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Look What They’ve Done to My Song
Look what they’ve done to my song‚ ma
Look what they’ve done to my song
It was the only thing that I could do half right and it’s turning out all wrong‚ ma
Look what they’ve done to my song.
Melanie‚ Look What They’ve Done to My Song‚ Ma
I had a late sixties flashback last week prompted by two of the era’s female icons. It began glumly on Tuesday with the death of Melanie (Safka)‚ whose music stardom launched at Woodstock. I was a kid in 1969 but still remember clips from the decade’s ultimate concert.
Amid all the gritty legendary rockers like Richie Havens‚ Arlo Guthrie‚ Joan Baez‚ the Grateful Dead‚ Santana‚ and Hendrix appeared a pretty‚ guitar-strumming hippie chick who went by the single name “Melanie.” Her career took off then and into the early seventies with hit songs Candle in the Rain‚ Brand New Key‚ and Look What They’ve Done to My Song‚ Ma. But being a movie nerd instead of a rock fan (that came in the eighties for me)‚ I most recall Melanie for her great‚ poetic main titles song to producer-director Stanley Kramer’s inept paean to late 60s campus turmoil‚ R.P.M.:
Reason is the only way to stop what we’re creating
But reason sometimes turns into another word for waiting
But stop! I don’t want to hear it
No‚ I don’t want to hear it anymore …
Beginning in the 1950s‚ Kramer managed to stay on the cutting edge of social justice with fine pictures such as High Noon (1952 — McCarthyism)‚ The Defiant Ones (1958 — racism)‚ On the Beach (1959 — nuclear trepidation)‚ Inherit the Wind (1960 — Christian fundamentalist intransigence)‚ and Guess Who’s Coming to Dinner (1967 — racism). But things changed quickly in the late 60s‚ and when Kramer tackled college protests in 1970‚ the energy was already seeping out of them. Unlike the interminable George Floyd drumbeat‚ the longest legacy of the Kent State student shootings by Ohio National Guardsmen was the ghastly Crosby‚ Stills‚ Nash and Young song‚ Four Dead in Ohio.
The new collegians are more contemptuous of conservative‚ Christian‚ Jewish‚ and Asian students than the Man ever was of liberals.
Nonetheless‚ R.P.M. remains a fascinating cinematic curio to which Melanie’s lovely yet forgotten contribution‚ Stop! I Don’t Want to Hear It Anymore‚ is the highlight. The film depicts an administration building takeover by campus radicals led by a ridiculously too old Gary Lockwood (2001: A Space Odyssey). They demand the college president be fired and replaced with hip lib professor Anthony Quinn. Quinn tries to negotiate with the militants only to learn he’s now the Man in their view. Ultimately‚ after much absurd agonizing‚ Quinn feels he has no choice but to send in the state National Guard (archaic spoiler alert). The sequence of the Guards forcefully removing the students from the building is laughably reminiscent of the Odessa Steps massacre in Sergei Eisentstein’s Battleship Potemkin.
Fifty-plus years later‚ the irony is palpable. Campus radicals comprise the main student body‚ with the faculty and administration people their Greek chorus‚ or would be if they still taught Sophocles instead of Ibram Kendi (AKA Harry Rogers) and Transgender Empowerment. The new collegians are more contemptuous of conservative‚ Christian‚ Jewish‚ and Asian students than the Man ever was of liberals. They don’t want to debate realists‚ they want them silenced‚ canceled‚ erased in pursuit of their fantastical utopia.
And they make their disdain obvious. After losing its diversity-hire president‚ Claudine Gay‚ partly for not opposing Jew hatred on campus‚ Harvard University hired a possible anti-Semite as co-chair of the Presidential Task Force on Combating Anti-Semitism. Quotes from the new appointee‚ Jewish History professor Derek Penslar‚ include‚ “Israel’s displacement of Palestinians from their land and oppression of those who remain have made it one of the most disliked countries on the planet.”
Former Harvard president Larry Summers has had enough and posted as much on X. “After Friday’s new anti-Semitism announcement‚ I have lost confidence in the determination and ability of the Harvard Corporation and Harvard leadership to maintain Harvard as a place where Jews and Israelis can flourish.”
The open hostility of today’s miseducated youth toward opposing thought and members of the non-victim — read‚ “privileged” — class shook another late 60s icon‚ Ruth Buzzi. Buzzi became widely if briefly famous on the decade-ending massive TV hit‚ Rowan &; Martin’s Laugh-In. Â She continues to be extremely funny on X with witty posts like‚ “An anonymous scam caller said‚ ‘I have all your passwords.’ I grabbed a pencil and paper and said‚ “Thank God. What are they?’” (READ MORE: All in the Homily: On the Death of Norman Lear)
But Buzzi was recently far more melancholic reflecting on the decline of youth culture in America‚ which her old show once dominated. “Just browsing through X looks like vehement hatred in America is at an all-time high‚” Buzzi posted. “Those once in flowers and bell-bottoms singing about peace‚ tolerance and love for all are now‚ sadly‚ doing a whole lot of the hating.”
The people Buzzi knocks no longer fight the Establishment like Gary Lockwood and company did in R.P.M.. They are the Establishment in the same way Anthony Quinn became part of it when his character took political power in the movie. Pity Melanie won’t be around to slam them for it. For look what they’ve done to her song.
READ MORE from Lou Aguilar:
Beauty Survives the Left
Heroes and Zeroes of 2023
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