Americans were witness last year to President Obama’s cult-like status among his acolytes. News stories of women fainting during his speeches, the sale of religious icons in the likeness of Mr. Obama, and the YouTube videos of children singing hymns (some with distinct religious imagery) to The One and of older youngsters doing marching/drill team routines with distinct military cadences in support to him were all-too-frequent occurrences. The observers seamlessly became one with the observed, as “journalists” who prided themselves (undeservedly, it turned out) on “speaking truth to power” turned into giddy school girls experiencing their first celebrity crushes.
Nor was this mania restricted to the U.S., as candidate Obama’s European tour showed. Indeed, those foreigners who see in the President a kindred spirit in their shared views of the United States are probably more infatuated with a persona whose concrete policy manifestations they need not endure as do Americans. And none are as likely to go 110% as the Germans, with their stereotypical thoroughness and their near-fanatical enthusiasm for those things American that they like.
So, it comes as no surprise that the Germans are staging “Hope,” a musical honoring Obama. Usually, personal musical tributes celebrate accomplishments, real (the opera “Nixon in China” comes to mind) or mythical (Wagner’s works, for example). But the American writer/composer and his German collaborators did not want to wait for something as pedestrian as a real accomplishment. With the Nobel Peace Prize committee setting a high bar of sycophancy and mindless adulation with its award based on a nomination at most ten days into Mr. Obama’s presidency, the musical’s creators had a tough act to follow. Worse, this is not the first Obama musical. That “honor” belongs to an English production, “Obama On My Mind.” As Mark Steyn notes in a nod to the musical Oklahoma, “Oooooo-bama, where the thrills come tingling down your leg.”
A good gauge of the political tenor of the piece is the description of Sarah Palin’s part: “Sarah Palin also has her own solo, surrounded by a troop of scantily clad dancers.” Doesn’t that just capture the essence of Sarah Palin’s values and policy positions and her appeal to the Republican base?
Don’t worry if you cannot get to Frankfurt to see this artistic masterpiece. There is talk of a future U.S. tour for “Hope.” The cynic suspects that this tour will happen sometime in 2012. By that time three years of the Obama administration will be in the books and, judging by the events of the first year, for many of us, that musical may be the only aspect of “Hope” left.
On a curiously coincidental matter of socialist realist “art,” there is news from Caracas, Venezuela, that Obama’s book club pal Hugo Chavez has “asked” Venezuelans to follow the example of his good friend and abrazo partner Fidel Castro’s Cuban workers’ paradise and make “socialist” soap operas. He has offered the assistance of the government’s own propaganda film-making center. No word whether Michael Moore is creative adviser.
I’m sure hordes of Venezuelans are eagerly awaiting programs about heroic socialist workers happily toiling with ideological commitment and without pay, braving capitalist-created storms, capitalist tarantulas, capitalist drug dealers, capitalist prostitutes, capitalist bosses who insist on paying you only for what you’ve earned, capitalist subversives spreading anti-revolutionary ideas such as freedom and personal initiative, all to bring in that record-breaking sugar crop to fund the export of Chavez’s and el lider’s glorious revolution to Latin America through the narco-terrorist FARC. But, since there is a distinct likelihood that government-approved socialist soap operas will lack the popular appeal of decadent capitalist-themed soap operas, Oogo has also offered government funding for the endeavor. Sounds like PBS, NPR, liberal talk radio and liberal cable TV shows. In funding and lack of market success, not just leftist ideology. Indeed, it describes the liberal vision of health care and all other human enterprise. Since that vision can’t compete on its own merits, it requires government funding. Only as an “option,” of course.

