John McWhorter on being “strange” and reconstructing Fats Waller’s long-forgotten Broadway musical

John McWhorter on Being "Strange" and Reconstructing Fats Waller's Lost Broadway Musical

A Scholar of Language and Culture

John McWhorter on being strange and reconstructing - John McWhorter, a Columbia University professor and linguist, is known for his unapologetic approach to intellectual discourse. With a career spanning columns, books, and academic research, he has carved a niche as a voice that challenges norms and sparks debate. His latest endeavor, however, takes a different turn: resurrecting a forgotten Broadway musical from the 1940s, a project that blends his passion for music with his scholarly expertise. McWhorter's work often intersects with cultural analysis, and this new venture is no exception, offering a glimpse into the creative spirit of jazz icon Fats Waller.

The "Golden Girls" Controversy

McWhorter's bold opinions have drawn attention even in mainstream media. In a recent New York Times piece, he took aim at the 1980s sitcom "The Golden Girls," a show widely celebrated for its humor and characters. "The Golden Girls was a standout in its genre, featuring three stellar performers," he wrote. Yet, the show had four main characters, and McWhorter's take on the cast sparked conversation. "I wasn’t a fan of the Sophia character," he confessed, "finding her less engaging than the others." When asked about his critique, he laughed, emphasizing his willingness to voice unpopular views: "I’m gonna go there. That’s right."

"I honestly wasn’t fond of Sophia. I wouldn’t have wanted to spend time with her. Rue McClanahan, Betty White, and Bea Arthur were, to me, extraordinary. But I’m not afraid to say it—straight up."

McWhorter’s early life in Pennsylvania and New Jersey shaped his perspective on diversity and culture. Raised in a middle-class neighborhood in Philadelphia, he recalled growing up in a community that was "rarely, truly integrated." Black and white residents lived side by side in the same houses, a reality that influenced his understanding of race and identity. "It was a place where people of different backgrounds shared space," he noted, highlighting the contrast between his upbringing and the racial divides he later analyzed in his work.

The Little Professor

From a young age, McWhorter exhibited a unique curiosity. "I was a nerdy little kid who loved lists and the printed page," he said. His fascination with language led him to memorize the names of all the First Ladies by age eight, a fact he shared with bemused listeners. "I recited them with pride, only to be met with indifference or mild criticism," he recounted. "People didn’t find Latin case declensions or the word 'stella' as fascinating as I did. It took me a while to realize that my enthusiasm wasn’t always shared."

His academic journey reflects this early passion. With an undergraduate degree in French, a master’s in American studies, and a Ph.D. in linguistics, McWhorter often draws parallels between his intellectual pursuits and his childhood. "I was like Linus," he joked, referencing the Peanuts character. "I’d cling to my own ideas, associating myself with Schroeder rather than Charlie Brown. Not that I’m a fan of the latter—just that I preferred my own company."

Race and the Politics of Identity

McWhorter’s work frequently delves into race, a topic that has both divided and defined his career. His 2000 book "Losing the Race: Self-Sabotage in Black America" became a polarizing piece of literature. Critics accused him of blaming Black communities for their own struggles, but McWhorter clarified his intent: "I wasn’t saying Black people are to blame for their problems. I was arguing that after centuries of systemic oppression, sudden freedom can make it hard to know how to move forward." He emphasized the shift from civil rights activism in the 1960s to more abstract Black power rhetoric, suggesting that the focus often veered from action to grievance.

"I was saying that if you’ve been treated like animals for hundreds of years and freed suddenly, it’s hard to figure out where to go next. There’s a temptation to dwell on victimhood rather than focus on solutions."

The book’s publication earned him a label he never anticipated. "People called me a conservative or a right-wing Republican after that," he said. "But I consider myself a cranky liberal—someone who notices that the middle ground on race has shifted left over time." His frustration with assumptions about his political leanings stemmed from his background as a Black professor at UC Berkeley, where he often found himself representing an identity others projected onto him.

A New Project: Rebuilding Fats Waller's Forgotten Masterpiece

Beyond his scholarly work, McWhorter’s interests span music and theater. A self-taught pianist, he has a deep appreciation for musical history. This passion led him to a remarkable project: reconstructing "Early to Bed," a Broadway musical from the 1940s written by Fats Waller. The show, once a hit, had faded into obscurity, and McWhorter sees it as a chance to revive a piece that embodies the spirit of jazz and early American theater.

"Early to Bed" is notable for its innovative use of music and its role in the Harlem Renaissance. Fats Waller, a jazz pioneer, was known for his wit and musical genius, and the musical was a product of his era. McWhorter’s reconstruction aims to highlight its cultural significance, blending historical research with creative interpretation. "I’m not just restoring the music; I’m bringing the story back to life," he explained. The project reflects his belief in the power of art to bridge gaps and challenge perceptions.

Personal and Intellectual Legacy

As a divorced father of two daughters, McWhorter balances his academic life with personal reflections. His journey from a curious child to a respected professor has been marked by a commitment to clarity and directness. "I’ve never voted Republican," he stated, "and I don’t see much overlap between their concerns and mine. I’m a liberal Democrat, but I’ve noticed that the race conversation has moved far to the left in recent years." This observation underscores his role as both a scholar and a commentator, navigating the complexities of identity in a rapidly changing world.

McWhorter’s ability to blend personal experience with broader cultural analysis is a hallmark of his writing. Whether critiquing a TV show, dissecting racial politics, or reviving a musical, he approaches each subject with equal fervor and precision. His work reminds us that language, culture, and history are interconnected, and that even the most "strange" ideas can lead to meaningful insights. As he continues to challenge norms and revive forgotten art, McWhorter remains a fixture in the ongoing dialogue about race, identity, and creativity in America.