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This is a common and often used 'argument' by the left. This can be seen in how urban sprawl, economic growth and development of vacant land is seen as inextricably linked with progress of humanity.Ī common critical argument used, by the left AND the right, but more so the left, is an expression of 'embarrassment' at the behaviour of other people in society, or their representative government or social figureheads. It is worth noting, that other spheres of politics also use this idea of a single, desirable outcome which is made out to be the only possible conclusion of a developing civilization. It was simply assumed to be the case, that humanity would progress towards liberalism and this is how a society SHOULD advance. There was no analysis, no reason to come to this conclusion. They simply assume this to be so and therefore define loosening the definition of marriage as one of progress. Gay marriage is often put forward by the left as 'progressive', but the left never really prove this outcome as being the one more beneficial to society at large. Another example may be the increasing liberalization of marriage, such as the push for gay and lesbian marriage. The use of lexicon is far easier than actually proving the merits of the end goal, or actually having a positive outcome for other stakeholders.
Simply defining something as 'forward thinking' or 'progressive' makes the assumption the end goal is a positive one. “You can help me sing the song.” But would they really help? And that song? It’s Road to Nowhere.Hence the proliferation and overuse of jargon such as 'going forward', 'moving forward', 'positive step' used by managers. But can that place find purchase in the larger world? Maybe not in this lifetime.īyrne quotes James Baldwin: “I still believe we can do with this country something that has not been done before.” And in the jubilant encore song, Byrne sings, as the musicians march around the stage, about the city in his mind. Onstage it incarnates a very good place, welcoming, communal, in harmony. American Utopia somehow embraces both etymologies. The word utopia can mean “good place” or it can mean “no place”. But during the next song, a cover of Janelle Monae’s protest anthem Hell You Talmabout, a call-and-response was initiated, with spectators asked to repeat the names of black Americans killed by the police or in acts of racial violence – Eric Garner, Trayvon Martin, Atatiana Jefferson. At a preview, when the musicians began noodling the Burning Down the House intro, nearly every foot was leapt to. With his gentlemanly remove, it’s not always clear what Byrne wants from the audience (attention, common cause) or what the audience wants from him, besides the hits.Ī little more than halfway through the evening, Byrne reminds everyone that they have permission to dance as long as the aisles remain clear. Connection doesn’t come naturally to Byrne, who has discussed his autism. There’s no arc to the show, no narrative, though any of the monologues center on the idea of connection. The monologues explore Byrne’s slight alienation from these things – “Me, I just observe and pay attention and watch,” he says – moving gradually into more political concerns.
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The songs are fascinated by the furniture of adult life – a job, a girlfriend, a house, a car – while standing slightly apart from it. The lighting, by Rob Sinclair, moves from white to red to blue. He and the band perform Annie-B Parson’s angular, energetic choreography, some of it adapted from Byrne’s concert moves. His presence has become more avuncular, less alien, like the ringmaster of an extremely well-behaved circus. There is no director but Alex Timbers, who collaborated with Byrne on the thrilling Here Lies Love and the mortifying Joan of Arc: Into the Fire, is listed as a production consultant.īyrne’s voice has never been particularly flexible, but it remains forceful. Sometimes Byrne speaks between songs, sometimes he doesn’t, sometimes he takes up a guitar, sometimes he simply sings. Mounds of metal rise and become a shimmering curtain while the lyrics explore neural connection: “Here is an area of great confusion/ Here is a section that’s extremely precise/ And here is an area that needs attention/ Here is a connection with the opposite side.” The noise is very joyful. As he sings Here, the final track on his recent solo album, also called American Utopia, a back-up singer (Chris Giarmo) enters, then another (Tendayi Kuumba), a bassist (Bobby Wooten III, a pocket sun) follows, a guitarist (Angie Swan, sharkskin cool), percussionists and soon the stage is thronged with bodies, all in gray suits, all barefoot. When it disappears, the stage is bare except for Byrne, seated at a table and holding a brain. The show curtain is designed by Maira Kalman.