Clifford Lee Johnson III - aka Lee - is known in the theatre community as an ace dramaturg, producer and theatre consultant. He’s a smart, supportive soul who wants you to get your show written and done right. To quote John Patrick Shanley (“Moonstruck,” etc):
“Lee Johnson has the instincts of a successful producer, and the courtly manner of a good psychiatrist.”
Lee sees the world through Hope Springs Eternally Green Glasses.
I didn’t know Lee was also a singer-songwriter - until he offered to donate a song from his singing group, Rudy’s Jukebox, to support writers in financial crisis due to COVID-19. Download that song with a purchase or donation and all net proceeds go to the Dramatists Guild Foundation.
Lee shares the history of the song and some thoughts on politics, past and present, with Hope Sings founder, Beth Blatt.
Beth: Tell me about your song "Keep Hope Alive." How, when, and why did you (and Rudy’s Jukebox) write/record it?
Lee: I wrote “Keep Hope Alive” one evening in the 8th Avenue / 42nd Street subway station, waiting for a friend to arrive. The first George Bush had recently been elected, and I was bummed. At that time, I didn’t think things could get any worse than eight years of Reagan, but I discovered that I was wrong. The song was a musical expression of encouragement I was giving myself.
Jackie and Lee (behind THE jukebox), Marie and JB (together, right), and Greg (with guitar).
“Keep Hope Alive” is basically a four-chord folk song. I kept it simple because I wanted it to have a classic feel and because when I tried to add another section it simply stopped moving. Moving, in songs, is primary.
At that time, I belonged to a singing group called Rudy’s Jukebox, named for the jukebox in Rudy’s Bar & Grill in Hell’s Kitchen, which is where I lived in 1988. There were five us in the group: Greg Alexander, JB Barricklo, Jackie Cadiou, Marie Mastrangelo, and myself. We performed original material in styles ranging from folk to pop to gospel to blues to cabaret. The diversity of our styles made us hard to categorize, which was a problem in those days – though, who knows, now it might be a strength. Our songs nearly always had complicated vocal arrangements, since we were essentially a vocal group. This suited “Keep Hope Alive,” which was, as I mentioned, structurally simple. Our emphasis centered on lyrical dramaturgy, arrangement development, and, most of all, telling the truth.
There are a couple of recorded versions of “Keep Hope Alive.” This one, produced by Jeff Olmsted, was recorded around 1992.
Beth: What parallels do you see between then and now – musically and politically?
Lee: I’ve thought at various times over the years that things can’t get any worse, politically speaking. But they always do. That’s kept “Keep Hope Alive” alive and relevant, which is a mixed blessing. I’m starting to get the idea it always will be relevant, which is another mixed blessing.
Beth: Where do you think “hope sings” in the world today - and how do you feel you help?
Lee: Imagine that your job was trying to stamp out ALL hope EVERYWHERE. You would find it impossible. Hope will always exist, no matter how flat it’s occasionally squashed. It’s like the Big Bang. It can start out infinitesimally small, but when it ignites, it can create a universe.
How do I help? I just keep it alive in myself and hope I’m contagious.
Atch-Hope!
Did Lee catch that baby’s sneeze in his hair?