By CHRIS POWELL
Connecticut has been just about conquered by the indignation industry, as was indicated again the other day when the post office in New London inadvertently offended a customer — the president of the city’s chapter of the National Association for the Advancement of Colored People — because its doorbell chime happened to play, among other songs, a few bars from “Dixie” during the Juneteenth holiday weekend. The customer complained that “Dixie” is racist because it was sung in minstrel shows and was adopted as an anthem by secessionists during the Civil War.
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Instantly intimidated, the post office got rid of the chime’s “Dixie” melody. But the complaint was just a matter of guilt by association.
There is nothing racist about “Dixie.” Its lyrics are a simple celebration of the South. Many inoffensive songs originated with or were popularized by minstrel shows. While secessionists adopted “Dixie,” they weren’t the only ones who liked it. It was written by a Northerner prior to secession, first became popular in the North, and the great liberator himself, the destroyer of slavery — Abraham Lincoln — declared it a favorite song.
At the White House on the day after the surrender of the Confederate Army of Northern Virginia, the president told a serenading crowd: “I have always thought ‘Dixie’ one of the best tunes I have ever heard. Our adversaries over the way attempted to appropriate it, but I insisted yesterday that we fairly captured it. I presented the question to the attorney general, and he gave it as his legal opinion that it is our lawful prize. I now request the band to favor me with its performance.”
The band did so, and the song is still enjoyed by people of good will even if some people of bad will might like to make hateful use of it.
Music and lyrics can stand on their own.
Francis Scott Key, author of the “The Star-Spangled Banner,” the poem that, set to an old British melody, became the U.S. national anthem, was a slave owner and as federal attorney for the District of Columbia persecuted abolitionists. But there is nothing racist in his poem, which, if somewhat ironically in light of the author’s background, proclaims “the land of the free.”
The German composer Richard Wagner hated Jews. But he is associated with hatred of Jews less because of his operas, which are not explicitly anti-Jewish, than because Adolf Hitler fervently promoted the composer’s work as part of the Nazi movement. Even today performing Wagner’s operas is informally banned in Israel.
Mark Twain joked that Wagner’s music “is better than it sounds.” Twain might agree that while the melody and lyrics of “Dixie” are better than the politics of some people who liked them or still do, the singer and the songwriter are not necessarily the song.
Besides, to live in Connecticut and be offended by a few bars from “Dixie” played by the post office door chime may require one to be almost blind to many worse things. Even as the controversy in New London was developing, a national survey reported that Connecticut is among the most racially and economically segregated states. The racial performance gap in the state’s schools long has been notorious, along with the state’s big racial disproportions in poverty, housing, crime, imprisonment, and health.
Ever preening in self-righteousness, political correctness celebrates its intimidation and shaming of people who have meant and done no harm. So it might have been better if a postal clerk in New London had dared to tell the customer who complained about the door chime that Juneteenth is not what it is said to be — the anniversary of the end of slavery in the United States — but just a P.C. contrivance, since slavery actually continued in the United States for six months beyond June 1865 until the 13th Amendment was ratified on December 6. That’s the day for celebration, with “Dixie” on the musical program, as it was for Lincoln.
Chris Powell has written about Connecticut government and politics for many years. (CPowell@cox.net)