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wizards8507

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zelezo vlk

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A professor, whom I believe to be the one that Whiskey wishes ND would poach from Providence, wrote a book about restoring American culture. He also was recently on The Federalist's podcast and lamented on the loss of classical education in this country. This link is to the "Radio Hour" and below is the link to the article. How American Culture Must Restore Its Schools, Art, And Institutions

How To Rebuild American Culture 'Out Of The Ashes' Of Modernity

Edward Gibbon’s 1776 work, The Decline and Fall of the Roman Empire, remains the standard for literary works intimating civilizational collapse. Gibbon’s thesis: It was not enemies from without that sacked the Roman Empire, but rot from within that ultimately caused the demise of the greatest empire the world has ever known. From time to time books are written echoing Gibbon’s tone as the inexorable tendency remains to equate the downfall of a nation with certain observable events.

Anthony Esolen’s book, Out of the Ashes: Rebuilding American Culture is such a work – with a twist. He does not simply propound evidence showing “sometimes entire civilizations do decay and die,” but he offers ways to arrest the decline and rebuild the ruins. For Esolen, the signs are clear. The “erasure and oblivion” of history combines with a loss of civic virtue rendering modernity’s onslaught a victory over tradition and memory. Believing most people to be “incompetent in the ordinary things of life,” he presents the past as a more stable and substantive way of life than the technological and atomized present.


This can be dangerous, as he freely admits, but the risk of nostalgia is outweighed by exposing the “cant” of modern language. The corruption of language (to echo George Orwell) is the clearest indication that tyranny is close at hand. He believes one must be “educated into cant” because nature does not confer the “kind of stupidity” so prevalent in what Malcolm Muggeridge called “the great fraud and mumbo-jumbo of the age.”

An All-Eating Government
To state Esolen is convinced the largesse of modern government is corrupt would be to understate his disdain for “a government that has taken an all-eating life of its own.” Attempts to persuade others of the evils of government bureaucracy come by way of his opening “an artery every year for government at all levels.” Believing it to be “incompetent, destructive of ordinary social relations, tyrannical, redundant, parasitical, and perverse,” he would not exactly laud Justice Oliver Wendell Holmes Jr.’s statement in the 1927 dissent of Compañía General de Tabacos de Filipinas v. Collector of Internal Revenue, “Taxes are what we pay for civilized society.” For Esolen, modern society is anything but civilized:

We spend far more money on social welfare, in real dollars and as a percentage of federal outlays, than Roosevelt did, and what do we have to show for it? Forty percent of children born out of wedlock, whole generations of broken and never quite-formed families, men checking out of productive work, and immense bloodsucking bureaucracies that perpetuate the pathologies they are supposed to cure.
These are the words of a man convinced modern culture is awash in lies. So pervasive and persuasive are modern lies that “it is almost impossible in the modern world not to accept lies as a matter of course.” As a Roman Catholic, the essence of what he believes “is contained in the Nicene Creed.” Truth for him, therefore, is grounded theologically, not politically. Although Aristotle famously said man is zoon politikon (a political animal), Esolen’s political theory would not incorporate the idea of the polis eclipsing the local and personal aspects of life where those who rule are known by those who are ruled.

The book is sectionalized to cover five thematic rubrics with an arc bending toward the restoration of a distinctly Christian worldview in order to rebuild American culture. For Esolen believes “the great questions of human existence are and always will be religious.”

Thinking Grammatically

Waiting to clearly define “culture” deep into the book in the chapter on K-12 education as “a cultivation of the things that a people considers most sacred,” religion is the indispensable factor in his moral calculus. Esolen understands “the health of a society” to be gauged “by how full the churches are.” If he is correct, then American society is quite ill.

As an example of just how corrosive American society has become, he believes knowledge and skill in English has plummeted to such a low level that “there is no beauty to grammar” because the intellectual capacity of modern students to “think grammatically” has been reduced to “an unorganized heap of apparently arbitrary rules.”

Ever the English professor, he builds the case for an “architectonic” understanding of grammar whereby language both builds concepts and connects ideas across academic disciplines. The better a student understands and uses grammar, the better she will find the “grammar” of geography and biology – subjects quite different and seemingly unrelated – more easily understood as “observable and rational” categories capable of being integrated into a holistic curriculum.

Why? Because the better students can recognize, analyze, and mobilize words, the better they will understand that “all human sciences are grammatical in structure.” Thus, investigation of “grammatical keys” opens doors of thought that stir curiosity and propel a lifelong quest of discovery and learning.

Treating Children Like Machines

Esolen laments the loss of schools that once looked like town halls. Once delivered in simple one-room schoolhouses with architectural beauty underscoring a personal connection to a particular land, community, and country, the local school has been replaced by “the world’s most brutal architecture” where children are taught as if they were machines.

The schools we have built in the last sixty or seventy years do not resemble town halls. If they resemble anything governmental, it is the bureau, the office building, where human business goes to be swallowed up, as Charlie Chaplin’s little factory worker in Modern Times is swallowed up in the gigantic gears of the mill or as the girl dancer in Return of the Jedi, after pleasing His Immensity is swallowed up by Jabba the Hutt.
He is no kinder to higher education. He believes the modern university has become a “secular polytechnicum.” College is now a place where no common bond of academic unity is forged because any semblance of unity in diversity is gone as people are “severed from one another and from the past.” The result is a sprawling development burdened with a “stifling and immensely expensive bureaucracy” with no true heart for learning or moral order.

This book seems to be Esolen’s parting word to a world he is determined to exit. He cannot abide a government where one of the most passionate moments of a major political party’s 2016 national convention was “when a woman stood before them and boasted that she had snuffed out the life of her child in the womb.” Neither can he stomach a more efficient Leviathan where the founding vision of federalism in America is now all but a centralized government monstrosity where the likes of a “national committee to send official Diaper Changers to every home with a little baby in it” is the norm. Reform of existing structures, however, is not possible.

Questions of Legitimacy
What to do? Esolen recommends a renewed investigation into subsidiarity where “social concerns should be left to the smallest group that can reasonably deal with them, the group that is nearest to the concerns in question.” This comes at his behest for others to be convinced “that the central government’s arrogation of power is illegitimate.” This is not to say he is advocating illegal action or needless civil disobedience. Rather, he suggests full compliance to the law, but not full obedience. That is to say, not to take illegitimate edicts into the mind and heart as if they possessed “legitimate authority.”


Leveraging what remains of liberty under law should be the practice of all who desire a localism to take root absent the encroachments of government regulations and bureaucratic protocols. His ultimate aim is a return to a local and personal focus of society that would eviscerate the power of state-sanctioned intrusions into the most intimate areas of life. His is a quiet revolution – a return to a simpler time when the so-called progress of the technocratic age did not stifle creativity and regulate life’s closest relationships.

At bottom, Esolen’s vision is closely bound with nostalgia – a very dangerous and forbidden place to linger for very long. Holy Scripture warns in Ecclesiastes 7:10: “Say not, ‘Why were the former days better than these?’ For it is not from wisdom that you ask this.” Modern life is just that – modern. While many of the realities Esolen reveals are as dastardly as he describes, the challenge remains to balance the prescription of an escape toward home with an engagement in the public square where policies that once were written by men can be changed by men in restoration of what has been lost.
 

wizards8507

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Esolen recommends a renewed investigation into subsidiarity where “social concerns should be left to the smallest group that can reasonably deal with them, the group that is nearest to the concerns in question.” This comes at his behest for others to be convinced “that the central government’s arrogation of power is illegitimate.”
Sounds like me.
 

Whiskeyjack

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Esolen is a boss. If the Dominicans* at Providence won't protect him from the snowflakes trying to run him out of the school, ND ought to poach him ASAP. His translation of Dante's Divine Comedy is my favorite.

*I'd expect this sort of thing from a Jesuit institution, but not a Dominican one...
 

Rack Em

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Esolen is a boss. If the Dominicans* at Providence won't protect him from the snowflakes trying to run him out of the school, ND ought to poach him ASAP. His translation of Dante's Divine Comedy is my favorite.

*I'd expect this sort of thing from a Jesuit institution, but not a Dominican one...

You'd expect the Godless Jesuits to run him out? Or you'd expect the Godless Jesuits to protect him?
 

Whiskeyjack

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You'd expect the Godless Jesuits to run him out? Or you'd expect the Godless Jesuits to protect him?

To let the snowflakes run him out. That this is happening even at schools run by Dominicans is super depressing.
 

zelezo vlk

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Esolen is a boss. If the Dominicans* at Providence won't protect him from the snowflakes trying to run him out of the school, ND ought to poach him ASAP. His translation of Dante's Divine Comedy is my favorite.

*I'd expect this sort of thing from a Jesuit institution, but not a Dominican one...
The Dominicans don't want the Summa in Prose overshadowing the Summa itself.

Sent from my SAMSUNG-SM-G900A using Tapatalk
 

Whiskeyjack

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Speaking of Esolen, he just published an article in Chronicles titled "Ut Plures Sint":

“I have prayed for you,” said Jesus to the apostles on the night before he died, “that you would be several, even as the Father and I are two.” For the Son, we are told, sees what the Father does, and then goes and does something else. And Saint Paul praised the church at Corinth, hearing that there were divisions among them, while Saint Peter reminded his charges to be sure that there would be a diversity of faiths and baptisms, because after all each person constitutes his own church, and what is good for one might not be good for another. “Hear, O Israel,” says Moses, “the Lord your God is one, but he is not necessarily the one and only.”

“Go,” said the Lord to the prophet Hanniba’al, “and say to King Josiah: Thus says the Lord: I have seen your zeal in tearing down the groves and the booths and the high places, and pouring their refuse into the valley of Gehenna. You have done evil in my sight. What is it to me, if a father or mother should make a child pass through the fire to Moloch? What is it to me, O King of Judah, if the rich man should lie with the girl or the boy in the booths of Asherah?”

For the last three months I have been asking people at my college what the phrase cultural diversity means, if it does not mean “a diversity of cultures thriving all over the world” or “the study of a broad diversity of cultures spanning four millennia and four or five continents,” such as characterizes our besieged program in the Development of Western Civilization. I have bent my brows to solve a linguistic problem. What are we talking about?

We cannot be talking about culture, the thing itself. Why not? For one thing, those who talk all the time about cultural diversity are nominalist in ontology and relativist in epistemology; they do not care much to distinguish the good from the bad, the true from the false, and the beautiful from the ugly. Of course I speak in general terms, but it is still a shock to hear someone, as I have recently, in the same breath insist upon cultural diversity and then resist any attempt to define culture, saying that it means different things to different people, and there’s an end on it. No one who cares about human culture, or about any particular culture, could say such a thing. It is like saying that fidelity to your wife is of utmost importance, and that fidelity has no meaning beyond what you arbitrarily choose to assign to it.

Let us attempt to do what the diversitarians do not do. Let us try to make sense. Culture, says a Jewish rabbi writing for the Orthodox in 1929, is the manifestation of “the divine, in man and through man.” He proceeds to show us how the Jewish lad must allow the Torah to take root in his mind, to form his imagination, and to direct his passions, his thoughts, and his deeds. Now that is something I can understand: It is a definition. The rabbi would no more recommend “diversity” in the boy’s prayer and worship than he would recommend that a married man experiment with other women on the side.

Or we might turn to Josef Pieper, in Leisure: The Basis of Culture, and note that a genuine celebration without the gods is unknown in human experience, no matter how tenuous the association may have become. Pieper says that the holy day must be set aside for man’s enjoyment—not merely for physical relaxation so that one may more energetically strap oneself to the treadmill on Monday. This enjoyment, this celebration, is never to be subordinated to pragmatic aims; it is not for anything but itself. It is sanctified, like the space of the temple. Is something like that what the purveyors of “cultural diversity” intend—a proliferation of holy places and holy days, and a turn of the human mind away from economic or social or political work, and toward free worship and song?

The question answers itself. You cannot have a holy place unless you really believe that it is holy, hallowed by God or by one of His appointed ministers. But that is precisely what the diversitarian cannot do. Because he is committed neither to any one culture, nor to the survival of other cultures singularly themselves across the world, he is at best a tourist of the holy, in Rome with the Catholics and on the banks of the Ganges with the Hindus, but not really a part of any of them. At worst he demands that others adopt his indifference, or his hatred of the boundary-drawing force of religion and culture, and that must destroy the very sense of the holy itself.

If culture has not to do with the divine, or with the holy as set apart from utilitarian purposes, we might fall back upon the wisdom of the bittersweet moralist Matthew Arnold, for whom culture is “a pursuit of our total perfection by means of getting to know, on all the matters which most concern us, the best which has been thought and said in the world.” So were Methodists to be elevated by Anglicans with better taste in art, music, and poetry. Such trust in Christian culture apart from Christ would fall to pieces on the fields watered by the Marne and the Saone; nor is any such pursuit intended by the purveyors of “cultural diversity.”

Why do I say so? The pursuit of excellence leans by nature toward an aristocracy of fact if not in law. Someone brought up on Homer’s Odyssey is ready to encounter the Irish Tain Bo or the Finnish Kalevala, without having to accept any political nonsense about their being equally grand, if such a statement can have any meaning at all. I once met a young man who was learning Georgian, the national language of those hardy people living on the slopes of the Caucasus Mountains. When I asked him why, he replied that there was a great but unknown poet there whose work no one in the rest of the world knew, and he wanted to bring the man’s accomplishments to speakers of English. That was all there was to it. He had no political motives. He was himself not Georgian. Is that what the purveyors of diversity want?

If it is, then why do they so continually belittle the classical education that makes such an aim conceivable, and that produces people who could accomplish it? A lover of John Milton can understand the young man’s aspiration. The educational politician cannot, unless the poet’s work can be used for propaganda. That the poet should transform his readers in their pursuit of “total perfection”—that never occurs to the diversitarian, because he is loath to thinking in such aristocratic terms. Otherwise he would have to open himself up to the titanic greatness of a poem like Paradise Lost, rather than dismissing it as the product of a dead man with the wrong complexion. Beauty and political activism do not abide well together. Apollo does not sing about Title IX.

Diversitarians are not interested in the best—but what about ranging abroad in the world? If I browse my copy of six months of The Century, 1885, an all-purpose literary magazine, I see travelogues and geographical appreciations everywhere. Nothing human was alien to the readership of The Century. We go to the arctic coasts inhabited by the Chilcats in Alaska, to Florence and Siena and Pisa, to the summer haunts of artists in the Hudson Valley, to the great Yukon River, to Sussex and Warwickshire, to Indian reservations in the Oklahoma territory, to a hunting and sporting camp in the Thousand Islands, to the wilds of northern Borneo, to Afghanistan and the Khyber Pass, to the old American colonies, to Constantinople and the priest-scholar responsible for the newly discovered Didache, and to an Arctic expedition turned tragic in Smith Sound. These articles are such as would naturally interest people with a classical education, which was inevitably an education into cultures far different from theirs. Aeschylus is not Newman.

But if I browse the catalogue of my college’s Sociology Department, I see no such fascination with cultures. All of the courses focus on the present; cultures of the past have fallen into oblivion. I take as a typical example the description of a course called Sociology of Education:

The main objective is to determine who succeeds and who fails in school and beyond, and why. We study the effects of schooling with attention to cognitive and affective outcomes, the problems of providing equal educational opportunity, the determinants of educational attainment, the controversial issue of tracking, and the effects of non-school-related factors upon student achievement.

What is this “school” they are talking about? It isn’t the one-room schoolhouse of a century ago. It isn’t the Renaissance studio where the boy Michelangelo learned his craft. It isn’t the medieval guild. It isn’t the Greek gymnasion. One might think that a course called Sociology of Education would address what an education is and what it has to do with the human society where we find it—questions philosophical and cultural. Where, here, are the great writers about education and social life? Where are Ruskin, Newman, Plato, and Confucius? It is as if the entire history of man had collapsed into a couple of acres, with an ungainly North Nowhere High squatting upon it like a factory or a toad.

So, too, almost every one of the courses in the department. We might call them “Studies in Liberal Analysis and Political Action in the Current United States with Regard to X”—Urban Life, Women, the Family, and so forth. The courses have nothing to do with history or with culture properly speaking, yet their professors profess to be great proponents of “cultural diversity.”

What then can the phrase possibly mean? The department’s self-description gives us a clue:

The sociology department offers students the chance to examine the world through a sociological lens, which illuminates the connection between individual troubles and public issues. Through active learning and civic engagement, students are challenged to approach their world critically and to achieve a sharper understanding of how inequality, exclusion, and institutions impact both society at large and individual opportunities, experiences, and realities.

Set aside the barbarous prose and the tautology of the first sentence. Everything in that description is a problem—is something to despise, to hate, to wish to wipe off the face of the earth. There is no hint of gratitude for beauty or goodness. There is no sense that any human society must involve compromise. Students are apparently never to study other cultures in order to turn a critical eye upon their own liberal assumptions, particularly the assumption that equality is the sine qua non of human flourishing—a deeply dubious assumption, as any soldier, football player, head of a business, or honest teacher could tell you.

I teach Milton because I love Milton. They teach about “inequality, exclusion, and institutions” because they oppose those things: They are defined not by what they love but by what they hate. Since they have so little by way of cultural knowledge, the thing most available for their hatred is their caricature of the civilization they so relentlessly work upon: They hate what they think is the West. They do not want so much to read the Rig-Veda as not to read the Oresteia. The East or the South is valuable to them not in itself but in its not being Western. “Cultural diversity” does not then mean that you study Palestrina and Zulu polyphony. It means that you apply yourself to contemporary identity politics in the post-Christian and postcultural West, without understanding how thoroughly Western you are. You will listen neither to Palestrina nor to the Zulus, but to some “artist” in California who can be used as a political weapon.

So “diversity” means not that there should be a diversity of thriving cultures across the world, but that this civilization and what is left of American culture should pass away. Since people who want this show little sense of what a culture is, they are cavalier about what is to replace what they hate. That does not matter, nor does it matter whether their prescriptions here destroy cultures elsewhere to boot. Hence the attacks by global organizations against Christian African states whose people are wary of ingesting the viruses that have vitiated the cultures of the attackers.

Here we approach the heart of the problem. Suppose I note the obvious, that the collapse of the natural and God-ordained family in the West has visited grave harm upon the most vulnerable among us, particularly African-Americans. Suppose I then say that feminism has played its part in this collapse, just as the birth-control pill, also celebrated by feminists, has brought on a surge in the incidence of breast cancer. Will the purveyors of “diversity” reconsider their ideological commitments for the sake of millions whose lives are at stake? Will they spare visiting Sodom and Gomorrah upon that part of the world still relatively free of the infection?

Hardly. The watchword now is intersectionality, by which is implied an equivalence between one sort of attributed odium and another: between racism and the desire of every healthy father who ever breathed upon earth that his son might grow into manliness, attracted to women and attractive to them in turn. In other words, if you believe that boys ought to be guided firmly and gently into that natural manhood, to take wives and to beget children by them, and that anything that might derail them with unnatural temptations must be kept out of their sight, you might as well be hanging a racist sign on the water fountain.

After worship, the most determinative feature of any culture is how it comes to terms with sex: the facts of male and female, and their relations to each other and to their children. But the secular West now decrees: For the sake of “gender diversity” there shall be no boundaries, no definitions.

That is an all-eating acid. No culture can contain it.


Some permissions purport to broaden the field of human action but destroy the thing they work upon. I have called it the Nude Beach Principle. If you permit people at a beach to wear nothing at all, then that is eo ipso a nude beach, even if most people refuse the permission. It is now a wholly different place from what it was. It used to be a beach where decent parents could take their children. The permission destroys that. If the permission is extended to all beaches, the result is not more freedom, but far less: a homogeneity of moral nihilism as regards decency. Sexual “diversity” applies the Nude Beach Principle to every culture in the world. The result will be not cultural diversity but a fungal homogeneity, with culture reduced to a few superficialities of dress and cuisine.

Summing it up, then: To its most vocal proponents, “cultural diversity” implies a virtuous hatred of Western civilization, and the global spread of a secular Western ethic as regards sex, marriage, family, and the rearing and education of children. The result will be not diversity but dreary sameness; not jewels gleaming each in its particular character, but mud.

Now we may return to the teachings of Christ and the Church. Christian liberals say that “diversity,” so defined, is compatible with the faith. But it is not compatible with any decent pagan culture, let alone with Christianity. No pagan hates his own home, and the home for Christianity was the world wherein it pleased the Father to send the Son: the particular world of the Jewish faith amid the political and intellectual matrix of Greco-Roman antiquity. You may begin by hating Plato and Aristotle, Aeschylus and Sophocles, Virgil and Ovid, Origen and Augustine; you will end by hating Christ. Nor can any pagan accept the secular West’s sexual disintegration-by-design. To say that it does not matter how the next generation is brought into the world is to say that the future need have no connection with the past, and that is to say that there shall be no culture at all.

Demons can only parody the divine, and we have such a parody here. Jesus commanded the Apostles to go forth and “make disciples of all nations, baptizing them in the name of the Father, of the Son, and of the Holy Spirit.” He did not command them to obliterate the nations. The Church has embraced, cleansed, and elevated cultures: They, though many, can become one in Christ. The secular West has lost any sense of the goodness of human nature and of gratitude to its Creator, but has not lost the universal mission of the Faith. The result is endlessly aggressive and never satisfied, like the rage of Milton’s Satan, which

like a devilish engine back recoiled
Upon himself; horror and doubt distract
His troubled thoughts, and from the bottom stir
The Hell within him, for within him Hell
He brings, and round about him, nor from Hell
One step no more than from himself can fly
By change of place.
Ah, but they don’t read Milton anymore, do they?
 

greyhammer90

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Makes sense somewhat considering average age at marriage is consistently increasing.

While I certainly consider myself to be an adult, I don't feel settled at all. I'm eager to get married and "start a life."

This isn't about economic recession, sky rocketing student debt, or altered social norms in the aftermath of the boomers sexual revolution. This is about Wizard feeling superior and getting his "le wrong generation" rocks off.
 

NorthDakota

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Makes sense somewhat considering average age at marriage is consistently increasing.

While I certainly consider myself to be an adult, I don't feel settled at all. I'm eager to get married and "start a life."

Same. I consider myself an adult. But I'm not in a long term job (hopefully), sadly still call my mom and dad for advice about simple things, and I'm unmarried.

Looking forward to being a hubby and dad hopefully relatively soon!
 

wizards8507

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This isn't about economic recession, sky rocketing student debt, or altered social norms in the aftermath of the boomers sexual revolution. This is about Wizard feeling superior and getting his "le wrong generation" rocks off.
Who pissed in your cornflakes?
 

connor_in

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Oooooh they are so edgy and original...

https://en.m.wikipedia.org/wiki/Jack_Weinberg

"Weinberg is the person who coined the saying "Don't trust anyone over 30". The saying exists in several variants, such as "Never trust anybody over 30". Origination of the saying has been wrongly attributed to Abbie Hoffman, Jerry Rubin, the Beatles, and others.
Jack Weinberg - Wikipedia
Wikipedia › wiki › Jack_Weinberg

Circa November 1964
 

dshans

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<iframe width="560" height="315" src="https://www.youtube.com/embed/qjN5uHRIcjM" frameborder="0" allowfullscreen></iframe>

My ship has sailed.

I'm just not sure if it was the Nina, the Pinta or the Santa Maria.




[Unapologetic Boomer, Unrepentant Hippie]
 
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Whiskeyjack

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Regarding the recent controversy over Pence's use of the Billy Graham Rule, I thought this recent tweet storm (click through to see the rest) from Damon Linker was insightful:

[tweet]847829982676176896[/tweet]
 
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MNIrishman

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This Is Why Our Generation Doesn’t Believe In Settling Down | The Huffington Post

A Facebook friend posted this on his wall. What a garbage article that encapsulates why I'm not a fan of most of my generation. Wiz and Whiskey, you might be triggered.

The author is a sustainability studies major at Furman. She'll be yearning for that picket fence home when she lives in a studio and can't afford both student loan payments and groceries on a barista's income.
 

Whiskeyjack

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The NYT's Ross Douthat just published an article titled "A Requiem for 'Girls'":

The romance between this newspaper and the HBO show “Girls” is somewhat legendary. Between its debut in 2012 and its finale last Sunday, according to some exhaustive data journalism from The Awl, The New York Times published 37 articles about the show, its fans, its creator and star, Lena Dunham, plus her co-stars’ clothes and paintings and workout routines and exotic pets.

Except, fact-check: I made up the exotic pets, and The Awl’s list unaccountably failed to include my own contribution to The Times’s Dunham-mania, a love letter to the show’s flirtations with cultural reaction.

Was some of this coverage excessive? Well, let’s concede that the ratio of thinkpieces (all over the web, not just in this newspaper) to actual viewers was considerably higher for “Girls” than for, say, “Game of Thrones.” Let’s concede that the media loved to talk about the show in part because it was set among young white people in Brooklyn, a demographic just possibly overrepresented among the people who write about pop culture for a living. Let’s concede that Dunham’s peculiar role in electoral politics, as one of the most visible and, um, creative millennial-generation surrogates for Barack Obama and then Hillary Clinton, played some role in the press’s fascination with her show.

But now that we have the show in full, I think the scale of coverage actually holds up quite well — my own small part in it very much included. Indeed, I suspect that “Girls” will be remembered as the most interesting and important television show of the years in which it ran, to which cultural critics will inevitably return when they argue about art and society in the now-vanished era of Obama.

Of course there are different kinds of cultural importance. Because its audience was small and its characters difficult and unpleasant and its material sometimes weird and often gross, “Girls” didn’t have (and didn’t seek) the kind of aspirational influence achieved by its young-hip-bedhopping-urbanite predecessors “Sex and the City” and “Friends.” Nor did it inspire the obsessive viewer love and endless imitators of Golden Age of Television™ dramas like “The Sopranos” and “Mad Men.” It was a niche taste with a niche audience; nothing substantial in American culture or the television industry was altered by its episodic story.

But it was the equal of the prestige dramas and superior to “Friends” and “Sex and the City” as a scripted-acted-shot achievement, and reliably funnier (in a wince-inducing way) than any of them. And as a mirror held up to American culture, it showed something very different than its prestige-TV peers, something equally important and arguably more forward-looking and distinctive.

The typical prestige drama, from “The Sopranos” onward, has been a portrait of patriarchy in extremis, featuring embattled male antiheroes struggling to maintain their authority in a changing world or a collapsing culture. Usually these stories are set somewhere Out There, in landscapes alien to the typical liberal-ish prestige-TV viewer: In flyover country, in copland and gangland, in George R.R. Martin’s Westeros, among Mormon polygamists, on Madison Avenue in the last days of the WASPs.

Tony Soprano pining for the days of Gary Cooper set a tone for all these stories, which then echoed and re-echoed in the Louisiana swamps of “True Detective,” the New Mexican borderlands of “Breaking Bad,” the halls of Sterling Cooper Draper Pryce. Again and again the viewer watched a male protagonist trying to be a breadwinner, paterfamilias, a protector and savior, a Leader of Men; again and again these attempts were presented as dangerously alluring, corrupting, untimely and foredoomed. In certain ways the medieval arc of “Game of Thrones” — in which the noble-but-naïve patriarchy of Ned Stark gives way to the toxic patriarchy of warring kings, with Daenerys Targaryen and her dragons waiting to sweep it all away — distilled the whole prestige-drama project to its fundamental archetypes: nostalgia for male kingship, fear of bad kings, a certain satisfaction at the patriarchy’s inevitable fall.

On “Girls,” though, something very different was going on. The fall of patriarchy had basically happened, the world had irrevocably changed … and nobody knew what to do next.

This (and many other things) distinguished the show’s storytelling from the superficially similar “Sex and the City,” in which the remains of the patriarchy still provided a kind of narrative order. In theory the women of “Sex” prized their freedom and their friendship more than men — but they were also oppressed by and obsessed with toxic bachelors, they still pined for Mr. Big, and they ultimately settled down with decent working-class guys or gorgeous male models or nice Jewish lawyers or Big himself.

But “Girls” was a show in which any kind of confident male authority or presence was simply gone, among most of the older characters as well as among the millennial protagonists. The show’s four girls had mostly absent fathers (the only involved and caring one came out as gay midway through the show) and few Don Draper-esque bosses to contend with. The toxic bachelors they dated were more pathetic than threatening, and the “sensitive” guys still more so; even the most intense relationships they formed were semi-pathological. A few men on the show (the oldest of the younger characters, most notably) exhibited moral decency and some sort of idealism, a few were genuinely sinister — but mostly the male sex seemed adrift, permanently boyish, a bundle of hormonal impulses leagues away from any kind of serious and potent manhood.

Meanwhile the girls themselves were all, to varying degrees, antiheroic: as self-destructive and narcissistic in their way as the embattled patriarchs familiar from other HBO productions. (Though, yes, rather less murderous.)

From the beginning, the unattractiveness of their behavior inspired some queasy responses to the show from liberal and feminist critics, and some celebratory rejoinders about how the freedom to make a mess — sexually and otherwise — is the central freedom that feminism sought to win.

Probably the latter interpretation was closer to the showrunners’ conscious intent. But successful art has a way of slipping its ideological leash, and the striking thing about “Girls” is how the mess it portrayed made a mockery of the official narrative of social liberalism, in which prophylactics and graduate degrees and gender equality are supposed to lead smoothly to health, wealth and high-functioning relationships.

In large ways and small the show deconstructed those assumptions. The characters’ sex lives were not remotely “safe”; they were porn-haunted and self-destructive, a mess of S.T.D. fears and dubiously consensual incidents and sudden marriages and stupid infidelities. (Abortion was sort-of normalized but also linked to narcissism: The only character to actually have an abortion was extraordinarily blasé about it, and then over subsequent episodes revealed as a monster of self-involvement.) Meanwhile the professional world was mostly a series of dead ends and failed experiments, and the idea that sisterhood would conquer all even if relationships with men didn’t work out dissolved as the show continued and its core foursome gradually came apart.

Real adulthood did await for Dunham’s character, Hannah Horvath, at the show’s conclusion. But the form it took was almost too heavy-handed in its traditionalist definition of a woman’s growing-up: an unplanned pregnancy, a baby, the absolute obligations of motherhood trumping the trivialities of freedom.

True, this was motherhood solo, without a mate or male provider. But the male absence felt more like a signifier of masculine failure than feminine empowerment: After a lecture from an older gay man about how large a father’s absence can loom, Hannah tried to involve the father in the baby’s life, and he ducked out pathetically; the offers from other men to help raise the child dissolved, and what remained as the show ends was a kind of informal and fractious matriarchy — Hannah and a friend and her mother off Upstate with her infant son, like a tribe of refugees waiting for civilization to reform.

Of course the real-life civilization they are part of just elected Donald Trump as president, making all those prestige-drama portraits of toxic patriarchy seem quite relevant to our circumstances again, and the travails of life under social liberalism a little less immediately pressing.

But the wheel will turn again, and the relevance of “Girls” will wax as it does. There are many ways to capture our society’s complicated reality; the urban white liberal Brooklynite milieu is indeed, as the show’s haters always stood ready to remind us, a pretty narrow slice of American and Western life.

But then again so is the New Jersey mafia or Madison Avenue in its heyday or the Albuquerque drug trade. If those slices, in their different ways, embody the allure and pathologies of old-school male power, the slice that “Girls” portrayed (with, yes, caricature as well as realism) embodies a stronghold of the egalitarian alternative that cultural liberalism aspires to spread to everyone.

And the genius, and resonance, and staying power of Lena Dunham’s show rests not only on its artistic quality but on its message to its mostly liberal viewers: You do not have this alternative figured out.
 

wizards8507

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greyhammer90

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I don't entirely disagree as I've always been a bigger fan of the classics, though I think that video is pretty lazy in its comparisons and in the way it dispenses it's opinion. (The Statute of freaking David versus a piece of art that is only moderately and recently famous for controversy, lots of absolutes used by the speaker, that silly "scientific" graph showing artistic skill taking a nose dive recently)

A rebuttal, for the sake of it:

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