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      in US Politics

      Jon Bon Jovi on wealth, love and his ugly tussle with Trump: 'It was seriously scarring'

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      Jon Bon Jovi is singing Livin’ on a Prayer to me. No, this is not another crazy lockdown dream; it is actually happening.“Tommy used to work on the docks …” he begins, strumming a guitar he produces out of nowhere, his still impressive bouffant (“I’m the only man in my field brave enough to let it go grey!”) bouncing in time to the music.I later look up how much it would cost to hire Bon Jovi for a private party. “More than $1m” is the best estimate. All I did was ask if he was tired of being asked about his 1986 megahit. The answer, apparently, is no.“Union’s been on strike, he’s down on his luck …” he continues.Going from the zero of lockdown to the zillion miles an hour of a Bon Jovi private performance is a helluva ride and I tell him I might pass out. He laughs the laugh of a man who is neither unaccustomed nor averse to female adoration.“That song, God bless it. But my God, who knew? Not us, I can assure you. It was created on a day when none of us had any ideas, we just had a conversation and it came out of that. I’m sure happy my name’s on it!” Bon Jovi grins.So he didn’t know it was a hit when he wrote it?“Not at all. I remember walking out of the room with Richie [Sambora, his band’s second most famous but now former member] and I said: ‘Eh, it’s OK. Maybe we should just put it on a movie soundtrack.’ Richie looked at me and said: ‘You’re an idiot – it’s really good.’ I said: ‘I just don’t know where it’s going.’ But it didn’t have that boom boom boom bassline yet, so it sounded more like the Clash.”Did it buy him a house?Bon Jovi looks at me as if I had asked about the woods-based habits of bears.“It bought a lot of people houses,” he says.Bon Jovi, 58, is talking to me on Zoom from his house in New Jersey. “I am the crown prince of New Jersey,” he declares, which is probably true – he named one of his biggest-selling albums after the state and has stayed firmly loyal to his home turf. (Although I think we both know that if Bon Jovi is the prince of New Jersey, its king is Bruce Springsteen.) From the tiny amount I can see, his house looks lovely – wood-panelled walls and not over-flashy. “My life is much more normal than one would imagine,” says the sixth wealthiest rock star in the world, sandwiched on that list between Sting and Elton John. “There are no platinum records hanging anywhere in my house. The trappings of rock stardom were never a part of my home.” He and his wife of 31 years, Dorothea, have four kids: Stephanie, 27, Jesse, 25, Jacob, 18 and Romeo, 16, and for a long time, he says, “my younger kids weren’t quite sure what I do”.We are talking today because the latest single, Story of Love, from his album 2020, is about to be released in the UK. Anyone whose image of Bon Jovi is still locked in the Livin’ on a Prayer era – the big guitars, the bigger hair – will be somewhat taken aback by 2020. It is a thoughtful look at the past year, addressing gun control (Lower the Flag), the coronavirus crisis (Do What You Can) and the Black Lives Matter movement (the disarmingly beautiful American Reckoning). Perhaps you are thinking that you don’t especially need Jon Bon Jovi’s thoughts on BLM, but reason not the need: as he has done throughout his near 40-year career, he offers solid music and heartfelt lyrics, and, really, hats off to the man for engaging with the moment because Lord knows he doesn’t need to do anything at all any more. When lockdown hit, instead of running off to a house on the beach, Bon Jovi washed dishes every day in JBJ Soul Kitchen, one of the two community kitchens he set up near his home, where meals are provided through donations or volunteering. As celebrity efforts go, that probably beats posting a video of yourself singing Imagine.But just singing about the human cost of the US’s gun laws will count to many as taking a side. Does he worry about alienating any of his fans? “There are men on my stage who see things differently, but I don’t let our differences come between us. I never wanted to become a captive to the stage. How I live my life’s up to me,” he says.When we first speak, Bon Jovi is 48 hours from performing in a televised celebration for Joe Biden’s inauguration. This is his second inaugural event, after singing for Obama in 2009. Bon Jovi first started palling around with politicians when “a governor by the name of Bill Clinton” contacted him in the early 90s, and he has been actively involved since. “If Al [Gore] had got in I’d have been secretary for entertainment,” he jokes. In 2015 he allowed the Republican and then New Jersey governor Chris Christie to use his music in his presidential campaign. Springsteen has repeatedly rebuffed requests from Christie, a superfan, to play at his events. Does he disapprove of Springsteen’s refusal to reach across the aisle?“I don’t know how Bruce has treated Chris, so I can’t comment on that. But I would be a hypocrite if I told you I write songs that claim to be a witness to history, and then don’t listen [to the other side],” he says.Would he let Donald Trump use his music?He recoils as if physically attacked. “No! No no no! On every issue we wholeheartedly disagree, from how he handled the Covid crisis to immigration to the Paris accord – everything! No! No!”Bon Jovi and Trump have an extremely weird history. Back in 2014, the singer, along with some Canadian investors, tried to buy the NFL team the Buffalo Bills, outbidding Trump. But there was suddenly strong anti-Bon Jovi feeling in Buffalo, NY, with “Bon Jovi-free” zones and negative graffiti, stemming from the rumour that he and his partners would move the team out of the city. Bon Jovi fiercely denied that, but the Bills ultimately went to a third bidder and that was the end of that – until three years ago, when it emerged, inevitably, that the anti-Bon Jovi campaign had been started by Michael Caputo, a political strategist, who had been hired by Trump.“I was really shocked at the depths [Trump] went to. He wasn’t even qualified to buy the team, because you have to submit your tax returns, and he never filed the paperwork. Instead, he did this dark shadow assassination thing, hoping to buy the team at a bargain basement price. But I just couldn’t understand how this misinformation was being put out there. It was seriously scarring,” Bon Jovi says, eyes wide.After Trump failed to get the team, he stomped off and ran for president. Maybe you should have just given him the team, I say.“Yeah, for the sake of the world, he definitely should have got the team. Oh well,” he chuckles.Caputo later worked for Trump when he was president and was questioned as part of the investigation into Russian interference in the 2016 election. It was reported last September that Caputo had orchestrated a pressure campaign for official reports into the Covid crisis to be altered to be more flattering to Trump.“I guess we lived a page of Trump’s playbook in Buffalo,” says Bon Jovi.How did it feel to see his nemesis become president only two years after the battle in Buffalo?He hesitates. “Well, like all Americans, I have to support the office of the president – look how political I’m sounding! I’m trying to stop myself from bullshitting. The truth is, I was really disappointed.”Often in interviews Bon Jovi can sound a little monotone and bored, talking about the same things he has been talking about for decades. But today he is strikingly engaged and I ask if that’s because we’re mainly talking about politics rather than music.“Ha! Well, everyone’s an armchair quarterback when talking about politics,” he says.So he’s not thinking of pivoting to politics, spending his days arguing with Republicans such as Senate minority leader Mitch McConnell?“Or Chuck Schumer,” he adds, naming the Democrat leader in the Senate for balance. “It’s a shit existence – selling yourself and your soul. Hell no.”John Bongiovi Jr was born and raised in New Jersey, the son of two former marines. He started making music as a kid and wrote Runaway, which would be his first hit, when he was 19. By 21 he had a record deal and a band, of which he was the name, the face and the boss (“More like a benevolent dictator,” he insists). Initially they were marketed as a hard rock band. They certainly looked the part – big hair, tight trousers – but Bon Jovi had a different plan.“I said: ‘I want a tour with the Cars and Bryan Adams and all these pop groups,’ and my manager said: ‘No. You’re going to learn how to play with Judas Priest and Kiss and the Scorpions. Those audiences are loyal; pop audiences are fickle,’” he says. So they were packed off to open for Judas Priest, “a heavy metal band I’d never listened to,” Bon Jovi says. They won over audiences but he must have cut an unusual figure backstage: unlike pretty much everyone else on the 1980s hard rock scene, Bon Jovi never suffered from substance abuse issues. This has obviously worked in his favour: even aside from his unusual, maybe even unique career and marital stability, Bon Jovi at 58 looks like a man who spent his youth on yoga retreats as opposed to hanging out with Aerosmith. But how did he resist when he was so young?“To be honest with you, I didn’t have the capacity to handle drugs. I didn’t find joy in it, and I didn’t need to bury myself emotionally, so what was the purpose?”Was that because he had a reasonably stable childhood?“Mine was as fucked up as anyone else’s, but not enough to start using drugs. I saw a lot of friends die or there was havoc in their personal lives, but I just didn’t have the need or desire,” he says.When the band made their third album, Slippery When Wet, Bon Jovi was “so over” being marketed as something he wasn’t that he took back control and worked on telling stories. The music was still rock, but the lyrics were about Tommy and the docks. The public loved it, and Slippery When Wet sold gazillions, its singles You Give Love a Bad Name, Wanted Dead or Alive, Never Say Goodbye and, of course, Livin’ on a Prayer becoming the inescapable soundtrack of the mid-80s. This was followed by New Jersey (Bad Medicine, I’ll Be There for You, Lay Your Hands on Me), and then the shift to the 90s, when Bon Jovi cut his hair and softened the rock a little (Keep the Faith, These Days) and became increasingly known for his ballads (In These Arms, Always). He sold more than 100m albums, at which point he moved into acting, which he was unexpectedly good at, in Moonlight and Valentino (hunky painter), Ally McBeal (hunky plumber) and Sex and the City (hunky photographer). Did he mind being the rent-a-hunk?“Hell no – I never went to the Shakespeare Company!” he laughs. “Nobody had been able to do both [music and acting]: Madonna, Sting, Phil Collins – you tried and failed. I was so anxious to get work I said: ‘I will do the small role, the hunk, just to get enough of a résumé.’”Yet he hardly needed the money. He talks about wanting to learn “humility” and (of course) “loving the craft”, all of which sounds like a euphemism for just needing a change. Producers told him that if he quit making music they would give him bigger parts but Hollywood’s appeal had already waned.“I got the house in Malibu, saw the guys who are looking over your shoulder to see if they should go talk to someone else. That whole lifestyle was so vapid to me. I couldn’t wait to get away from it,” he says.Critics sneer that Bon Jovi – the band and the man – have become too corporate, too cheesy. This isn’t exactly wrong, but it’s missing the point about why Bon Jovi – the man – is such an enduring phenomenon. He has always been a control freak, over himself and his band, as he admitted in his 2000 hit It’s My Life, and he knows what’s needed for his band to survive. His very un-rockstar-like stability has helped. He married his high school sweetheart, and has been with her more than 40 years. “She sat down next to me in history class, and that was it,” he says. His bandmates Tico Torres and David Bryan have also been with him since the beginning. Disruptions to plans upset him inordinately: he says the Buffalo debacle took him five years to get over. The departure of Sambora in 2013 upset him so much that he said he was plunged into “a dark place” for three years. Are he and Sambora in touch now?“No. He chose to do what he did, but my heartbreak is I personally loved having him in the band – I loved my band. But there was not a chance in the world that we would discontinue because of his inability to go on,” he says, the sensitivity still audible.At Bon Jovi’s suggestion, we talk again two days later after the inauguration. To many people’s surprise, instead of relying on the band’s back catalogue, he performed the Beatles’ Here Comes the Sun. “I never felt like I needed to sing a song more. It was cathartic,” he says. Initially I missed the usual Bon Jovi bombast, but as the sun rose behind him as he sang, there was no denying that the man knows what works in the moment. But the recording of my private performance of Livin’ on a Prayer? That will last for ever.Bon Jovi’s album 2020 is out now. The new single, Story of Love, will be released on Friday 29 January. Visit bonjovi.com. More

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      in Elections

      Amanda Gorman at Biden's inauguration reminded me: politics needs poetry

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      Obama-endorsed and wearing gold-clipped braids and Oprah-gifted earrings, 22-year old poet Amanada Gorman and her poem The Hill We Climb have been the talking point of Biden’s inauguration. Her five-minute poem, which started with the question “When day comes we ask ourselves, where can we find light in this never-ending shade?”, explored grief, redemption and recovery, and wowed the world. Imperfect but fervent, it reminded us of something important: politics needs poetry.Gorman, born in 1998 in Los Angeles and raised by a mother who works as a teacher, graduated from Harvard university in 2020. She was the first US national youth poet laureate and its youngest ever inaugural poet. Owing to a speech impediment, she couldn’t pronounce the letter R until two years ago. She has described spoken word as “my own type of pathology”. Praise has overflowed for the young poet and many have celebrated her passion, beauty and poise in this historic moment that closes the door on Trump. “I honor you, @TheAmandaGorman. Thank you,” wrote the daughter of Dr Martin Luther King Junior, Bernice King on Twitter.The clips circulating on the internet of Gorman, glowing and optimistic, stand in utter contrast to scenes of Trump supporters storming the Capitol, grotesque and desperate. She wrote the remainder of the piece after the events of 6 January , staying up late to watch the storming the Capitol. The line: “We’ve seen a force that would shatter our nation rather than share it” speaks directly to the attempted derailment of democracy.On Instagram, Gorman describes herself as a dreamer, and the line: “Our people diverse and beautiful will emerge, battered and beautiful” shows her faith – a young woman dreaming aloud before millions of people in the form of spoken word. The moment has gone viral. Spoken word is a craft and a powerful art form, from the cadence to the delivery, to the subtle choreography. The moment, as internationally syndicated as it was, belongs to America. I don’t necessarily desire to see a version of it reproduced should Keir Starmer ever be elected prime minister (nor for the poet to find inspiration in Winston Churchill speeches).American politics’ relationship to poetry has a deep legacy in its fight for justice. In 1861, Frances Ellen Watkins Harper, a poet and lecturer, wrote To the Union Savers of Cleveland, a poem about Sara Lucy Bagby, a woman who had escaped enslavement and was arrested and returned to her “owner” under the Fugitive Slave Act. Harper published the poem in abolitionist newspaper The Anti-Slavery Bugle, and addressed it fervently to the white people of Ohio, writing “And your guilty, sin-cursed Union/ Shall be shaken to its base/ Till ye learn that simple justice/ Is the right of every race.” Poetry has long been the platform for opposing the current condition. As Matt Sandler writes in The Black Romantic Revolution: “Harper and her contemporaries borrowed and transformed the techniques and theories of Romanticism in an effort to bring about the end of slavery.”Poets are vendors of aspiration and are always fashioning together depictions of a better tomorrow, but it’s fair to ask if they are ever truly listened to in political spaces.Maya Angelou read her poem On the Pulse of Morning in 1993, at the inauguration of Bill Clinton. She says: “Lift up your hearts/ Each new hour holds new chances/ For a new beginning./ Do not be wedded forever/ To fear, yoked eternally/ To brutishness./ The horizon leans forward,/ Offering you space to place new steps of change.” Clinton would later go on to instigate the war on drugs and enact the 1994 Crime Bill that would destroy many lives and accelerate the incarceration of African Americans.I have wished many times to see more poets in positions of power, though writing poetry hasn’t made presidents any less barbaric or kinder – as one might think a writer of similes would be. Obama published poems at 19 in a literary review, published in 1982 by Occidental College. Jimmy Carter was the first US president to write a book of poetry, Always a Reckoning, and Other Poems, in 1995. Neither of these men has clean hands.For now, it’s paramount that young poets be given the space, funding and opportunities to be the voices of their communities. They are often spokespeople for those who look and live like them. Don’t wait until a black poet is on the world stage to be inspired by them – often they are not invited, and often they don’t want to endorse state activities by engaging in such ceremonies.Those poems, performed on neighbourhood stages, sitting in anthologies and self-published books, showcased at slams and open mics, have the answers too. There are many young poets like Gorman, who have glistening ideas for tomorrow and deserve to be recognised and propelled into superstardom, or at least just read. Buy their books too.Gorman was an alumnus of empowering youth projects such as Youth Speaks and Urban Word. If you fell in love with Gorman’s inaugural poem, support your local equivalent too. More

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      in US Politics

      Netflix still several steps ahead in strategy for wooing subscribers

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      Only Frank Underwood could amass as much power in such a short space of time. Nearly eight years after Netflix used House of Cards as the launch of its global empire, the streaming service announced last week that it now had more than 200 million subscribers. The pandemic has hastened the company’s transformation from a debt-laden digital upstart into an essential part of the TV landscape in homes across the world.In 2013, when Netflix’s first original series made its debut, the company had 30 million (mostly US) subscribers. This was six years after it moved from being a DVD-by-post business to a streaming pioneer. Since then it has added 170 million subscribers in more than 190 countries and its pandemic-fuelled results last week sent Netflix’s market value to an all-time high of $259bn.Last year proved to be the best in the company’s history, even as a new wave of deep-pocketed rivals attempt to deprive it of its streaming crown. Accustomed to operating in battle mode, Netflix added a record 37 million new subscribers as lockdown prompted viewers to alleviate housebound cabin fever with fare including The Crown, Bridgerton and The Queen’s Gambit.Last week it reported that in 2020 the amount it earned from subscribers exceeded what it spent – to the tune of $1.9bnBut Netflix’s pioneering low-price, binge-watching approach to driving growth has come at a cost. Year after year the need to spend billions on ever-increasing numbers of films and TV shows in order to keep and attract subscribers has weighed on its balance sheet, if not its share price. With a Netflix subscription a fraction of the cost of a traditional pay-TV service, average revenue per user is low. This is great for growth but means the company has to keep on topping up its content budget to fulfil its binge-watching promise to fans. A few billion here and there has spiralled to $16bn in long-term debt and a further $19bn in “obligations” – essentially payments for content spread out over a number of years.Analysts have been split over Netflix’s grow-now-pay-for-it-later strategy, but the company finally appears to have proved the naysayers wrong. There was a symbolic announcement in its results last week: it reported that in 2020, free cashflow was positive – which means that the amount it earns from subscribers exceeds what it spends on content, marketing and other costs – to the tune of $1.9bn.Part of the reason for this was that Netflix’s content spend fell – from $14bn to $12bn – as a result of production stoppages caused by lockdowns, but it was a turning point nevertheless. It has taken 23 years since its humble beginnings as a DVD rental company in California for the Netflix machine to reach the point of sustainability.The firm’s decision in 2013 to invest heavily in original productions has proved critical – and prescient. It sensed, correctly, that its success would prompt the suppliers that it was licensing shows from to eventually keep them for their own services. In the past 18 months, HBO Max, Sky-owner Comcast’s Peacock and AppleTV+ have joined longer-term rival Amazon Prime Video in vying for subscribers.Reed Hastings, Netflix’s co-chief executive, acknowledges this second wave in the streaming wars, particularly noting the “super-impressive” performance of Disney+, which has become the third global force in streaming behind Amazon. In just 14 months since its launch, the service, powered by franchises including Star Wars TV spin-off The Mandalorian, Marvel films and Frozen 2, has amassed 87 million subscribers four years sooner than forecast. Last month, Walt Disney+ announced a doubling of its content budget and tripled its forecast of subscriber numbers by 2024.However, new rivals have yet to dent the dominance of Netflix, which reported adding 8.5 million subscribers in the fourth quarter, and revealed that 500 TV titles were in the works and a record 71 films would premiere this year. Some doubters had raised concerns that Netflix’s debt-fuelled growth was a financial house of cards. But its foundations look solid now.Nissan’s ‘edge’ over rivals is no vote for BrexitLeaving the EU without a deal would have been an act of economic self-sabotage nearly unrivalled by a developed economy. Carmakers’ relief that a deal was reached on Christmas Eve was palpable. Nissan’s glee became clear last week, with chief operating officer Ashwani Gupta repeatedly declaring that the Brexit deal had given the Japanese carmaker a “competitive advantage”.Nissan had looked through the complex new rules of origin governing trade between the UK and the EU. Parts and finished cars that cross the Channel will not attract tariffs if a certain proportion of their components are from either the UK or the EU. Nissan’s cars already comply with the rules.Crucially, this applies to high-value batteries, which a partner company builds in Sunderland, in a factory next door to Nissan’s. Other companies are not so well-placed and must rely instead on imports from east Asia. For them the Brexit deal has started a scramble to secure batteries from Europe – if they want to sell into the UK – or hope that untested UK companies can build gigafactories to supply them.However, the Japanese carmaker’s statement should not be mistaken for a “vote of confidence”, as Boris Johnson managed to do. Gupta acknowledged that the UK’s departure from the EU had brought new costs, though these were “peanuts” for a company of Nissan’s scale. They may not be so negligible for exporting entrepreneurs, a breed that will probably become rarer as non-tariff barriers increase for would-be traders with the EU.Furthermore, “competitive advantage” is a double-edged compliment. Nissan will gain on UK and EU rivals which do not source batteries locally. Even if it is less of a burden than those carried by competitors, a handicap – in this case increased trade friction with the UK’s biggest market – is still a handicap.A new president is not a panaceaIt would be a mistake to allow the relief that has accompanied Joe Biden’s victory in the US presidential election to become something close to euphoria and, consequently, freight the new US president with expectations that are unachievable.The next decade is looking troubled and fractious even now that Donald Trump’s hand is no longer on the tiller of the world’s largest and most powerful economy. From a global perspective, there is the assessment of climate economist Lord Stern that the next 10 years will be crucial if we are to reach net zero carbon emissions by 2050.China, for 30 years a convenient supplier of low-cost goods to the global economy, is becoming more authoritarian and looking to use its spheres of influence in Asia and Africa to quell complaints by international bodies about the way it treats Uighur Muslims and Hong Kong protesters. To make matters worse, populations in the west and in China are ageing and struggling to provide a decent standard of living for younger members of society.In the UK, Brexit reintroduces a welter of red tape into the trading arrangements this country has with its biggest commercial partner, the EU, and will depress average household incomes over a long period. So despite the relief in many corners of the globe that greeted Biden’s inauguration, there is reason to worry.But there are grounds for hope too. The pressure to address the climate emergency is growing rapidly and politicians all over the world are at last taking notice. The 26th UN climate change conference in Glasgow, scheduled for November, could mark a seismic shift in action. And Biden showed how inclusive he plans to be with his roster of inauguration acts, from the stalwart Republican country singer Garth Brooks to 22-year-old African American poet Amanda Gorman.It was telling that Biden said he wanted to build bridges. It will be difficult, but on the issue of climate change, if on nothing else, that must include China. More

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      in Elections

      How Amanda Gorman became the voice of a new American era

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      On Wednesday in Washington DC, a striking young woman stood at a podium on the steps of the US Capitol, surrounded by the country’s leaders, who were masked against the pandemic. She was unmasked, at a safe distance, so she could speak with resonance and force, spreading her enthusiastic vision without danger. She radiated joy, conviction and purpose as she declaimed the poem she had written to mark the inauguration of Joe Biden as 46th president of the US: The Hill We Climb. Tears sprang from the eyes of many listeners, those weary and wary from four years of domestic discord, whether they sat on folding chairs at the Capitol, or on easy chairs in their homes. Hearing her words, they felt hope for the future.That woman’s name is Amanda Gorman. She is America’s first national youth poet laureate and, at 22, she also is the youngest poet accorded the honour of delivering the presidential inaugural poem. But despite her youth, Gorman’s assurance and bearing made her seem to stand outside time. Erect as a statue, her skin gleaming as if burnished, her hair cornrowed, banded with gold and drawn tightly back into a red satin Prada headband, worn high like a tiara, she evoked what poet Kae Tempest calls the “Brand New Ancients”: the divinity that walks among us in the present day. According to Greek mythology, nine muses, daughters of Zeus and Mnemosyne, inspire creative endeavour, with five devoted to different kinds of poetry – epic, romantic, lyric, comic or pastoral and sacred. Gorman suggested a new poetic muse – one to inspire the poetry of democracy.Gorman told the New York Times that she had not wanted to dwell on the rancour, racism and division of America’s four years under the Trump administration: she wanted to “use my words to envision a way in which our country can still come together and can still heal”. That way would require action, her poem declares: “We lift our gazes not to what stands between us, but what stands before us. We close the divide because we know to put our future first, we must first put our differences aside. We lay down our arms so we can reach out our arms to one another, we seek harm to none and harmony for all.”Gorman knows the importance of taking action to make the change you want to see. Raised in Los Angeles by a single mother, Joan Wicks, a middle-school English teacher, Gorman overcame daunting obstacles to forge her path. Amanda and her twin sister Gabrielle, an activist and filmmaker, were born prematurely. In kindergarten, the future poet was diagnosed with an auditory disorder that gave her a speech impediment. When she was in third grade, a teacher introduced her to poetry, and it was through writing and reciting poetry that she found her voice. She found a role model in the poet Maya Angelou, whose autobiography I Know Why the Caged Bird Sings reminded her of her own life, she remarked in one interview: “[Angelou] overcame years of not speaking up for herself, all for the love of poetry.”Gorman has presidential plans. ‘I am working on hashtags,’ she told the Harvard Gazette. ‘Save the 2036 date on your iPhone calendar’As Gorman struggled to improve her spoken fluency, she also strove for social justice. For her, it was clear from the start that expression was to be both poetic and political. In 2014, at the age of 16, she founded a non-profit organisation to support poetry workshops and youth advocacy leadership skills, called One Pen One Page. The following year, she published her first poetry book, The One for Whom Food Is Not Enough, and went to Harvard to study sociology. (She graduated in 2020.) Her clarity of expression received a turbo boost from musical theatre while she was in college, with the arrival of Lin-Manuel Miranda’s musical Hamilton, whose lyrics she memorised and recited (the song Aaron Burr, Sir helped her pronounce her “R”s, she has said).In the spring of her sophomore year in 2017, she was named America’s first national youth poet laureate, an honour that took her and her poetry to public events across the country. At one of these, held at the Library of Congress, Dr Jill Biden heard her read a poem she had written in the wake of the white supremacist “Unite the Right” march in Charlottesville, titled In This Place (An American Lyric). Three years later, Biden, as first lady-elect, suggested the young poet for the inaugural honour.In the first week of January, Gorman was halfway through writing The Hill We Climb when a mob of angry Trump supporters invaded the US Capitol in an attempt to violently overturn the election result. She finished the poem in the hours after the melee, undeterred, with that jarring tumult as backdrop.On inauguration day, Gorman wore a ring depicting a caged bird, a gift from Oprah Winfrey that attests to the link the young poet represents between the past and the future. It not only summoned thoughts of the poet’s first inspiration, Angelou; it reminded anyone looking for portents that Angelou, as the US poet laureate, had also recited a poem to a new president on the Capitol steps: Bill Clinton, in 1993. One day, Gorman may be the audience, not the author, of such a poem: she has presidential plans. “I am working on hashtags,” she told the Harvard Gazette. “Save the 2036 date on your iPhone calendar.” The last lines of The Hill We Climb, containing an intended echo of Miranda’s Hamilton, constitute a poetic battle cry: “We will rebuild, reconcile, and recover in every known nook of our nation in every corner called our country our people diverse and beautiful will emerge battered and beautiful, when the day comes we step out of the shade aflame and unafraid, the new dawn blooms as we free it, for there is always light if only we’re brave enough to see it, if only we’re brave enough to be it.”Her words not only electrified Washington, they have prompted a surge of admiration in the public at large. That same day, her two forthcoming books were Amazon’s top two bestsellers. Instagram feeds flash continuously with images of her triumphal stand at the Capitol; op-eds across the country have called for poetry education programmes in schools, and television news broadcast highlights of her performance hour after hour – lyric adrenaline bursts to reanimate democracy.Gorman has appeared on many of these news programmes. On one, Good Morning America on ABC, Miranda made a surprise appearance to congratulate her. “The right words in the right order can change the world; and you proved that yesterday,” he told her. “Keep changing the world, one word at a time.”As if anyone could stop her. As she writes in her forthcoming book, Change Sings:
      I can hear change hummingIn its loudest, proudest song.I don’t fear change coming,And so I sing along. More

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      in Elections

      The star-packed inauguration special: a dull yet competent plea for unity

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      It goes without saying that Wednesday’s smooth, benignly star-studded inauguration for Joe Biden was a startling change of pace for Washington – the stark, horrifying images of teargas and Maga rioters storming the nation’s Capitol two weeks ago replaced with masked celebrities, odes to American diversity, and earnest, if likely unreciprocated, calls for healing. Capping this secure (thanks to nearly 25,000 national guardsmen), surprisingly smooth event was the 90-minute celebrity extravaganza known as Celebrating America, a collection of musical performances, tributes to America’s essential workers, and nods to better days ahead that played like a technically competent, mostly seamless Zoom telethon for unity.The special benefitted from perhaps the perfect choice as host: Tom Hanks, the beloved everyman actor and one of the few cultural figures on whom most Americans can agree (and also the celebrity whose coronavirus diagnosis on 11 March 2020 was, for many, the moment the direness of the pandemic really sank in). In front of the Lincoln Memorial, the actor most associated with bone-deep decency and ordinary heroism held together a staccato and still-surreal pandemic mix of socially distanced live footage and desktop webcam aesthetics.[embedded content]The evening was ostensibly, in title and structure, intended to honor such Hanksian heroism on the national stage; the zippy 90 minutes was delineated by category of American hero – those who, as title cards spelled out, “feed us” (food pantry workers, farmers), care for us (nurses and medical professionals), teach us (teachers), supply us (delivery workers), among others – represented by single private citizens from around the country.Ordinary heroism quickly bowed to celebrity culture, however, as each hero introduced musical performances, some live and some pre-taped, that cut across generation and genre: Bruce Springsteen, a cringeworthy rendition of Here Comes the Sun by Bon Jovi in Miami, the Foo Fighters coming for your throat with hope for the future, Justin Timberlake doing his Memphis thing with Better alongside Ant Clemons, Katy Perry closing the evening with Firework to some admittedly impressive fireworks over DC. The more successful performances leaned into the heady emotions of the day: anticipation (John Legend’s beautiful take on Feelin’ Good), grief (Yolanda Adams’s performance of Hallelujah, soundtracking a recap of nationwide memorials to the 400,000 Americans now lost to the coronavirus), joyful silliness (Broadway singers hamming it up in a virtual collaboration with the energy of your cousin jumping into the Zoom call two mimosas deep).[embedded content]Still, the cumulative effect of several bland to outright cringingly hollow performances (specifically, Tim McGraw and Florida Georgia Line’s Tyler Hubbard’s duet on the colorblind country dud Undivided) gave the evening the feel of a come-down from a previous high. Celebrity tributes to American resilience from Eva Longoria and Lin-Manuel Miranda, brief addresses from Biden and the vice-president, Kamala Harris, that hit all the requisite notes, and an almost endearingly awkward riff on peaceful transfers of power from Bill Clinton, George W Bush, and Barack Obama (standing 6ft apart) peppered the evening with gestures of lost stability and hope. But Celebrating America felt less like a party than a denouement from the day’s earlier celebrations, especially the youth poet laureate Amanda Gorman’s unassailable performance – a parade of good intentions back to the ordinariness of performing American optimism, albeit with social distancing protocols and celebrity webcams.But if I come across as a grouch about this show, it’s only because I’m thrilled to have a bar for national celebrations and observance of presidential power that is not below the ground. After four years of a presidency that ignored basic science, elevated white supremacy and plunged the turbo-charged news cycle to ridiculous depths of stupidity, to suffer blandness feels like a blessing. To begrudge a little corniness, celebrity, or a slightly awkward performance? A luxury. The stakes in Celebrating America felt soothingly low, at worst annoying, sometimes silly, never sinister – not perfect, but beyond welcome. More

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      in Elections

      The inauguration music: Biden trumps Trump with singers you actually know

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      Whoever was in charge of booking the talent for Joe Biden’s inauguration clearly had an easier task than their counterpart in 2017. Donald Trump’s transition team promised the world a performance by Elton John. Instead, performers at various inauguration events included Tony Orlando, of Knock Three Times and Tie a Yellow Ribbon fame; a fading post-grunge band called 3 Doors Down; country singer Toby Keith; and a woman who came second on America’s Got Talent. Elton John, it transpired, hadn’t confirmed and evidently had no intention of playing. Here was a lesson for unscrupulous gig promoters everywhere about announcing an act before they sign up.
      In fairness, they managed to grub up one actual musical legend – Sam Moore, one half of 60s soul duo Sam & Dave, who performed at a pre-inauguration event called Make America Great Again! Welcome Celebration. But the swearing-in ceremony itself featured only a choir and military band – a climbdown from Trump’s predecessor, Barack Obama, who had Aretha Franklin sing at his 2009 ceremony followed by Beyoncé in 2013. An excruciating nadir was reached when a Bruce Springsteen tribute act called the B Street Band withdrew from an inauguration eve gig. When the tribute bands start telling you to do one, you’re in trouble.
      Under the circumstances, almost anything would have been an improvement, but Biden’s team proved capable of drawing in some major stars: the Celebrating America TV special that followed the inauguration was hosted by Tom Hanks and featured Justin Timberlake, Foo Fighters, Demi Lovato, Jon Bon Jovi, John Legend and the real Bruce Springsteen.
      At the inauguration itself, Lady Gaga sang the national anthem wearing an enormous red skirt and something you would have described as a brooch in the shape of a dove were it not the size of her head; by her standards at least, she’d dressed down for the occasion. She belted out The Star-Spangled Banner in potent Broadway style, before Jennifer Lopez showed up to perform a medley of America the Beautiful and This Land Is Your Land. More

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      in US Politics

      Rapper Lil Wayne in line for last-day pardon from Donald Trump

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      The rapper Lil Wayne was among those reportedly expected to receive a pardon or clemency from Donald Trump on his last full day in office on Tuesday.Sources familiar with the matter who spoke to Reuters suggested that neither the president himself, nor Trump’s personal lawyer, Rudy Giuliani, or former aide Steve Bannon would be on the list, which may number up to 100. Neither would members of Trump’s family get pre-emptive pardons, reports suggested.While the legality of a presidential self-pardon remains untested, aides have cautioned Trump that pardoning himself and members of his family may imply guilt that becomes a liability in future state or civil lawsuits.It has also been suggested that a self-pardon could antagonise some Republican senators who will be voting during the second impeachment trial, expected later this month.Lil Wayne pleaded guilty last month to possessing a loaded, gold-plated handgun when his chartered jet landed in Miami in December 2019. He faces up to 10 years in prison at a 28 January hearing in Miami.The rapper appeared to support Trump during last year’s presidential campaign when he tweeted a photo of himself with the president and said he backed Trump’s criminal justice reform programme and economic plan for African Americans.On Tuesday morning, the New York Times reported that the list of new pardons or acts of clememcy “includes the names of people who have been serving life sentences for drug or fraud charges and who for years have been seeking clemency”.The paper said the White House was keen to blunt criticism for Trump’s handing of pardons to allies and cronies, reporting: “Tuesday’s group includes non-violent offenders whose names have been percolating for years among advocates who believe their punishments never fit their crimes and whose cases underscore the broken nature of the country’s criminal justice system.”The Times also reported that the list of pardons and commutations was expected to include the former New York assembly speaker Sheldon Silver, 76, who was convicted of corruption charges in 2015. After a lengthy legal process, Silver was sentenced in July 2020 to six-and-a-half years in prison and a $1m fine. He is held in the federal prison at Otisville, New York.Also said to be under consideration for a pardon was Sholam Weiss. Weiss was sentenced to 835 years in prison in 2000 for crimes including racketeering, wire fraud and money laundering. It is frequently described as the longest sentence imposed in the US for a “white collar” crime.Bannon, 66, who has pleaded not guilty to charges that he defrauded donors to “We Build the Wall”, an online fundraising campaign that raised $25m, was not expected to be on the list. Neither was Giuliani.It has been reported Giuliani has fallen out with the president over unpaid legal fees, and the former New York mayor has recused himself from defending Trump in his Senate impeachment trial, since Giuliani was also involved in the rally on 6 January that preceded a pro-Trump mob ransacking the US Capitol.He notoriously told the crowd “Let’s have trial by combat,” a remark he has since claimed was a reference to Game of Thrones.Julian Assange, the WikiLeaks founder, another name frequently mentioned in connection to a possible Trump pardon, was also not expected to be on the list.The list of pardons was prepared over the weekend in a series of meetings involving the White House counsel, Pat A Cipollone, Ivanka Trump and Jared Kushner.It is traditional for US presidents to issue pardons and clemency at the end of their term in office. Barack Obama commuted the sentence of Chelsea Manning, George W Bush commuted the sentence of former staffer Lewis “Scooter” Libby, who had been found guilty of perjury, and Bill Clinton controversially pardoned the financier Marc Rich in a move widely criticised as being corrupt, after Rich’s ex-wife had made substantial donations to Clinton-related causes. More

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      in US Politics

      Open letter calls for publishing boycott of Trump administration memoirs

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      Five-hundred American authors and literary professionals have signed a letter calling on US publishers not to sign book deals with members of the Trump administration, saying “those who enabled, promulgated, and covered up crimes against the American people should not be enriched through the coffers of publishing”.Put together by the author Barry Lyga, the letter, which is continuing to add names, has been signed by bestselling writers including Celeste Ng, author of Little Fires Everywhere, Holly Black and Star Wars author Chuck Wendig. Titled “no book deals for traitors”, it opens by stating that the US “is where it is in part because publishing has chased the money and notoriety of some pretty sketchy people, and has granted those same people both the imprimatur of respectability and a lot of money through sweetheart book deals”.Lyga told Publishers Weekly: “Traditionally, members of an outgoing administration can – and do – rely on the cushion of a fat book contract with a healthy advance. In the case of the Trump administration and its history of outrages, lies, and incitement to insurrection, we cannot allow this to stand. No one should be enriched for their contribution to evil.”Endorsed by a range of editors, authors, booksellers and publishing staff, the letter goes on to state that “no participant in an administration that caged children, performed involuntary surgeries on captive women, and scoffed at science as millions were infected with a deadly virus should be enriched by the almost rote largesse of a big book deal”, and that “no one who incited, suborned, instigated or otherwise supported the 6 January 2021 coup attempt should have their philosophies remunerated and disseminated through our beloved publishing houses”.In November, the Rupert Murdoch-owned tabloid the New York Post claimed that Trump was “being bombarded with book and TV deals that could be worth a staggering $100m”, although his son, Donald Trump Jr, chose to self-publish his most recent tome.Lyga’s letter comes in the same week that rightwing Missouri senator Josh Hawley was forced to find a new publisher for his book The Tyranny of Big Tech, after it was dropped by Simon & Schuster over his backing of baseless claims that the election was stolen. America’s National Coalition Against Censorship has spoken out against the cancellation of Hawley’s deal, saying that while it shares “the outrage of our fellow citizens” over the attack on the US Capitol, it was deeply concerned about Simon & Schuster’s decision to drop the book. “Cancelling the book weakens free expression … It is crucial that publishers stand by their decision to publish, even when they strongly disagree with something the author has said,” said the free speech organsiation. “Cancelling a book encourages those who seek to silence their critics, producing more pressure on publishers, which will lead to more cancellations. The best defence for democracy is a strong commitment to free expression.”The debate comes in the midst of a reckoning for big publishers about the titles they release. In November, staff at Penguin Random House Canada protested over the press’s decision to publish a new book from Canadian psychologist Jordan Peterson, the self-styled “professor against political correctness”. Hachette dropped Woody Allen’s memoir last year after a staff walkout, and Hachette imprint Little, Brown in the UK cancelled a contract with Julie Burchill to publish Welcome to the Woke Trials after it said she “crossed a line” with her comments about Islam on Twitter to the journalist Ash Sarkar.Tony Schwartz, who ghostwrote Donald Trump’s 1987 memoir The Art of the Deal, was given the nickname Dr Frankenstein by his former editor for the gloss his book brought to the man who would become president. Schwartz spoke out about how “staggeringly dangerous” he felt a Trump presidency would be in 2016, saying: “Oh my god, I’ve contributed to creating the public image of the man who is sociopathic and people don’t realise it.”Lyga’s letter points to Son of Sam laws, which prevent criminals from benefiting financially by writing about their crimes. “In that spirit, those who enabled, promulgated, and covered up crimes against the American people should not be enriched through the coffers of publishing,” say the publishing professionals, adding: “We believe in the power of words and we are tired of the industry we love enriching the monsters among us, and we will do whatever is in our power to stop it.”Lyga told the LA Times that each signatory to his letter “will act to the dictates of their conscience and to the extent they are able to effect change”, pointing to the Hachette walkout which led to the cancellation of the Allen memoir. “We are committing to doing what we individually can when and if the time comes,” he added.“To those who believe this is censorship, I can say only this,” he wrote on Twitter. “If the first amendment guarantees book deals, then there are some publishers who turned down books of mine in the past who now owe me money.” More