The Big Picture and the Closeup

True, we have always known that the outside of any envelope we place in the mail can be seen. We have always known that the phone company had access to “pen register” information, and that the bits and bytes that make up our e-mails are “known” to the various providers transmitting them. But we also did expect that the keepers of the media would take no interest in our metadata, would in fact be bound by rules of confidentiality, and that they would not only safeguard the contents of the communications, but also, to the extent practical, the fact of the communications too. We certainly didn’t think that the metadata would be analyzed by a government agency.

During the three-year stretch in which Richard Rodgers’ and Oscar Hammerstein II’s South Pacific and The King and I reached the Broadway stage, theatrical expressions of support for the equality of black and white were a dicey proposition, courting charges of Communist sympathies. And yet in these two musicals, lyricist and librettist Hammerstein found a way to voice that support. However, in keeping with the times as well as his temperament, he did so by indirection, and also with what might be called camouflage: presenting the “destabilizing” message about race relations in a matrix that included remarkably conventional and reassuring, even retrograde, messages concerning the relations of the sexes and colonialism.