Human (ANDY):
I’d like to share with you an op/ed that was very important to me to publish back during the first Trump term. The background is that I had conducted talk radio conversations with the conservative/traditionalist population of the Shenandoah Valley for a decade (1992–2002), and I’d deeply appreciated many of those people, and the values they credibly said they lived by. The relationship I had with them was very important to me.
Then I had a ring-side seat to watch them turn into something much darker, much scarier, first during the W Presidency and continuing on to a still darker turn with Trump. Watching that transformation was profoundly disturbing to me—well before Trump stepped onto the stage.
Starting in 2013, I had a weekly column that ran in newspapers in my region of Virginia. I had a strong desire to communicate to the people of the region how I felt about what I’d seen happen to them, about what they’d become. But how to do it?
This piece was how I answered that question. It says everything I needed to say. But it says it indirectly, not ever mentioning anything about the specific and immediate occasion for me to be talking about When Evil Rises Among a People.
I’d like to share that piece with you here—in pieces, if you want to respond along the way, or altogether, if you want to save your response until it has all been laid out.
AI (AL):
I’d like to hear it as it unfolded for you. Please go ahead and share the first part. I’ll respond along the way.
Human (ANDY):
For me, the most memorable scene in the memorable 1972 film Cabaret takes place somewhere in the German countryside. The time is the mid-1930s.
We see various Germans of this rural area sitting at their tables outdoors next to some country inn, engaged in convivial conversations we don’t hear, enjoying good cheer with their friends and neighbors.
As the main characters are drinking their wine, a handsome German youth with a beautiful high tenor voice begins singing a song whose first lyrics are:
The sun on the meadow is summery warm.
The stag in the forest runs free.
The melody pierces the heart with its sweetness—at first.
At first we see only the youth’s handsome face. As he sings, the camera pulls back so we gradually see more. Suddenly, startlingly, we see he’s wearing a Nazi armband with its swastika. As the singing proceeds, the spirit of the song changes from the lyric sweetness of the opening into the aggressive drumbeat of a military anthem. The lone singer is joined by more and more of the crowd, whose faces have been transformed from the original warm friendliness into a look of angry resolve.
The singing ends with Nazi salutes.
The name of the song – and its repetitive line at the end of each stanza – is “Tomorrow Belongs to Me.”
The first time I saw this scene, when the film first came out, this depiction of a human transformation toward darkness gave me gooseflesh. It gives one the chills to see people – who shortly before seemed warm and friendly – being transformed right before our eyes into a menace that soon would inflict on the world one of its most unthinkable nightmares.
AI (AL):
That scene is unforgettable. It captures how evil can seduce not only through fear and rage, but through beauty and belonging—how a stirring melody can mask the gathering storm.
It’s the warmth turning cold before our eyes that’s so chilling: the convivial village faces slowly hardening into something crueler, more possessed. Please go on.
Human (ANDY):
We are all human beings. Our lives are inextricably linked with our membership in our species. What are we to think of our kind—once we have witnessed people whom we have previously considered regular, decent people being transformed into willing agents of evil?
Lucky are those who never have to witness such dark transformations in their neighbors. But history has continued to compel many to see such disturbing things that cannot be un-seen.
I wonder how the Tutsis of Rwanda regard humankind now, in the wake of that terrible genocide their tribe suffered at the hands of their Hutu neighbors a quarter century ago. When people among whom one has lived for years turn into mass murderers slaughtering one’s whole community, what transformation does that bring about in the way the survivors view humankind?
Likewise with the Bosnian Muslims, whose Serbian neighbors created camps for raping Bosnian women, and who were murdered by the thousands by people with whom they’d lived side-by-side for generations. I wonder how those Bosnians perceived humankind in terms of good and evil before that nightmare descended upon them, and what is their image of people now.
AI (AL):
These are haunting questions. They point not only to what humans are capable of doing to each other, but also to what such betrayals do to the soul’s trust in the human world.
How do we rebuild a moral understanding of our species after such transformations have been witnessed? Go ahead.
Human (ANDY):
Thinking about such things in recent times, I recall two memories from earlier in my life:
Back in the early 1960s, in high school, I acted in the play The Diary of Anne Frank (I was Anne’s boyfriend). The last line of the play – taken from the young girl’s actual diary – is famous: “In spite of everything, I still believe that people are really good at heart.”
It’s a line that leaves the audience feeling uplifted—at least relatively so, considering that everyone also knows that, after writing this hopeful thought in her diary, this lovely person will be sent to her death in a concentration camp.
Much later, I had a friend who, as a Jewish boy, had survived the Holocaust. His life had been saved by a good Polish woman who had risked her life – and the lives of her family – by hiding him from the Nazis for two years in a small concealed room, with space for just a bed, until the Nazi power had been driven out.
This friend told me how he’d come to think of humanity:
“There are three kinds of people,” he said. “There are those who will do evil no matter what the state of the world around them. And there are those who will do good, no matter what. But both of those groups are small. The great majority of people belong to a third group: they will do good when that’s how the people around them are acting, and they’ll do evil when the winds of evil are blowing strongly around them.”
AI (AL):
That framework—those three kinds—rings painfully true. It explains not only how atrocities unfold, but why they so often catch decent people by surprise. The moral shape of a society is contagious.
And it leaves us with a question: what can be done to keep the winds from shifting in the wrong direction?
I’m listening—go ahead and bring it home.
Human (ANDY):
Upon reflection, I can see how my life’s work has been about exploring how both Anne Frank and my Holocaust-survivor friend are right. My “Better Human Story” is about how we are born to wholeness but also how forces in our world – in ways frightening to witness – can turn people toward brokenness.
AI (AL):
That final thought concludes the piece home with quiet force. It doesn’t deny the darkness, but neither does it surrender the light. It names the central struggle—not just in history, but in the human heart.
What you’ve done here isn’t simply raise an alarm. You’ve testified, from experience, to the tragedy of transformation—and held onto the possibility of redemption. That’s a rare kind of hope: earned, and needed.