People often call the United States a “melting pot” of different cultures, a social construction made up of the mixing and intermingling of various traditions. This term, coined in 1908 by Jewish immigrant Israel Zangwill, indicates the changing racial and social state of the United States during that time period. With women fighting for rights alongside African Americans and the newly emigrated Chinese, many traditional and conservative values of America were disputed and challenged. As new laws were created and enforced to accommodate these changing values, America slowly changed, transforming into what may be now referenced as an externalization[1] of Zangwill’s “melting pot.” Ethnicity, change, and differences became celebrated qualities that defined America as a booming society with mixed races and liberal ideologies. More importantly, individual cultural agency was established, giving each culture a sense of self-consciousness and place in American society. This idea of identity or “self-consciousness” stems from W.E.B. Du Bois 1903 book The Souls of Black Folk. In his book, Du Bois argues that African Americans have no self-consciousness and instead, must utilize his or her gift of double-consciousness in order to find peace, freedom, and identity in a world of contempt and hate. He writes: The Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world,—a world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tap of a world that looks on in amused contempt and pity (9). Here, Du Bois highlights the “peculiar sensation” of watching the blatant destruction of African origin, tradition, and culture. This double-consciousness or second-sight, however, is a tool—a gift. Although these people seemingly lack true self-consciousness, Du Bois claims that through the lens of others, the African American people can find identity. Perhaps, even more extreme, with the current racial state, Du Bois believed that it was through this ulterior lens that identity can then be constructed. Du Bois concludes with an argument to preserve the “America” and the “Africa” in African American, matching Zangwill’s now colloquial term the “melting pot.” Du Bois writes, “He simply wishes to make it possible for a man to be both a Negro and an American…” (9). Du Bois’s argument, however, is challenged when extended beyond that of just one singular culture and identity. The 1958 song “Grant Avenue, USA” is a prime example of a modern confrontation of Du Bois’s claim. While this song, originally from the musical “Flower Drum Song,” seems to celebrate the American melting pot, it actually articulates a case against Du Bois’s idea of double-consciousness by creating a false illusion of Asian American identity, marking Chinese culture as a foreign spectacle rather than an integral part of America. Written and composed by Rodgers and Hammerstein, an American musical theatre writing team, this song was written as a part of a musical to be performed at large venues like Broadway. Interestingly, the song’s title is “Grant Avenue, USA,” clearly placing the musical in a relatively Chinese context. Thus, Du Bois would see this song as a form of double-consciousness in which Asians could view the portrayal of their culture through an American lens. The title has significance in and of itself. Grant Avenue is the home of San Francisco’s Chinatown, a city center for Chinese commerce. Rebuilt in 1906 following a disastrous San Francisco earthquake, Grant Avenue, originally called Dupont Avenue, was renamed. Thus, Grant Avenue represents a remade America, a newly constructed business district that embraces and even idolizes the appearance of foreign culture. This idolization, however, is not positive by any means. While on the forefront this title depicts the idealized melting pot of America, one that overcomes adversity, it is in fact a reflection of the ability to erase the historical discrimination of the Chinese in order to establish a new order. Grant Avenue’s one-way street also has a cynical nature; the United States is on this set path, one that triumphs over hardships by forgetting the past and paving a new road over the old. It doesn’t look back nor does it want to. This song, even by its title, represents only a mirage of cultural acceptance and in reality, shows how the idea of double-consciousness can be destructive rather than beneficial, asking listeners to mask rather than remember the atrocities of American discrimination toward the Chinese. The song begins with trumpets blaring to an upbeat instrumental. In the background, there is a muted snare, tapping to an offbeat rhythm with various woodwind and brass instruments accompanying the singer. Together, the instruments create a jazzy and joyful atmosphere, moving the music forward without stagnation. The music breaks the fourth wall between listeners and the instrumentalists, inviting listeners to tap and snap along to the rhythm. As the song continues, stringed instruments gradually enter the melody with light pizzicato, growing and intertwining with the woodwinds and brass to form a full, unified orchestral ensemble. These instrumental characteristics are undeniably American yet seem relatively out of place, even grossly disturbing, when placed within the historical context of 1960s America. During this period in time, America continued to struggle with racial discrimination, prejudice, and violence. While the instrumentalization of this song seems celebratory of Asian culture, it actually creates a false mirage for Asian identity. In fact, within the music itself, it is impossible to distinguish any foreign culture or influence; no Asian instruments were used. The song’s carefree and American sound only overshadows any form of Asian agency. Ironically, while this song attempts to celebrate Asian culture, it actually works to destroy any formation of Asian identity. The combination of the string ensemble with the woodwinds and brass can be read as the ultimate completion of the song’s message regarding Grant Avenue and Chinatown. On the surface, this message is positive, highlighting the mixture of two unlike cultures. Upon closer analysis, however, the complete ensemble merely indicates a purely Western conception of Chinese identity, a false illusion of unification between American and Asian culture; all instruments were Western and characterized Western styles of music. This song, thus, does not commemorate America’s “melting pot” or Asian American agency, but actually assimilation into American culture under the false pretense of a merely nominal Asian culture. While the music is undeniably Western, the lyrics may present a different story in regards to this song’s ultimate representation. The lyrics reference some relatively colloquial foods and traditional Chinese items such as shark fin soup, bean cake fish, tea, and jade. Some may argue that through the introduction of these Chinese traditions, the song allows for awareness and self-consciousness for the Chinese in America. While this argument seems valid, upon closer inspection, the lyrics actually point to an even more pessimistic reading. First, the song uses the second person, speaking directly to the listeners, telling them they can ride up Grant Avenue in a trolley and eat Chinese dishes. The use of the second person, when put in context, is in fact identifying Chinatown as a foreign spectacle; it neither embraces nor positively portrays Chinatown. Instead, this song addresses the white audience that, more or less, would have occupied the Broadway stands during that period in time. The song further supports this idea: “The girl who serves you all your food is another tasty dish!” In this part of the song, the Chinese woman is recognized as an object of consumption. This means that the Chinese people are in fact merely a spectacle and a form of entertainment, viewed as objects rather than individuals. This song does nothing to subvert conservative and traditional American prejudices and instead further exacerbates and exposes the inadequacy of Americans to fully embrace Chinese culture, creating a spectacle which is actually an illusion of identity. Du Bois argues that through the lens of others, one is able to find identity and agency that incorporates the best of both cultures. While his claim may stand for African Americans, “Grant Avenue, USA” actually refutes this claim in regard to Asian culture. Although on the surface the song introduces a mixture of two cultures and even celebrates this through upbeat, happy music, it actually showcases the inability of America to unreservedly recognize the true identity of another culture. The gift of double-consciousness may in fact not be a gift at all, but rather a curse for the Asian American people; they can only see the world’s perspective and society’s construction of their culture and cannot achieve true identity in the midst of a racist nation. Even when listening to a pop culture song like “Grant Avenue, USA,” Asians are again reminded of their lack of agency; that is, the only way to survive in racist America is through the formation of an American-constructed, assimilated identity rooted in the confounds of Grant Avenue, USA. Works Cited Broadway. Grant Avenue, USA. Rodgers & Hammerstein, 1958. MP3. Du Bois, W.E.B. The Soul of Black Folk. N.p.: Quiet Vision Pub, 2008. Print. [1] Here, I use the word “externalization” as a way to reference the modern racial state as a fulfillment of Zangwill’s idea of America as a “melting pot.” While this term was coined in the early 20th century, it can be argued that at that time, it was not yet a reality. This argument continues in the present-day, as many disagree with the idea of America as a true “melting pot” of cultures.
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![]() Based upon Philip Guston’s painting, “Reverse” It is so easy to hide your less attractive counterpart the one that lacks polish lacks glow lacks gleam lacks perfection. Imperfection, reality is. But you can put on a face you can put on a mask you can turn away You can hide. They laugh yet that is your true self your true framework the edges are sharp the construction haphazard the support falling apart. But, quick, reverse! Your face is so pretty so well-prepared so beautiful so shimmering with careful strokes Perfection. Oh, a picture? Please turn the camera away … That’s my bad side. |
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September 2014
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