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The Other McCain is a talented writer, and a good journalist, and blogger. I enjoy reading his writings, and, generally, share his ideological views. Like me, he is a student of history, and knows a great deal about the Civil War War Between the States. And he is unafraid of saying what needs to be said because TRUTH MATTERS! So, each morning, his blog is my first read, OK, usually my first read, to be entirely honest. So, it was this morning, and it was there I found the story referenced above.
Louis Wolfe Gilbert emigrated to the United States as a boy and became “one of the most prolific lyricists of Tin Pan Alley.” He started out as a singer on Coney Island, eventually settled in Hollywood, where he helped popularize Cuban rumba music and “was an innovator in his field, having been one of the first songwriters to begin publishing and promoting a catalog of his own works.” He twice served as director of the American Society of Composers, Authors and Publishers. Known to friends as “Wolfie,” Gilbert had his breakthrough success in 1912, when he wrote the lyrics for a tune composed by ragtime pianist Lewis Muir.
So, why am I sharing this story with you? Well, it is fascinating of course, and, again, I love history, so…. But the actual reason is that some day, this story will be read by some malcontented leftist and they will become outrageously outraged!
They will seek to cancel this man, and his biography. Because, Louis Wolfe Gilbert, will be deemed unfit. And his story as well. His life’s work? Erased! You see, being a lyricist, Gilbert wrote lyrics. And some of his lyrics, well, they do not match “modern” moral codes, so he must be canceled! Allow me, or to be more specific, The Other McCain, to offer a bit more of his work, and you will see why he is headed to cancellation! His breakthrough lyrics? Well, the song they were written for, well see for yourself
Way down on the levee in old Alabamy,
There’s Daddy and Mammy,
There’s Ephraim and Sammy.
On a moonlight night you can find them all.
While they are waiting,
The banjos are syncopating.
What’s that they’re saying?
What’s that they’re saying?
While they keep playing,
A-humming and swaying.
It’s the good ship Robert E. Lee
That’s come to carry the cotton away!
SEE!!!! Full of words that will trigger people. We must be protected by speech codes that forbid such evil. The past offends, so erase it! No time to put them into context of time, or history, no, ERASE! ERASE! ERASE! The music, the lyricist, just erase it all. And erase all who would try to even speak of it! Mr. McCain, has some cogent thoughts on this
When I was a teenage trombonist in the Douglas County (Ga.) High School Marching Tiger Band, “Waiting on the Robert E. Lee” was one of the songs we played, and it never would have occurred to me that this song was co-written by a Jewish immigrant from Ukraine who almost certainly had never been to “old Alabammy,” and yet wrote what became one of the greatest hits of its age, comparable in popularity to “Alexander’s Ragtime Band.” From the 1941 musical film Babes on Broadway, here’s a version by Judy Garland and Mickey Rooney:
Scholars of Critical Race Theory could not be reached for comment, but in defense of Judy and Mickey, I’ll point out that this was the popular culture of the nation that defeated Hitler, Tojo and Mussolini.
For those who would dismiss my warning, you should remember that another song, one of my favorites, “The Night They Drove Old Dixie Down”, has already suffered such a fate. Dismissed for really no reason, dismissed as racist, and Confederate mythology. No, the song talks about how a Southerner might have felt in 1865, and Southerners must either bow to the Wokers, or be eternally vilified. Here are the Black Crowes performing the song
