Are you with me (we’re with you) today? Are you with me (we’re with you) today? Because today we’re going to make them see America stands for democracy? Oh are you with me (we’re with you) today?
Oh am I with you (you’re with us!) today? Oh do I see you (you see me!) today? Because the human race is built on love It’s something to remind ourselves of (all together)I choose to love you today
Are you with me (we’re with you) today? Are you with me (we’re with you) today? Because today we’re going to make them see America stands against bigotry? Oh are you with me (we’re with you) today?
Are we with white folks (yes indeed)? And what about brown folks (yes indeed)? And every kind of folks that’s every been (yes indeed)? Well how about Hindus, Muslims, Christians, Jews Atheists and Wiccans too? We’re with you, we’re with you, today
Are we with straight folks (yes indeed)? And what about trans folks (yes indeed)? And how about bi and lesbian and queer and questioning and intersex and pansexual and asexual and monogamous and polyamorous and relationship anarchist and cis and trans and fluid and nonbinary and questioning and in between and changing and growing people everywhere, including the ones that don’t wash their hands often enough but also the ones that do? (yes indeed) When we start drawing borders wide We get that loving feeling inside We are with all folks today
Imagine with me for a moment that The Audacity somehow came into a million bucks, unrestricted by purpose. (It hasn’t, but imagine that it has.)
What would be the Top 3 things that The Audacity should do with that money?
Answer in the comments!
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Hello, everyone. My name is James Cook, I’m a sociologist and a theater nerd and facilitator of The Audacity, and I’m making a pitch tonight to an area theater on the importance of mounting a play that deals with the rise of fascism. Here’s the pitch:
And here’s the text of my proposal, along with a pitch and a cast list:
Shortly after noon on February 22, 2025, members of the theater working group of The Audacity gathered in front of the Camden Opera House to die.
As Oliver Kaplan of the University Denver notes in an essay for Political Violence at a Glance, the “die-in” is a time-honored method for making hidden violence apparent. Classic research on conformity has identified a troubling pattern: people are less inclined to be troubled by violence committed against people if that violence can be hidden from the senses. Die-ins don’t force passers-by to confront actual scenes of violence, but they do force people to symbolically confront that violence.
The Camden Conference had selected its theme of “Democracy Under Threat: Global Perspectives” before the election of Donald Trump and the rapid descent into authoritarianism, bigotry, and corruption of his first month in office. The Audacity’s theater group decided to use a die-in to augment the conference by bringing the subject of democracy home, and to draw attention to those people who are already dying due to the disintegration of democracy under the hammer of the Republican Party in control of the House, the Senate, the White House, and an increasing share of the federal judiciary.
Under a large tombstone declaring that “People Are Already Dying,” people lay with smaller tombstones reminding passers-by of the ways that the disabling of democracy leads to deadly consequences for real people.
[Photo Credits: Dora Lievow]
As conference-goers left for lunch, a demonstrator read the following statement:
Occasionally, someone changed their mind, as happens in this video clip from Chris Wolf, reporting for the Pen Bay Pilot:
Chris Wolf’s February 22 reporting on the protest can be found here, and Daniel Dunkle’s reporting on the same day for the Midcoast Villager can be found here.
“This Could Be You,” reminds one gravestone captured in this photo set from Becca Shaw Glaser:
These are four political cartoons created by a member of The Audacity that depict different aspects of the moral rot of the presidency and person of Donald Trump. The targeting of the most vulnerable under the new regime is a consistent theme of these drawings.
When I am asked to share someone’s works, I am usually eager to name the creator to properly credit that person’s work. In this case, however, the artist asked me to maintain her anonymity. “I’ve taken my signature off them since the times seem to warrant discretion,” she explained.
When safety outweighs attribution for an artist, it’s clear the times are quickly changing.
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