I have written many times about “hate speech” tracing its origins to the liberal establishment which had several big reasons to institutionalize the demand for politeness: 1. The ideological impulse to explain the rise of Nazism/race riots to rabble-rousing new mass media (https://clarespark.com/2015/05/16/what-is-hate-speech-and-where-did-the-notion-come-from/); 2. The belief that speech creates reality (derived from Plato and the social democrats who suppressed material explanations for social conflict; 3. The notion originating with internationalists that conflicts can be resolved with better communication (and the warring parties subjected to “neutral” mediation on behalf of the ethical state/UN, of course).
It is a common error on the Right to attribute the notion of hate speech (a.k.a. political correctness) to communists hiding under every bed and in every college classroom. What most fail to do is to face squarely the history of expansion in the United States, performed at the expense of Amerindians, slaves and Mexicans. Patriotism in the interests of national unity or Manifest Destiny is the preferred alternative, even if, in some quarters, the Civil War is still raging, with some Midwestern and Southern whites holding on to the symbols associated with the good old lost cause.
Here is the irony of attributing hate speech and PC to the Reds. It was mostly New Leftist professors who, with anti-imperialist zeal inspired by the 60s-70s antiwar movement, invented “whiteness studies,” in the process failing to follow the lead of the Old Left that made class the category that mattered most to the revolution. You would think that such careful analysts writing in the tradition of Marx would have foregrounded the objective study of class, but no, they followed Lenin and Woodrow Wilson in the spirit of internationalism, ignoring the fictional categories of “race” and “ethnicity.” (See https://clarespark.com/2011/03/26/race-class-and-gender/ and https://clarespark.com/2014/06/07/marx-vs-lenin/, but even Alexander Saxton, my dissertation director, a proudly unreconstructed Stalinist, yielded to his contemporaries in promoting “whiteness studies,” as if all white people either all had the identical economic interests, or were hopelessly and permanently racist. (Saxton was especially disappointed in the white working class, apparently.)
This has put me, the director of the Yankee Doodle Society, in a quandary. In the late 1970s and 1980s, the composer Joseph Byrd and I reconstructed antebellum American popular music in the sentimental tradition, using the original lyrics, without expunging the N word. We produced one recording for a local company (Takoma), focusing mostly on Stephen Foster, Henry Clay Work, and George Root, but then got a corporate and then several government grants to produce not only the music of these and other composers agreeable to the middle class, but also we reconstructed the cultural context of such music. We ended up with a set of six-sided LPs and a mammoth 10 and a half-hour documentary played on Pacifica Radio in Los Angeles three times, all unexpurgated, unlike recent reconstructions of Stephen Foster that simply erase the “hate speech.”
The music by itself was distributed by Musical Heritage Society for ten years, and during that time, I got an offer from a Neo-Confederate distributor who would have been willing to cut us in on the profits. I never answered his letter.
The fact is that further distribution of these materials, which are unique and brilliantly performed by top musicians and actors, could lead to abuse by racist groups. As long as I can’t control the context, I hesitate to release them, for minority groups in this country have enough to contend with, without further insults dredged up from the American past.
What would you do in my place? I am sitting on several boxes of recordings that should be heard, but not by irredentists of any stripe or locale.