Individualism and Its Foundations

"Business" champions a compelling narrative: the assertion that individuals, in their singularity and strength, outshine the state they inhabit. This notion sits at the heart of Western philosophy, particularly thriving in America, where individualism serves as the foundation of modern democracy. The inalienable rights of the person are enshrined in the Bill of Rights, the first ten amendments fortifying the U.S. Constitution. These rights act as a bulwark, guarding citizens against governmental overreach.

The Spirit of "Business"

Delving into America's storied tradition of individualism, "Business" evokes empathy for a humble street musician, denied his rightful means of livelihood. Cruz underscores the importance of the individual by crafting a protagonist who is both vendor and musician, harmonizing commerce and artistic expression. This character stands defiantly against the law, a formidable government apparatus often suppressive of personal freedoms.

Clash with Authority

The judge's exasperated inquiry, "What kind of business / is this[?]," resonates as a rhetorical critique, implying the musician's enterprise conflicts with legal statutes. The vendor, seemingly at odds with the law for peddling goods and performing in public, further challenges authority by repeating these acts within the courtroom, winning the favor of detectives and court clerks alike. The judge embodies not just the law but the ethos of collectivism, valuing the collective over the individual.

Rebellion and Reflection

The vendor's "monkey business" signifies a deliberate act of rebellion, intending not only to flout regulations but to humiliate the legal system as represented by the judge. This public embarrassment serves to illustrate that certain actions, while illegal, may not be inherently wrong, affirming the precedence of individual significance over impersonal statutes.

The tale of "Business" subtly poses a profound query: to what extent should the law intervene in preserving societal harmony? Through Cruz's narrative, we encounter a character devoted to his passion—singing, orchestrating puppet performances, and vending puppets alongside jaunty whistles. His endeavors, by all indications, are benign. He brings delight to his audiences, as evidenced by the "huge crowds" he consistently attracts in bustling shopping districts. Both he and his audience are guided by an intrinsic, emotional law of reciprocity.

The affection of the masses for this melodious performer is unmistakable. His allure is such that not only do these "huge crowds" generously reward him, but he also charms even the sternest officers and court clerks, who find themselves "rolling on the floor" in laughter at his whimsical puppet displays. However, his arrest stems from the act of accepting money, a consequence of performing sans a license. Licensing street entertainers is justified by the need to uphold public order and to shield "legitimate"—that is, licensed and tax-contributing—businesses from competition.

Yet, achieving public order often comes at the cost of stifling joy and thwarting fundamental human desires. The oversight of street performers primarily benefits those who possess the means to establish nightclubs and other costly venues, where patrons pay significantly more than they would in tips to artists like Don Arturo's guitarist. Thus, societal order is preserved for the majority, while a minority bears the burden. The oppressed, bound by these inequitable laws, can only triumph through cunning—a trait embodied by the musician, who brazenly defies regulations with his flamboyant puppetry.