is someone's dreadful assumption of "how all of them talk". If it is canceled this year, I doubt that the NAACP will march or start a write-in campaign.

To which I say, hooray!

Let's take race out of it for a bit.

UNNNNhhh!

So, what do we have? I have two leads that work quite well together, the lead's sister needs more to do, but I have a show with a bit of a crutch. I'd like to say that Mark Harmon is not only a good actor, he is a durable one. He was quite good in "St. Elsewhere" and he has found a nice home on "NCIS". He is durable, because he has survived "Charlie Grace", which may have turned into a better show, but had a lousy pilot episode. "Grace", among other things had characters speaking in unison and "Undercovers" did this, several times. Ewwww. Also, the initial show's plot was predictable as a James Bond movie and their assistant-as-worshipful lapdog MUST be toned down.

I was and am still thrilled that Barack Obama was elected President. I also feel that his election was good, but far too late in a country like the United States, which touts itself as being dynamic and progressive. Other countries have elected women to run the country, while Hillary Clinton had people yelling, "Iron my shirt!" at her on the campaign trail.

So is, "Undercovers", enough?

Let's put race back in the picture.

ERRR-unff!

Were this 1976, I would call this show a success. There would have been nothing like it on the air at the time and it may have been attacked by many as unrealistic and I mean by Whites and Blacks alike. So, huzzah for progress that this scenario is not unrealistic. For that Unreal and Offensive Booby Prize, take a look at "Outlaw" over on Mippyville TV.

I admire J.J. Abrams. I like "Fringe" and unlike some purists, I liked the latest "Star Trek" movie and I say this as someone who watched the original series quite a bit. However, while we are in front of the camera, how many are behind it? I am not saying that the writing or directing will automatically improve solely by adding Black people, but I still kvell knowing that we can be trusted AND respected on both sides of the camera. Is there a Black writer or director that has the sway of a J.J. Abrams or Joss Whedon, per se?

Folks, the time has come that we can no longer accept or expect that the critical praise that has the hint of "well, considering that it's _______ people (fill in your ethnicity of choice) it's pretty good". The fact that it is an Abrams show is a very good thing, because he has a name that raises the right eyebrows, but this show needs to be better. If it wants to be frothy, fine. Not everything needs to be "The Sopranos", but if I can figure out what is going to happen plot-wise and feel almost no suspense, there is trouble afoot.

The only groundbreaking aspect of this show is more a personal one. Years ago, I might have been compelled to defend this show, or at least keep my trap shut, because of the various and sundry things that I like about the show. The slightly better news is that we are here. The TV landscape is slooooowly reflecting the populace but we are nicely entrenched and I'd like to see more of that. Now, I can say that "Undercovers" needs improvement and sleep without the guilt of having uttered the sentence, "Yes, Clifton Davis lives with his Mother, but at least it's HIS barber shop".

Now, having said my piece about that, the ads for "Outsourced" make me cringe, there are 0 shows that feature an Indian family in a drama, Latinos have surpassed African-Americans in US population, yet I see ONE show that stars one and that's "Outlaw", drat it. Asian-Americans are hovering around the periphery, so, yeah, I still think things are better, but we're still mired in 21st century mores with 20th century attitudes toward race.

It's not enough.

A Very Special Episode? Hmm...

The Onion AV Club has a new-ish feature called, "A Very Special Episode". I enjoyed what I have read and heartily encourage you to read this entry. For those who don't wish to read it, I will summarize a point that raises my eyebrow, which is to say that this entry (rather rightly) takes to task this show and episode on the grounds of what Harlan Ellison called, "defanged dissent", which is essentially the flaccid attempt of a show to be relevant.

Once again, I enjoyed the article, but it missed a point, which, honestly, may be made in another post. While we can laugh and point derisively at the silly things folks did in 1972 in tv land, this still goes on!

Let's take the example of not a comedy, but a New York-based drama, "Without a Trace". The episode in question is "In Extremis", from 2002. The plot and SPOILER will follow. A doctor of Saudi Arabian descent, Anwar Samir, vanishes after a disagreement with his supervisor and an argument with his girlfriend. Given the story's and real life's proximity to 9/11, the episode is trenchant. There is nothing really wrong with the idea behind this story, but a few things bugged me about this show:

1. The main characters went to a mosque (or was it a rec center? Never mind) and they interview one of the people there during prayer and the fellow they speak to is short with them and unsmiling. He was interrupted during prayers, but the scene played to me to make the man out as a humorless fanatic, rather than a devout Muslim.

2. Samir is dating a White woman (more about why I'm bugged about this in a bit).

3. Here comes the SPOILER! FEAR YE THE SPOILER!

Now?

OK.

They find Samir, at the hospital. SWAT has been called. It turns out there is a bomb in the hospital and he is trying to get folks out. Nothing wrong there, but he, for some odd reason, is holding a gun. And, sure as shootin...um, sorry, sure as night follows day, one of the highly trained, never-crack-under-pressure trained snipers shoots and kills Samir.

Yikes.

The writer, Francisco Castro, who may be a fine fellow with political views that align with mine has basically written "Uncle Anwar's Bayt" as unsubtle as this comes across. The character is a doctor, which I have no bones about, since I enjoy seeing portrayals of people of color in high-level professions, but Castro continues to stack the deck:

- He's a bit of a hothead
- He's dating outside of his ethnicity
- He hangs around stone-faced folks that dress funny

I get it, I'm not supposed to like the guy, if I have a beef against Muslims. I get it, I get it.

He is overheard mentioning blowing up something, but he was talking about Shea Stadium and he was really stating that he hates the stadium and that someone should blow it up and build another one because it's in bad shape and a nurse is seen looking back at him, as if to say, "why, that raghead wants to destroy America".

The gist of this episode is not without merit. The current dust-up about what is or is not to be built near the former site of the World Trade Center makes some of this episode sadly relevant, however, I would say that not only does it come across with the subtlety of a flying mallet, it has the element of what writer James Blish called an "idiot plot". The real loose cannon is a fellow named Kamal Kahn, who not only has put a bomb in the building but has a gun as well! Yes, friends, we must all fear the Mad BomberShooter. One wonders if Kamal has gone to knife-throwing school to make sure that the folks that escape the explosions and bullets feel his special brand of Muslim steel justice.

The 1967 movie, "In the Heat of the Night" was an attempt to strike a similar blow for racial equality. This is a laudable goal, considering that Sidney Poitier is an articulate and charismatic (albeit sexless) lead. Keeping that in mind, it was not enough that he was a good cop and a decent man, it was necessary to lower the intelligence and likability of the White characters as well. This is a well-worn formula: in "To Sir, With Love", he is a teacher, but in a lower working-class neighborhood, in "A Patch of Blue" Poitier educates a blind southern White trash girl with even trashier parents, etc.

The challenge was and must be work that can put in a dollop of justice and fairness without beating someone over the head with it. Two examples that I recall do this are, were "Frasier" ("The Matchmaker") which very nicely dealt with homosexuality with a light touch and not a single stereotype (the gay character in question is gay,unapologetic, successful not comically effeminate and while he doesn't get the guy, he also takes his rejection with good humor) and "Frank's Place" ("Frank Joins a Club") in which the main character is given a choice of New Orleans Social Clubs to join. One is made up of working-class men that honor the coach drivers and the other is the tony Capital C club which historically discriminated against "colored" people, while allowing in Creoles (note which word has a Capital C).

Which brings me back to the column that sparked this one. Once again, I enjoyed it and found it thoughtful, I wonder if, in it's description of defanged dissent it has somehow fallen into it's own trap, taking to task a show that is thirty-eight years old, although it was repeated incessantly, while bemoaning that very few of his friends know of the groundbreaking improv troupe, "The Committee" (while not, oddly, mentioning the troupe that two of its alumni came from, which was Second City/The Compass Players).

The revolution will not be televised.

It may not be blogged, either.

When I grow up, I hope to be this eloquent.

The link in this post is an impassioned, informative speech by Jonathan Emile McCoy on why the "n-word" should be abolished. I agree with him.

He is also ELEVEN YEARS OLD!

What does this have to do with media? I...um, saw it on YouTube?

http://theloop21.com/society/why-we-should-all-thank-dr-laura?page=3

Here, also, is my response to Keli Goff's article:

Dear Ms. Goff,

Thank you for an insightful article and also, thank you for the inclusion of Jonathan McCoy's speech. I hope the following is half as eloquent:

I won't add to the tide of people that knock Dr. Laura Schlessinger. It has been done quite a lot and I cannot add anything new to the mix, save to say that mass electronic communication does not equal gravitas (so sayeth the commenter!!), which becomes more and more evident with the passage of time.

Over at the Huffington Post, Earl Ofari Hutchinson surmised that it was lame to think that the use of the "n-word" would dun it into irrelevance. He is almost correct. Had I walked up to you and made mention of "Jazz" or "Rock 'n' Roll" many years ago, you would have slapped my face. Why? Both were euphemisms for the "f-word". Nowadays, it is hard to think of anyone who considers these terms socially unacceptable. Miles Davis, was known to hate the term Jazz, preferring it just be called, "Music", much like Tito Puente's dislike of the phrase, "Salsa" ("Man, that music is some good SAUCE(!)"). There is a nasty cultural stratification that is attached to genre. Take, for example, "Science Fiction". It carries a stigma of being capable of being issued in book form, read, studied, but is sometimes considered less than "literature" and as such cannot be discussed with other works.

Now, imagine that you have played your instrument, which you have loved and studied for many years, honed with hours of practice, graduated from Berklee with a degree only to hear someone say, "I LOVE Keli Goff's playing. She plays great F**k. She can interprete F**k along with the great f**kers of the past."

What Hutchinson may have meant, but left out is that when you add the element of race, THEN, it is a bit naive to think that this most despicable word will lose its hold on people. It would be wonderful to see the day that it does, though.

As to your article (I did plan to get to your article!), here are a couple of points that I would like to bring to light. One has nothing to do with race, the other does.

I am not a writer by profession, but there is a phrase that I am getting rather tired of seeing, and that is, "...unless you've been living under a rock". I find it worn, oft-used and condescending and while I do not know you, I know that you do not wish to give off a "hipper-than-thou" vibe. I didn't know about Schlessinger's comments until I read the Huffington Post blog. Does that mean I'm an uninformed slug? No, it just means you got to that information before I did and that is one of the reasons you are employed doing what you do. May I humbly suggest, "let me tell you what has happened...", or some such phraseology. Had we been at the same party and I had said the "...rock" phrase to you, I doubt that I would have impressed you; depending on my tone, I might have repelled you.

The other point is this and it is a matter of spelling. I am not a huge fan of "black". It beats "Negro" as a word, for description in some ways, but black is:

- the absence of light
- what the bad guys wear
- technically, not a color
- "the color of my true love's hair"...oh, wait, it's dark brown. Skip that.

Worst of all, and you have used this in your article, black is...

...not capitalized!

"Aha!", you say, "I didn't capitalize "white", either!"

"Ahem", I retort, "That is precisely my point".

Being the age that I am (46), Black is preferred to Negro and "African-American" or just "African", which is unwieldy, but a bit more accurate (even though all of humanity, arguably is African; I don't have the Science background to argue that too much). African-American at least suggests that you and I have an origin. Black, however, when it comes in the middle of a sentence, has that psychologically damning lower-case "b" in front of it. Negro is not used as much (no tears shed about that), but it is always capitalized. My other humble suggestion would be that if you must use Black, capitalize it, as you should White (which, truth be told, is equally amorphous in its inclusion).

I walk with everyone else down that street called Life, and I refuse to give up on the corner that we can turn so we can veer away from the hate. I want to be able to tell my grand-nieces and grand-nephews about how bad things were regarding this, as compared to what they have seen (knowing full well that I haven't seen the soul-sucking, debilitating, mind-numbing, incapacitating racism of my ancestors).

So, down with n-word!
Down with "black"!


Don't even get me started on "Devil's Food Cake" vs. "Angel's Food Cake",
Brian Phillips

Excerpt from "The Hoaxters" by Herman Hoffman (1952)

I only saw the tail-end of this documentary, which was nominated for an Academy Award, which it lost to "The Sea Around Us" by Irwin Allen. I cannot speak to the entire film, but it featured this very timely words at the end. I was shocked how much of it applies today, particularly the "Professor" remark, with regard to some of President Obama's naysayers. From what I have gleaned, this is a Cold War-era propaganda film, but this holds up rather well:

NARRATOR: "...It is not enough to be anti-Communist. That doesn't mark the measure of a man's love for Democracy. Remember, Hitler was an anti-Communist, and accomplished his Nazi reign of hate and terror, by the violence of his cries against Communism. What we are FOR is important. Beware the hoaxters with different bottles to sell.
[SHOT OF HAND HOLDING BOTTLE LABELED "SNAKE OIL"]

NARRATOR (cont.): Beware the fearful gossip-mongers, the lunatic fringe, the calamity-howlers, the fascists, the ersatz patriots, the hate-smiths, the grubby demagogues screaming for the crackpot.

VARIOUS VOICES(in hushed tones): He's a communist! What's his religion? He's a fascist! He's a liberal, a bleeding-heart, a do-gooder! He reads too much. He talks just like a college professor! (in loud voice) I'm 100% American! 200% American! 300%! 400%! 500%!

(Music cue: Julius Fucik's "Entry Of The Gladiators")

SNAKE OIL SALESMAN: Six-hundred percent, that's what my snake-oil is, six-hundred proof!

NARRATOR: Amid the clang and clatter of clashing ideology is still heard the voice of the hoaxter, trying to destroy America, in the name of America. But the multitudes that once listened to this voice of doom, dwindled down to a mere handful. For no hoax, by whatever name it is called, can measure up to the shining truth of the human decency we call freedom, of the human hope we call liberty. Dictators come and dictators go. In the better world of the future, dictators will fall not at the point of a gun, but at the point of the truth. For we can win our fight, without going to war. The free countries of the world, with their material might and their spiritual hearts, can prove that there is no victory over the mind, when it is ruled by a whip and a gun, and that freeborn men and women, under God, will ignore the loud shout of the big lie, and listen instead to the quiet voice of the big truth.