Tag Archives: Gene Kelly

A photo from the upper deck at Kauffman Stadium looking down toward the baseball field during a Kansas City Royals game in July 2025.

Embodied Patriotism

This week, on the patriotism we live in our ordinary lives.—Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane


This week, on the patriotism we live in our ordinary lives.


This Monday, after a long day working on my dissertation I went with my parents to Kauffman Stadium to see the Kansas City Royals play the first game in this week’s series against the Pittsburgh Pirates. Of the many things that I think of when I see the Pirates, memories of the weekend I spent in Pittsburgh in January 2020, or memories of watching them with my grandmother play the Cubs on WGN in my youth, I have a slight soft spot for the Pirates as a fellow legacy nineteenth-century team (1887) in the National League Central alongside my Cubs (1876), the Reds (1890), and the Cardinals (1892). The great Irish American artist Gene Kelly often said that he took up dancing to meet girls and to be agile and athletic so he could play outfield for the Pirates, his hometown team.

On this particular Monday, once we finished our walk into the stadium, bought our dinners and bottles of water, we made our way up to the top level of the stadium, the View Level to watch the game. I broke off from the rest of my family for a few minutes when we made it up to the 400s level to buy myself a brat. I didn’t realize though that the pregame ceremonies were reaching their conclusion with the march of the color guard and the performance of the national anthem. I consider myself patriotic in my own way; I hope you’ve seen in the last six months on this blog that I strive to elevate my fellow countrymen, my fellow humans in fact, through evocations of all the tremendous things we are capable of doing, of the extraordinary acts of ordinary people.[1] So, as the singer began her tune, I looked around at the people around me to see what I should do. At that moment I was at the register paying for my brat (everything is self-checkout now), yet as I saw no one else at the registers beside me were stopping to make our salute it occurred to me that nothing could be more American, dare I say more patriotic, than engaging in commerce with overpriced foods and drink that’s probably not good for any of us. I quickly finished my purchase and stepped back from the register and took a place beside a group of fellow millennials who held their right hands over their hearts, as we’re taught to do.

Throughout the game, a strong showing by the Royals who hit in 9 runs over the Pirates 3, I thought about this brat purchase during the national anthem and felt resolute in my decision. There are people who I know who take the anthem very seriously to the point of zealotry. In my many years of attending baseball games and soccer matches I’ve often wondered what would happen if someone chose to keep their hands at their sides or even remain seated during the anthem? We saw the harsh reaction of the clamorous cacophony when Colin Kaepernick kneeled during the anthem a decade ago. At the time I was ambivalent yet now having heard more stories of oppression and promises unkept I appreciate what he did. I believe this question of how free we are to patriotically express discontent in civic rituals is essential to the vitality of a democracy. I’ve often found the crafted rituals which the Royals put between innings to be at times bordering the ludicrous. This is especially true in 2025 after the Royals ruined their relationship with so many of us Kansas Citians with how they misled us and took advantage of us in this year’s stadium sales tax vote. My distrust of the team is why I effectively retired the Royals cap that I bought only two years ago at another visit to Kauffman Stadium.

We embody our rituals by wearing American flags on our clothes and demanding unquestioning patriotism in this American life. Here I’m adopting Céline Carayon’s notion of embodied language in her 2019 book Eloquence Embodied about early colonial French communications and relations with Indigenous Americans through gestures and visual language.[2] Today in the United States our patriotism is just as often meant to be blood-red flowing within our bodies as it is worn on our chests and loudly proclaimed with often poorly sung renditions of the national anthem, a hymn requiring professional training to perform. It is meant to be shouted in unquestioning proclamations of American freedom even as that liberty seems ever more fleeting under the combined weight of a cruel-minded governing majority and an even crueler corporate elite that has created so much of the embodied rituals which define American culture in the 21st century. These rituals, always sponsored by some robber baron and crafted by their public relations department, sing proudly of American freedom all while ensuring their own profits at the expense of the American people’s own freedom from want and fear. We embody our patriotism in what we purchase and where. Earlier that day, looking for a late afternoon pastry, I ended up at my local Whole Foods. Their bakery is good; the chocolate croissants are about what you’d expect for a gargantuan corporation’s attempt at mimicry of a Parisian classic. Yet as I bought a slice of pizza that caught my eye thinking how I might stop here for pizza by the slice more often I felt a pang of guilt after all there’s a good local pizzeria, Pizza 51, just across the street and several more within walking distance. Even as bakeries go as fair as Whole Foods is during the morning rush I would much rather go to McLain’s, the Roasterie, or Heirloom, all local bakeries within walking distance of my family home and along the route I was driving yesterday afternoon. Yet where Whole Foods won was that they forego the usual bakery hours and keep baking pastries in the afternoons whereas the others are usually low on their morning batches or already closed for the day. I’ve known for most of my life that these big corporate chains put tremendous stress on small local businesses; in fact I’ve flatly refused to shop at Walmart for this very reason, only buying a couple of bottles of water at one in the Kansas City suburbs once in 2020 when my Dad’s old truck broke down outside of it during the evening rush hour under a hot summer sun.

The America that I love seems more and more fraught the further from walkable neighborhoods and into the suburbs and exurbs you go. This is where most Americans have built their lives in common isolation living in mansions of rest surrounded by moats of artificially green grass regardless of how dry the local climate may be. It’s a life spent driving individually in vehicles increasingly resembling The Princess Bride’s rodents of unusual size in their environmental dangers. Several months ago, I had a bad argument with an attendant at a car wash in a nearby suburb because I ended up in the members’ lane on accident. I told the teenager working there that I made the mistake because there wasn’t a sign that I could see in my Mazda where the two lanes split (the big overhead sign is blocked by a dumpster from my lower line of sight) while the guy kept telling me that I can’t pay in the lane I was in. I was angry because the way that place was built favored the minivans, SUVs, and trucks that most people drive at the expense of those of us who still drive sedans. Yet I lost my temper because when the management got involved in our deteriorating conversation they shrugged off my suggestion that the row of ground-level signs standing outside their toll booth ought to be placed where the lanes split saying “that’s something for corporate to decide.” This is where that America of neighbors seems to be at least dormant to me; rather than making decisions that will benefit all of us together we instead more often choose inaction rather than risk our own individually precarious position. I grew up admiring the likes of Daniel Burnham and was proud as a young kid to say I was from Carl Sandburg’s City of Big Shoulders with big ideas and big ambitions. I’m just as proud to have witnessed firsthand the renaissance that Kansas City has experienced since the millennium. Those sorts of dreams and ambitions are what make me proud to embody our shared patriotism when I feel we’ve warranted it. I prefer the embodied patriotism my parents and grandparents taught me which as I’ve gotten older, I’ve found grew out of the progressive and city beautiful movements of a century ago and felt their greatest expression during FDR’s New Deal in the 1930s. That is my America, the America of neighbors standing up for each other. I see that America every day in my neighborhood where people say hello to each other when walking down the sidewalks or on the Trolley Trail. It’s for that America that I feel pride is warranted, that America which we should be working to rebuild by reconnecting our car-dependent suburbs and neighborhoods, by forcing us to spend time with each other again, to be social again.


[1] That’s one of my favorite lines I’ve ever written.

[2] Céline Carayon, Eloquence Embodied: Nonverbal Communication among French and Indigenous Peoples in the Americas(University of North Carolina Press, 2019).


The Guy

This week on the Wednesday Blog, some thoughts on what it means to be a man in 2023 inspired by Greta Gerwig's new film Barbie. Yes, there are a handful of mild spoilers. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane

This week on the Wednesday Blog, some thoughts on what it means to be a man in 2023 inspired by Greta Gerwig’s new film Barbie. Yes, there are a handful of mild spoilers.

On Saturday I went to see the new and widely acclaimed Barbie film after many weeks of hearing glowing reviews. I was particularly caught by one review in the New York Times which discussed how a dance scene featuring multiple Kens, Barbie’s male companion, was reminiscent of and even nodding towards the work of the late great Irish American song and dance man Gene Kelly, one of my favorite actors. So, I went into this movie with that anticipation at seeing something approaching Mr. Kelly’s work again on the screen, and with a good humor about the whole experience knowing this is a film about a toy.

And yet as the film progressed it became clear that it was not just a film about a toy but a story about the roles which people hold in society as they are traditionally inspired and determined by their gender. It became clear to me that this film was both deep in its commentary and clever in its camp. I particularly loved the moments where the characters in speech more so than in action broke the fourth wall and joined the audience in the joke. Yet the core idea that there is a parallel world off the Pacific coast called Barbieland where the dolls created by Mattel live happy lives knowing what good they’ve brought to the human world is something with far older roots.

To me, this idea fit in with a sort of sense of Heaven, a land beyond our mortal imaginings where those who have made a good impact on the people around them end up and rest on their sunny laurels side-by-side with other do-gooders. The idea of a place where the streets are paved with gold, and where people go to be good neighbors fits too with the idealized image I admit to conjuring in my own imagination of California, especially on our darkest, coldest, and snowiest days here in the Midwest. I know all too well that this sunny dream is far from the reality of the Golden State or any other place on Earth, yet without that dream how can we bring such a place to life?

In the Barbie film, the characters that I felt were intended to be my proxies in the story were the Kens, Barbie’s doting male companions and besides the one Allan the only guys in Barbieland. To be honest though, none of the Kens really stood out to me as someone who I could recognize in myself. Sure, when I’ve had crushes or begun to feel affection for a particular woman, I’ve longed for her to notice me and signal that the affection is mutual, yet the idea that men ought to be like the Kens in the same way that each Barbie represents a different type of accomplished woman feels limiting to me.

I actually felt more of a connection to the one Allan in Barbieland because he at least could see what was going on around him, in part because of his isolation from everyone else. Michael Cena played the awkwardness of being the only person with a level of realization about the goings on around him that fits those of us who often watch the social scene unfold around them. What struck me most about the Kens was how extreme their swings were, from docile doting admirers of the Barbies to overacting and overcompensating defenders of patriarchy with a strange fascination for horses. Ryan Gosling’s Ken in particular seemed to draw a great deal of his character, especially when he took over Barbieland, from William Zabka’s character Johnny Lawrence in the Karate Kid franchise and most recently the wonderfully silly Cobra Kai series on Netflix. All the flaws of that hypermasculinity best characterized in the muscle-man action films of the 80s was visible in Gosling’s Ken, and this represents one image of the ideal American man which we still see in our society. He’s the kind of person who has the potential to gain power or high status in business yet lacks the depth and self-awareness to make him an emotionally mature adult.

I’ve known a lot of people like this, and in many ways, they are one side of the big spectrum of what I’d call the guy, the average American male. I’ve been thinking about writing something called The Guy for a while, and I may still go all the way and write a novel with that title describing an average man just trying to go about his life. To me, when I think of this guy, he’s somewhat of a cross between Harold Lloyd’s character in The Freshman (1925), or Robert Petrie on the Dick Van Dyke Show, or more recently Adam Scott’s character Mark Scout in the recent Apple TV series Severance. The guy is the straight man in his world, yet he could be the comic to those around him and not be in on the joke. He sees his life as not quite what he dreamed of but he appreciates what he has and dreams of better things. He might be in a relationship or married, he might be gay or straight, he could be of any ethnic or racial background, what’s important is that he knows who he is and has found a culture to make his own.

In some ways, I tend to think of myself as the guy. I certainly haven’t had a normal American story, I’ve traveled and am only now at 30 starting my first full-time job, yet in many ways I recognize that I have less control over the world around me than I’d like, and so I hang on to what I can and go with the flow. The guy relies on others, whether consciously or not, and appreciates being seen and heard, even if he may not be comfortable admitting it. The guy might like watching sports but isn’t necessarily an athlete. All around, the guy is the Illinois of American males, about as ordinary and run-of-the-mill as you could imagine with some interesting bits here and there in his life.

So, watching the Kens take the stage together in that Gene Kelly-inspired dance number at the end of Barbie, I got what they were trying to do, but they were all on such a far extreme end of being a guy from me that I had a hard time emotionally connecting with them. But then again, they represent the ideal American male in our popular culture, the popular guys in school who became the fraternity brothers in college and eventually the corporate executives in their careers. That’s not me, and I’m okay with that. I like it when I see other people accept that they don’t fit this ideal definition of manhood, yet I worry when some who do accept that fact then also lose interest in trying to better themselves, when they lose interest in becoming their own ideal self. That goal should never be forgotten for the sake of convenience. The best thing about the guy, above all else, is that in his finest moments he remembers to dream of better tomorrows, and will even find a way to make it happen. 

Our society needs guys like that to keep imagining a better future and how we can make that happen. They are the ones who Aaron Copeland honored with his New Deal era Fanfare for the Common Man. When I picture the guy in my mind, it is often in the style of the New Deal artists, the WPA painters whose murals decorate many public buildings across this country now 90 years after the New Deal began. Like all of Gene Kelly’s characters, the guy can dream, and will be remembered as a someone who makes those dreams come to life.

S’Wonderful

Georges Guétary (L) and Gene Kelly (R) singing “S’Wonderful” in 1951’s An American in Paris with Oscar Levant (C) between them.
This week, I wonder about the word wonder.

Have you ever thought about the words you use to show appreciation for something? Or better yet, have you ever considered what the words you use to show excitement mean? You might say a very modern “cool,” or a more traditional “good,” or a Midwestern “neat,” or a more midcentury “groovy.” There could be a “dude” thrown in there if that’s your style, or you could go even further and offer an “awesome” or a “fantastic,” or Mr. Spock’s own measured “fascinating” into the mix. There’s one such exclamation that bears some consideration, one that is “wonderful” to behold.

What does it mean when something is wonderful? What does it mean to be full of wonder? Growing up I knew the word wonder from the Age of Empires series of computer games where a player could win the game by building a wonder and keeping it standing for 2,000 years in the game’s time (10 minutes in our own reckoning). I always wanted to build wonders in those games but was never quite good enough a player as a child to get to that point. 

There are other uses of the word wonder that come to mind like the German Wunderkind, or Wonder-Child, whose abilities outmatch all others. Or there’s the 2016 Sir Elton John album Wonderful Crazy Night that I got to see him promote and perform on the night when I was in the audience at the Graham Norton Show in London. Wonder is a flexible word because of how lofty an idea it evokes. There are wonderous things out there that are worldly, like the blueberry danishes at McLain’s Bakery in Kansas City, and there are wonders unimaginable to behold like the visions of previously unimaginable beauty seen by the James Webb Space Telescope in recent months.

Yes, I was there.

In the last couple years, I’ve come across the word wonder more and more in my work. It is one of the best English translations of the French word singularité which appears frequently in my primary sources, a word which can be translated as both “individuality [and] uniqueness” as well as a “peculiarity [or an] oddity.” Une singularité is a wonderous thing because it defies expectations. The wonders beheld by the European explorers who arrived on the Atlantic shores of these continents five centuries ago opened their eyes to visions they could not previously have imagined. They became “marvelous possessions” as the literary scholar Stephen Greenblatt described in a landmark study of the First Age of Exploration. 

In my own specialization the 3-toed sloth was a wonder to behold for all these very reasons. It was a mammal that did not seem to provide any usefulness to the humans who lived around it. Nor did it seem to contribute to its own ecosystem by hunting or foraging beyond whatever it could slowly grasp in its own favorite tree. What’s more an especially wonderous claim was made by one of the leading sloth writers of the day, a Frenchman named André Thevet (1506–1590) that claimed because there was no eyewitness evidence of the sloth eating or drinking that had been proven by a European then the animal must be one of only a very small number, if not a true singularité in that it could “live only on air.”

Another place where the word wonder appears is in religion. In Exodus 3 where Moses encounters God at the Burning Bush, God says that when the Pharoah of Egypt does not heed God’s command to let the Hebrews go that God “will stretch out [God’s] hand and strike Egypt” “with wonderous deeds.” (Exodus 3:20 NAB) These same wonders were then performed by Moses and his brother Aaron to assert God’s will that their people should be freed (Exodus 11:10), leading to a transformation in the relationship between the Egyptians and the Hebrews from master and slave to former oppressor and the defiant.

To be wonderous is to be unfathomable, to be terrifying in power and incomprehensibility. The other great nearly religious experience where I’ve heard the word wonder used is in those moments of joy when words fail, and song takes over. I’m of course talking about falling in love, and of that great Gershwin song “S’Wonderful,” which I first heard in the 1951 Gene Kelly film An American in Paris sung by the Pittsburgh native song and dance man himself alongside the French cabaret singer and actor Georges Guétary. It’s one of those songs that I know by heart, having played the film’s album enough times and seen it quite a few at that. One of these days I’ll sing it for myself.