In 1965, on the cusp of the counterculture movement, Students for a Democratic Society (SDS) organized the first “teach-in” at the University of Michigan at Ann Arbor. In contrast to a lecture or symposium, the teach-in was oriented towards action; indeed, SDS’s goal was to teach about Vietnam and organize students against the war. Remarkably, thousands attended the teach-in, yet this paled in comparison to the tens of thousands who turned up a few months later at Berkeley for an anti-war teach-in that included a range of intellectual luminaries, including Norman Mailer, I.F. Stone and Alan Watts.
The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures.
By Tony Kushner
Directed by Tony Taccone
Berkeley Repertory Theatre, May 16–June 29
(l to r) At Berkeley Rep, Mark Margolis (Gus), Tina Chilip (Sooze), and Joseph J. Parks (Vito) in Tony Kushner’s “The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures.” Photo courtesy kevinberne.com.
There is a phantom haunting the theater—the phantom of socialism. Look to the Bay Area theater scene, and you’ll notice an array of socialist playwrights and subject matters: Berkeley Rep just opened The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, its second definitively radical show, after Dario Fo’s Accidental Death of an Anarchist. All of California Shakespeare Theater’s non-Shakespeare shows this season were written by socialists (Lorraine Hansberry’s A Raisin in the Sun [read our review] and George Bernard Shaw’s Pygmalion). The (Tony-winning) San Francisco Mime Troupe is avowedly far-left, but then they’ve always been. Remarkably, Shotgun Players just wrapped up a trilogy of Tom Stoppard plays about obscure Russian radical Alexander Herzen, “the father of Russian socialism” (I am unsure which is more shocking—that they decided to put up the entire trilogy, or that Stoppard’s yawn-worthy dialogue resulted in the trilogy’s run being extended).
Featuring Paul McCartney, Lenny Kaye and Philip Glass
Music video directed by Gus Van Sant
In 1995, two years prior to his death, poet Allen Ginsberg published “Ballad of the Skeletons” in The Nation magazine. The poem, a scathing condemnation of Newt Gingrich’s America, received attention from other aging artists, including Philip Glass, Paul McCartney, Lenny Kaye and the considerably younger filmmaker Gus Van Sant. With rallying, Ginsberg was able to convince the four of them to work on producing a song and eventually even a music video to accompany. Continue reading →
The East (2013) Directed by Zal Batmangli
Scott Free Productions/Fox Searchlight Pictures
Fictional depictions of radicalism usually take one of two tacks. First, there’s the absurdist bent, as seen in The Monkey-Wrench Gang and Fight Club. In these tales, radicalism exists within a bubble, its practitioners iconoclastic and mad and their activities largely harmless. Even acts of extreme violence—the bombings of financial skyscrapers in Fight Club, for instance—play out as thrilling, brilliant acts, rife with revolutionary symbolism.