#marc blitzstein

[yourdailyqueer]

Marc Blitzstein (deceased)

Gender: Male

Sexuality: Gay

DOB: 2 March 1905 

RIP: 22 January 1964

Ethnicity: White - American

Occupation: Musician, composer, songwriter

[randomnessoffiction]

But what is the good For one to be cleared For it takes a lot of Joes To make a sound you can hear!

[nyphilemonic]

Cradle Will Rock my beloved....

[seamusdemora]

The Curious Story Behind "Mack the Knife" and "Lotte Lenya":

Lotte Lenya in Berlin, 1928:

... and now for the story:

"Mack the Knife" is a popular American song from the 1950s. But the song originated in Germany as a "Moritat" named "Die Moritat von Mackie Messer" in the 1928 German play called "The Threepenny Opera". The ballad was one of the musical routines written by Bertolt Brecht and Kurt Weill for inclusion in the opera. It described a London murderer (Mackie Messer) who used a knife to dispatch his victims; the London location likely due to the fact that The Threepenny Opera of Germany was adapted from "The Beggar's Opera" originating in 18th century England!

The next phase of the story is the "Americanization" of the German ballad. The German lyrics were "loosely" translated into English by Marc Blitzstein for use in the 1954 off-Broadway version of The Threepenny Opera. Unlike the failed 1933 American adaptation, the 1954 production of The Threepenny Opera was commercially successful, running for over 6 years.

Enter George Avakian, a producer at Columbia Records, who became interested in the song "Mack the Knife" after seeing the 1954 off-Broadway production of the Three Penny Opera. He attempted to get several jazz musicians interested in making a recording, and eventually hooked up with Louis Armstrong who had recently signed a contract with Columbia in April, 1955.

The last phase of this story explains how Lotte Lenya's name comes to be mentioned in the song recorded by Louis Armstrong:

First, Lotte had starred in both the original 1928 German production, and the 1954 off-Broadway (Americanized) versions of The Threepenny Opera. Secondly, she was the widow of Kurt Weill - one of the song's authors. Thirdly, Lotte was invited to Louie Armstrong's recording session of Mack the Knife by George Avakian - as evidenced by the photos above.

And finally a brief epilogue: Lotte Lenya did not participate in Louis Armstrong's recording of Mack the Knife, but she did participate in a "second version" with him. However, this version was only released posthumously in 1982... nearly 20 years after Lotte played the villianous Rosa Klebb in the 2nd James Bond movie: "From Russia with Love".

[ariel-seagull-wings]

Where did the precedent of Ella Hammer usually being played by a back actress come from? Because I’m pretty sure she wasn’t played by a black actress in the original Orson Welles production, correct?

African Americans and the American Labor Movement

Federal Records and African American History (Summer 1997, Vol. 29, No. 2) By James Gilbert Cassedy The records of the National Archives and

@themousefromfantasyland

The 1964 Howard da Silva revival production itself opens that precedent, which I consider a great idea: portraying Ella Hammer as a Black actress in productions of The Cradle Will Rock reflects broader historical patterns in media representation and societal narratives concerning Black victims of violence, activists, and marginalized communities.

Throughout history,  mass media has often depicted Black victims of political violence—such as assassinations of activists, police brutality victims, or hate crime survivors—in ways that diminish their activism and perpetuate stereotypes. I

nstead of recognizing them as martyrs or advocates, media narratives have frequently constructed narratives framing these individuals as criminals, addicts, or morally compromised, thereby justifying their marginalization and silencing calls for justice.

For instance, the deputy Marielle Franco, assassinated in 2018 Brazil, was portrayed in right wing defamation campaigns as involved with criminal factions, regardless of evidence.

This framing serves to discredit their activism and divert attention from systemic issues. Right-wing groups and media outlets have actively spread false narratives linking activists to criminal organizations, as seen in the smear campaign against Marielle Franco, where rumors and misinformation suggested her involvement with drug traffickers or militias.

The recent case of Marielle Franco exemplifies how political and media actors manipulate narratives.

After her assassination, right-wing groups, including the MBL and political figures like Alberto Fraga, spread false information that linked her to criminal factions, despite a lack of evidence.

The social media surge—over half a million tweets—initially showed support but quickly became a battleground for misinformation, with smear campaigns designed to discredit her activism and delegitimize her legacy.

Similarly, the media often frames the families of victims in ways that serve political or social agendas. 

Such tactics aim to undermine the legitimacy of their activism, silence their families' demands for justice, and reinforce stereotypes that equate activism with criminality.

In the context of The Cradle Will Rock, Ella Hammer’s portrayal by a Black actress can be viewed as a conscious or unconscious reflection of these historical patterns.

The choice to cast a Black actress might be intended to emphasize the racial and social realities faced by many activists and victims—highlighting how their stories are often concealed, distorted, or dismissed in mainstream narratives.

It also raises questions about representation: who is seen, who is heard, and whose stories are foregrounded or marginalized.

Besides that, there is also the need to call out how early American labor unions, regrettably, often reflected segregationist and racist politics despite the shared interests of the working class.

Historically, early American labor movements, while rooted in the fight for economic justice, were frequently marred by racial exclusion and segregation. As detailed in the extensive history of racial and labor relations, white craft unions and industrial organizations often systematically marginalized Black workers, confining them to the most menial and exploitative roles.

Unions like the AFL, with their skilled, predominantly white membership, sometimes accepted Black workers into their ranks, but often maintained racial barriers that divided workers along racial lines.

These divisions served the interests of the powerful industrial and political elites, undermining the possibility of a united working class capable of challenging systemic inequality.

Despite shared economic interests—such as higher wages, better working conditions, and job security—race was used as a tool to fracture worker solidarity.

For example, during strikes and labor disputes, Black workers were frequently employed as strikebreakers or faced violent repression, which further entrenched racial divides.

The history of unions’ complicity in maintaining segregation and racial hierarchies reveals how race was weaponized to weaken worker unity and sustain the status quo of racial oppression.

A Brief History of Labor, Race and Solidarity

The story of race and labor in America starts with the treatment of black workers in the South. That region’s cultural isolation from, but c

In this context, Ella Hammer resonates as a deliberate act of resistance against this divisive legacy. 

The play itself, written by Marc Blitzstein and inspired by the struggles of the working class during the Great Depression, advocates for unity and solidarity among workers—regardless of race, ethnicity, or background.

Casting a Black actress as Ella—an emblematic figure of working-class womanhood—serves as a symbolic reparation, acknowledging that the struggles of Black workers are integral to the broader fight for economic and social justice.

This casting choice acts as a call for solidarity, questioning the historical divide that has often weakened labor movements. It challenges the racial barriers that unions once upheld, highlighting that the true strength of the working class lies in unity across racial and ethnic lines. Moreover, it offers a form of historical reparation by visually and symbolically reversing the exclusionary practices of the past. In doing so, it emphasizes that racial equality and labor rights are intrinsically linked: one cannot be truly achieved without the other.

Furthermore, this act of casting as a form of protest and affirmation aligns with the broader civil rights movement’s efforts to dismantle racial segregation and promote racial justice.

It underscores the importance of collective action that transcends racial divisions, fostering a more inclusive understanding of worker solidarity.

Just as the play advocates for unity amid adversity, this casting decision reminds us that labor struggles are inherently intertwined with racial struggles.

It encourages contemporary movements to reflect on their histories, confront past injustices, and forge a truly unified front.

Civil Rights and the Labor Movement: A Historical Overview

Eric ArnesenThe George Washington University Anyone familiar with the labor movement today knows that organized labor is a heterogeneous

Besides, when it comes to theater and film, we sometimes just need to answer to the idea of diverse casting:

"Fuck it, why the hell not?!Black people can't just play in Porgy and Bess productions forever!"

[audiemurphy1945]

Visit Original Link

[cantsayidont]

The problem with listening to Shilpa Ray and Nick Cave doing "Pirate Jenny" from THE THREEPENNY OPERA (with Warren Ellis) is that then you have Shilpa Ray and Nick Cave doing "Pirate Jenny" from THE THREEPENNY OPERA (with Warren Ellis) stuck in your head for the next week.

[sunrise-on-the-reaping]