Even in an epic poem, some scenes are more epic than others, and a few scenes just blow the top of your head clean off. The Iliad is packed with those scenes, and this week I’m bringing the five greatest hits to a theater near you. This is part two of my five-part series dusting off the awesome in the Iliad — last week I laid out the poem’s ten nastiest deaths. This week, I want to dig in a little more and think about one of the poem’s core ideas: heroism. What makes a hero? It’s a question we’re still asking, but Homer knew better than anyone what turns a man into a legend. So here they are: the Iliad’s five most intense scenes (each with my own translation, which you can read by clicking on the title), and some comments on the image they carve out of what it means to be awesome. Get out the popcorn.
When the gods go to war, you get your sorry self out of the way. Ares especially is the jacked-up juggernaut of them all, a bristling mountain of rusty bronze blades and throbbing muscles fueled by a raw thirst for carnage. But the Greek hero Diomedes charges full-tilt into Ares’ onslaught — an unheard-of and suicidally ballsy move. When the dust clears, Diomedes has done the unthinkable: he’s scored a hit and drawn divine blood. In the standoff that follows, Ares stares down the human who dared to stand up to him and retreats into the darkened sky.
The adjective “iconic” is criminally overused, particularly by enthusiastic but historically illiterate youngsters.
However, for many old fogeys, the photograph above actually deserves that designation.
Just check out that badass Rasta, striding fearlessly, even casually, toward a line of (probably) white London cops.
He’s alone, but this is his neighborhood, not theirs, so why should he cower, despite the menace hovering in the air?
Surely something has exploded, gone horribly, fatally wrong — or is just about to — beyond the frozen boundaries of this picture, which seems to be holding its breath, like an enjambed line of poetry.
Although this photo was taken in 1976, it seems weirdly timeless, yet timely, especially in the wake of Ferguson.
And it is, except not for the reason one might expect.
See the previous installment in Susan’s Dudeism series: How to Become an Official Dude in 10 Easy Steps
Warning: Given that the f-bomb is dropped in The Big Lebowski over 200 times, some of these clips will most likely be NSFW.
10. Abiding is a science as well as an art.
Patience is an inherent aspect of abiding. Other definitions include “to endure without yielding,” “to accept without objection,” and “to remain stable.” In the world of the Internet and social media technology, abiding is an anachronistic action. We have been shaped by our media to function at rapid speeds. One of the biggest goals of Common Core is to increase the speed at which students mentally process information. Not study, analyze and comprehend, but process and regurgitate the way they would like and share a Twitter or Facebook post. Abiding flies in the face of today’s high-speed reactionary culture.
10. Watch The Big Lebowski a minimum of 3 times.
The first time you watch Lebowski, encounter the film fresh and unfettered. Invite a friend or two over. Make it a casual affair and, if you can, do a double feature. Watch The Maltese Falcon beforehand so you have some understanding of how incredibly screwed up the plotline is going to be. The second time you watch Lebowski, do so with a Caucasian in hand. Immerse yourself in the experience, not as a moviegoer, but as a key aspect of the mise en scene. Discover your favorite quotes. By your third go-round, call in sick, lounge in your bathrobe, and when your friends say, “You wasted a sick day on that movie?” respond with, “Well, that’s like, your opinion, man.” Be sure to obtain the collector’s edition and review the special features for complete immersion.
Whether you’re seeking salvation or inner peace, a god to worship or add to your home-made altar, the pop culture pantheon is at your disposal so that you may pick and choose the gods and tools of worship to service your every emotional, spiritual, and even material need.
10. Harry Potter
When they aren’t re-reading their holy texts, Potterheads commune at MuggleNet to chat about their god, study their faith and perform the usual acts of tithing. According to the Facebook page “Being a POTTERHEAD” (which is classified as a non-profit organization),
Harry Potter has reached out to 200 countries, spoke out in 69 languages, and has touched the lives of 400 million people. It is the phenomenon that ignores race, age, gender and religion and has brought us all together despite our differences.
Also known as Potterholics, Potterites and Pottermaniacs, Potterheads should never be confused with potheads as their allegiance is strictly Wizard, not weed.
10. If guys didn’t look like heroin-addicted street dwellers…
Before committing suicide, musician Kurt Cobain copyrighted the grunge look that came to define Gen-X/millennial crossovers in the ’90s. A reaction to the preppie style made famous by ’80s yuppies, grunge involved a level of disheveled that transcended even the dirtiest of ’60s hippie looks. Grunge trademarks included wrinkled, untucked clothing complemented by greasy, knotted hair and an expression best defined as heroin chic. The style depicted an “I don’t care” attitude that took punk’s anti-authoritarian attitude to a darker, more disengaged level. Grunge became the look of resigned defeat among American males.
Editor’s Note: Since March, PJ Lifestyle has been highlighting some of the most innovative fiction writers at the recently-launched new media publishing platform Liberty Island, featuring interviews and story excerpts. Click here to see our collection of 24 so far. We’re going to continue periodically introducing new contributors but now we continue a new series featuring many of these writers talking about their upcoming books and dialoguing about this question:
“Liberty Island has identified itself as the home of the new counterculture. In what ways does your book exemplify this?”
To learn more check out this interview Sarah Hoyt conducted with CEO Adam Bellow: “It also has a unique mission: to serve as the platform and gathering-place for the new right-of-center counterculture.” Also see COO David S. Bernstein’s recent essay here in which he defines Liberty Island as, “an imaginative playground where brilliant and creative people can test their ideas without being harassed or threatened by the new breed of ‘community activists’ who police thought and speech in the media.” Bellow’s new cover story at National Review, is also out this month: “Let Your Right Brain Run Free.” Finally and importantly, support Liberty Island’s crowd-funding efforts here where you can pre-order the upcoming novels and learn about other incentives.
See Part 1 with Michael Sheldon’s answer here.
With daily examples of a once great culture circling the drain, it becomes increasingly hard to imagine that things could be different. But let’s try. What might a society that celebrated beauty, excellence, and community instead of slowly strangling those things look like? How would it feel to live in a society whose people were worthy of one’s best efforts? And what would such people be like?
I envision such a society in Steam Pointe, a series of linked stories that Liberty Island will soon be publishing. Technology can’t hide any decline in the island nation of Steam Pointe. It’s a place that has taken 19th Century industrialism to its steampunk zenith, even as the rest of the world has forsworn airships, Tesla coils, and steam engines for airplanes, computers, and internal combustion.
When international terrorism arrives on his country’s shores and Steam Pointe’s own domestic supervillains begin staging attacks in America, detective Hiram Speer finds himself partnered with FBI agent Mackenzie Hoff. Yet chasing killers beneath Steam Pointe’s zeppelin-blotted skies, the two find their cultures in conflict: manly versus feminized, confident versus declining.
The Pointers’ manners, machines and esthetics are like something out of a Jules Verne-fever dream. Yet this is only the outward manifestation of their alienation from the contemporary United States — the nation their ancestors fled. For its part, America increasingly regards this bizarre place of technological apartheid and traditional gender roles as little better than a rogue regime.
With both their nations and their world views in opposition, will Speer and Mackenzie be able to work together to stop a common threat? Does either one of them even want to save the other’s homeland? And what are their respective nations’ agendas in this cultural cold war?
The fictional Steam Pointe is a culture counter to our own. The Steam Pointe series then is part of a growing counterculture that looks at the present order and asks, “Does it have to be like this?”
It doesn’t. And it won’t always be. As we look forward to the prospect of a re-forged society, come to Steam Pointe and get a feel for what it might be like to live someplace built on beauty, excellence, and community. Enjoy a terrific adventure while taking added pleasure in committing an act of cultural sedition.
See Stephen’s PJ Lifestyle post:
And his political posts at the PJ Tatler:
And his interview and story excerpt at PJ Lifestyle:
image illustration via shutterstock / Kiselev Andrey Valerevich
I’m sick of this post. Not the specific post, “The Stay At Home Mom Conspiracy Theory,” but the gist of the post: career woman goes home and is shocked to find that motherhood is more intense, boring, messy, fractured—difficult, than she thought. That the details and difficulties of motherhood surprise career women is a commonplace complaint that hasn’t quite settled on a cliche to describe it.
“Why didn’t anyone tell me it would be this hard?” she, and countless others, ask. We tried, or at least some of us did. But during their office days, women don’t like to hear about stay-at-home motherhood. First, career women rarely listen to anything that contradicts what they think they know. Second, most stay-at-home moms, when faced with the vacant stare mask of disapproval, stop telling the truth. Much like the author did. (Oh, the confidence gap is not so much a gap as a canyon with many caves and crevices.)
Usually I have more sympathy for women surprised by realities—elder women do withhold a considerable amount of information from younger women—but failure to acknowledge and express some regret about past complicity in the silencing of stay-at-home moms buries my sympathy in annoyance.
I am not one of the SAHMs who stop telling the truth. (I blogged as An American Housewife precisely because I refused to perpetrate the notion of a “mere” or any other “no really, I’m smart”’ adjective modifying “housewife.”) So I offer some truth for after the shock: motherhood doesn’t have to follow the covered-in-spit-up-with-no-time-to-shower format that typically sees women run screaming back to the office in avoidance or plunging into motherhood in full submersion. It can be sane. But to get to sane, women have to stand against conventional wisdom and peer pressure. To use the Mommy Wars analogy, sane is walking though the crossfire and ignoring the bullets as they wiz by. (Don’t worry, they’re blanks.) In my experience, fewer moms want to hear about how to do that than want to listen to facts about motherhood.
There isn’t so much a conspiracy as a crisis of confidence in which women hide behind assumptions or seek safety in numbers. Nothing gets solved. And the same posts get written again, and again, as if it is all a surprise.
image via shutterstock / Gladskikh Tatiana
Warning: Not Safe for Work (profanity)
In his new HBO series Silicon Valley, Mike Judge turns his cutting sarcasm on the wunderkind of Silicon Valley, issuing awesome commentary on 21st century masculinity.
Thomas Middleditch portrays Richard Hendricks, a developer who creates a miracle algorithm with revolutionary file compression capabilities. He is the anti-Don Draper: a skinny, nervous twenty-something dressed in cargo pants and a hoodie; Hendricks is the lost member of the Big Bang Theory click. He lives with two other computer geeks in “the incubator,” a house owned by the overtly obnoxious yet humorous Erlich Bachmann (hysterically portrayed by T.J. Miller), whose app, Aviato, has turned him into one of the many tech venture capitalists in Palo Alto.
Hendricks turns down a 10 million dollar offer from his tech guru boss Gavin Belson, owner of the fictional Google-ripoff “Hooli,” who is anxious to purchase the miracle algorithm. Instead, Hendricks elects to accept eccentric investor Peter Gregory’s offer of $200,000 for 5% of his start-up company, Pied Piper. It’s the best argument for capitalism and small business being made on television today. In electing to start his own business instead of running with the cash, Hendricks inspires his fellow nerds and is forced into maturity. Within the first three episodes he transitions from panic attacks to developing a business plan and entering his first series of negotiations.
With his 1999 hit Office Space, Judge issued a powerful statement about the death of masculinity in the corporate world. With Silicon Valley, his declaration is refined into a statement about how the free market can be used to empower men — primarily nerdy white guys and the Asians who hang with them. In the first episode, Hendricks declares:
Look guys, for thousands of years, guys like us have gotten the sh*t kicked out of us. But now, for the first time, we are living in an era where we can be in charge and build empires. We could be the Vikings of our day.
Judge also takes sharp jabs at the men who propagate corporate culture. Hooli’s Gavin Belson is a “global”-minded laughable yuppie with a Messiah complex who is “committed to social justice” and keeps a “guru” around to remind him how wonderful and unique he is. “If we can make your audio and video files smaller, we can make cancer smaller,” he proclaims as he races to compete with Pied Piper’s formidable nerds.
It will be interesting to see how women are treated within the show. In episode 3, Bachmann (who wears a shirt that reads “I know H.T.M.L.: How To Meet Ladies”) orders up an exotic dancer as a “gift” to reward the Pied Piper crew. The guys retreat to the kitchen, anxious to avoid an awkward scene. The one guy who she manages to trap declares his love for her, and is later found hanging out at the dancer’s home… playing video games with her children.
The series is peppered with Judge’s raunchy humor, but unlike Family Guy it is relatively sparse and works to advance instead of interrupt the story. The Big Bang Theory may have ushered in the era of the nerd, but Silicon Valley is taking America’s love affair with geeky guys and masculinity to a newer, deeper, and much-needed level of respect.
Pilot Episode, Scarecrow & Mrs. King (1983)
I dig spy movies. TV shows, too. Most kids growing up in the last decade before the fall of the Berlin Wall have fond memories of their first TV heroine being Jem or She-Ra. Mine was Amanda King. At 8 years old I wanted to partner up with an ultra-cool spy like Scarecrow (code named as a member of the Oz Network - as in Wizard of) and take down the Evil Empire in our midst. So, of course, when my editor Dave Swindle approached me with the opportunity to partner up with KGB defector Lt. Gen. Ion Mihai Pacepa for a little intelligence gathering, how could I refuse?
Pacepa’s latest book, Disinformation reads like a Russian epic. The chronicle of facts detailing the Soviet disinformation campaign that disarmed American intellectual, political and academic circles over the course of the 20th century should be a must-read in any conservative’s common core. Having relied on it heavily for my PJ Lifestyle series on the Intellectual Love Affair with Marxism, I finished the book wanting to understand exactly where America is at on the road to socialism, and if the facts fit, why so many conservative outlets hesitated to give Pacepa’s book the time of day. So, I began my interview with 15 questions; a few weeks later Pacepa sent me a 12 page reply to the first question on the list. Tolstoy would’ve been proud. ”I’m out of touch with this generation… you speak their language,” he commented rather poetically. He also gave me an assignment: to decode his knowledge into what the Dude would call “the parlance of our times.”
Like Jay Carney, I have an affinity for the Soviet spectrum. Unlike Jay Carney, the goal of my interest is to avoid becoming a citizen of the next socialist empire to tear apart the globe. So, in the interest of achieving that goal, I seek out primary sources who can give me real information on the warning signs that appear within a culture whose political and popular leadership are driving them dangerously close to the brink of socialism with the goal of autocracy in mind.
The prophet said, “Stop at the crossroads and look around. Ask for the old, godly way, and walk in it. Travel its path, and you will find rest for your souls.” God has designed a path; we choose to walk down it and eventually realize what we’ve been preparing for all along. My path began in front of a TV and wound up here, in front of a screen that connects millions today with seemingly ancient truths. I invite you now to walk this yellow brick road with me as we study Pacepa’s seeds of truth and, perhaps, get a chance to plant a few of our own so that we can all find the rest we so desperately need.
Editor’s Note: “Part 1: The Mask of Marxism” is scheduled for Monday at 8:00 PST.
…no one who doesn’t already believe in God will go see Son of God. And many who do believe in God and who do go see it are, like me, plopping down $14 or $15 purely from a sense of solidarity with the well-intentioned creators of such projects. There are other, better “Jesus movies.” A dramatic reading of some of the more risqué and exciting parts of the Bible by the likes of Morgan Freeman would interest me more than sitting through Son of God again.
And while neither option likely interests your secular, non-religious co-worker, neighbor, or relative, all of them will go see something like Darren Aronofsky’s Noah. This is why I, as a Christian, am infinitely more excited about Noah than any other “faith-based” film in a long time – regardless of the theology or worldview found in it. I can actually talk to my non-Christian friends about it because they will actually pay U.S. currency (or BitCoin) to go see it.
…what I am suggesting is that while we work to inspire and equip new generations of artists who share our values to boldly venture into the pop-culture fray, we must not miss opportunities to introduce our worldview into the cultural conversation. … Art has the power to transcend and speak to the soul. But it must be able to meet people on their level before pointing them upward.
Upon first read I knew Moeller went out on a limb with his commentary, precisely because what he says is the truth. And truth doesn’t always gel with religious dogma; I’m a Jew, I should know. One advantage I do have over my Christian brothers when it comes to faith is that my Jewish culture encourages — and is built on — wrestling with God’s word. These matches stray far from the polite scenarios common to gentile Christian faith. However, they have resulted in a similarity between us, in that they have developed and sustained a religious culture that reveres commentary as much as the actual Word of God.
Last week, alternative media mogul Glenn Beck announced that he was going to focus on “taking back” American culture through the power of nostalgia:
In the future, Glenn Beck’s focus is going to be more on influencing culture and less on politics and news. After all, news is only “what the culture allows,” he said in a recent interview with National Review’s Eliana Johnson.
…“Beck is nostalgic for an America of decades past, and his cultural projects will aim to resurrect and revive it,” Johnson writes. “It’s an America where duty trumped desire and Americans were bound together by a sort of civic religion created by that sense of duty. ‘I want to impact the culture in the way that people see good again,’ [Glenn] says.”
Beck’s goal is admirable, to a fault. The period he seeks to resurrect was one in which concepts like “good” and “duty” were defined by a Biblical religion, not a civic one. Any history student will tell you that Marx had his own take on the American Revolution; you can show someone Frank Capra movies until you’re blue in the face and they’re still going to see Mr. Smith as the ultimate community organizer if that’s their moral outlook.
As Amy Kenyon notes, there are pitfalls to what passes for nostalgia these days:
…the historical meanings and usages associated with nostalgia were finally mangled beyond recognition until its chief purpose became the performance of sentimentalism, the parceling out of discount memory via television, advertising, heritage theme parks, and souvenir markets, all aspects of what we might call the “nostalgia industry.” As such, nostalgia became kitsch, trivial and reactionary: hardly the stuff of a meaningful engagement with the past or the workings of memory.
Simply put: Glenn Beck needs to do more than embrace the facade of America, circa 1940. Beck needs to dig deeper, to America’s Biblical heritage, to understand what re-taking the culture truly means.
A year or more ago I heard about this project called Liberty Island, supposed to give those of us whose politics make us pariahs with most of traditional publishing — though not Baen Books — a haven where we could meet our fans. I keep meaning to contribute to them, but of course, the last year I spent more time sick than well, and consequently I’m so far behind on books and contracts, I can practically see myself around the corner.
Well, they are up now (and have a story by Frank J. Fleming). And I’ve secured an interview with Adam Bellow, Liberty Island’s publisher and CEO. Bellow is a longtime nonfiction editor, currently running Broadside, the conservative nonfiction imprint of HarperCollins. He is also the author of In Praise of Nepotism, a lively contrarian take on an eternally divisive topic.
And, yep, sure, as soon as I get a weekend to pound it out, I’ll do a novella for Liberty Island.
Sarah Hoyt: I heard of Liberty Island back when it was in the planning stages. I understand it is an online magazine-cum-community center for writers and readers on the right side of the spectrum. Is this true? What do you want to tell us about Liberty Island?
Adam Bellow: We started Liberty Island to help the new wave of conservative storytellers connect with their natural audience. Even before launching the site we’ve discovered dozens of new voices on the right that you won’t find anywhere else. These are talented and creative people who have previously been excluded from mainstream culture because they hold the wrong views and didn’t go to the right schools or attend the approved writing programs. This just confirms our hunch that something like Liberty Island is desperately needed.
SH: Who is the audience for Liberty Island? What is “conservative fiction”? Shouldn’t good stories just stand on their own?
AB: Great literature stands on its own, but the productions of popular culture often carry a hidden freight of ideology that reflects its authors’ biases. Sometimes not so hidden — the evil conservative businessman is essentially the default villain in Hollywood these days. But think about what happens when great stories are told from a conservative perspective: you get Tom Clancy, or Brad Thor, or James Patterson, or Vince Flynn. Mega-bestselling authors with a huge following. Our audience is anyone who loves great pulp writers like those guys. At Liberty Island you will find dozens of stories like these, in genres ranging from humor to thriller to SciFi. These writers aren’t heavy handed in the least – their conservative outlook is sometimes explicit but just as often merely implied or completely submerged. Besides, a case can be made that traditional pulp genres are inherently conservative.
SH: In what way do you intend to distinguish yourself from other online magazines?
AB: Liberty Island combines a magazine, a free range self-publishing platform, and a community of readers and writers who share a commitment to the values of freedom, individualism, and American exceptionalism. It also has a unique mission: to serve as the platform and gathering-place for the new right-of-center counterculture.
SH: What made you think of the project – and commit to it and work so hard for it?
AB: Two things: first, an impulse to carry the culture war into the field of popular culture. And second, the writers themselves. In 25 years as an editor of nonfiction books I’ve watched the conservative intellectual project thrive and flourish. But like others on the right I’ve been dismayed by the slowness of conservatives to challenge the liberal dominance of popular culture. It’s not enough to carp and criticize the frequently substandard and offensive crap that liberals produce. As Andrew Breitbart used to say, we have to make our own—and it has to be good. But recently we began to notice an exciting development: hundreds, indeed thousands of conservative and libertarian writers were seizing the opportunity afforded by new digital technologies to produce and publish original works of fiction. Others were making music, video, graphics, and other forms of entertainment right on their laptops at home. These were ordinary men and women all over the country, working in isolation, doing their best to hone their art and find an audience. Yet no one seemed to know that they existed. So we started talking about what we could do to help them. Liberty Island grew out of those discussions.
Last weekend mysterious posters of Sen. Ted Cruz (R-TX) appeared in various locations around Beverly Hills. The posters featured an image of Cruz’s head — complete with a cigarette hanging out of his mouth — photoshopped onto a heavily inked torso. The headline on the posters read, “Beverly Hilton: Ted Cruz’s So-Cal ‘Blacklisted and Loving It’ Tour.” Cruz was in California last weekend to speak at the Claremont Institute’s Churchill dinner.
The story went viral, appearing in media outlets as diverse as Drudge, Breitbart, Time, and Huffington Post. Most of them applauded Cruz’s sense of humor when he tweeted: “Saw this, but noticed an error. So I wanted to make one thing clear: I don’t smoke cigarettes.” Cruz later signed a poster that turned up in his dressing room before the Churchill dinner with “The fight for liberty never ends.”
By Saturday morning the Twitterverse was demanding to know who was behind the posters — where could people buy them and would there be t-shirts?
We now have answers to these questions and in an exclusive interview with PJ Media, Sabo, the artist who created the Ted Cruz bad boy posters, tells the story behind them and talks about using street art as a way to take political messages to those who won’t traditionally listen to the Right.
Sabo, an articulate and in-your-face 46-year-old street artist, former Marine, and self-professed Hollywood Republican, grew up in Texas and Louisiana. His Twitter profile says, “I am not a Left-Wing-Zombie-Artist. I am on the edge, the only true rebel artist in LA.” According to his website, UNSAVORYAGENTS (where he’s currently selling Cruz posters), Sabo believes the Right has a great message, but he is frustrated that the Republicans refuse to counter attacks from the Left. He thinks those on the Right are not very well-educated or equipped in fighting back. “A lot of times we simply can’t because they own so many platforms. I find that frustrating,” said Sabo.
He is aiming to change that, one poster at a time.
Editor’s Note: This article was first published in three parts in April and May of 2013. It is being reprinted as part of a new weekend series at PJ Lifestyle collecting and organizing the top 50 best lists. Where will this great piece end up on the count-down? Reader feedback will be factored in when the PJ Lifestyle Top 50 List Collection is completed in a few months…
The “Academy of the Overrated” scene in Woody Allen’s Manhattan (1978) is meant to get us to hate Diane Keaton just before Woody Allen changes his mind and falls into bed with her.
Yes, as Mariel Hemingway’s character puts it, Keaton and her beau are “creeps” — but mostly because their “academy” inductees are so gauche, as is their decision to inflict their pretentious pillow talk onto hapless acquaintances on a public sidewalk.
Let’s face it:
Some artists really are overrated, especially today when words like “genius” and “classic” (and the current go-to empty-calorie adjective “iconic”) have been neutered by lazy, know-nothing writers.
First, we prick the inflated reputations of 5 rock and pop stars with XY chromosomes and little else to recommend them.
#5: Pink Floyd
Let’s tackle Roger Waters’ reputed antisemitism first, since it lets me put off having to actually talk about his dreadful “music” for a bit.
Waters made news most recently when New York City’s famous 92Y, under pressure by Jewish groups, cancelled his scheduled lecture.
I’m not a fan of anybody trying to get someone else’s public appearances cancelled, and not just because it’s happened to me.
What’s unusual about this particular instance, however, is that critics’ “accusations” against Waters are true.
Some will object that “anti-Zionism isn’t necessarily anti-Semitism” and if we existed on a pure and sterile plane of Platonic forms, they’d be right.
But here on planet Earth, anyone who’s engaged a rabid “anti-Zionist” in “conversation” knows that within moments, their opponent will slip up and spit out some slur upon “the Joooozzzz!!!”
I save myself time and simply assume that long-time anti-Zionists are Jew-haters, because life is too short and I have laundry and stuff to do.
Those who grew up with Pink Floyd’s 1979 double album “The Wall” will remember it as the perfect antidote to the crueller aspects of teenage life. Chronicling the mental breakdown of a pop star, the rock opera rages against suffocating parents, tyrannical teachers and social conformism. The story concludes with the hero hauled before a nightmarish court, where everyone in his life testifies as an adversarial witness. Before the defendant can say a word in his own defense, the judge bellows a guilty verdict: “The evidence before the court is incontrovertible. There is no need for the jury to retire!”
I was reminded of this scene Saturday while attending a session in New York of the Russell Tribunal on Palestine, a self-appointed people’s court that has met periodically since 2009 to sit in judgment of Israel. (…)
Another reason to be reminded of “The Wall”: Roger Waters, Pink Floyd’s chief lyricist, was a member of the jury.
It was ubiquitous in my steel mill home town — a whining drone blaring from every paneled suburban basement and tricked-out Chevy van.
But those of us who’d discovered punk wanted nothing to do with the overproduced bellows of millionaire dinosaurs like Pink Floyd.
That doesn’t make Pink Floyd’s music any more palatable, however.
Had their efforts been presented matter of factly, I’d give them a pass.
But every Floyd album was held up by under-read, musically unsophisticated teenage boys as a deep, profound commentary on society (man!!!) as well as an example of superior performance and production.
They’d show off their stereo system using Dark Side of the Moon, sounding like Joe Pesci in Goodfellas:
“Check it out! One instrument comes out one speaker, and another instrument comes out the OTHER speaker!!”
Have you, now a sober adult, actually listened to Dark Side of the Moon lately?
Can you scrape off enough encrusted nostalgia to acknowledge that album’s sheer awfulness?
And while those Wizard of Oz weirdies aren’t Floyd’s fault, they’re not helping matters, either.
When I scream “The Who are better than that stupid band you like,” I’m thinking about Pink Floyd first and foremost.
Beatles-themed sensory overload: That is how to describe The Fest for Beatles Fans in New York City, held from February 7-9 to commemorate the 50th anniversary of the Fab Four’s appearance on The Ed Sullivan Show. What’s it like roaming a Fest that fills four floors of a New York hotel with musicians, historians, artists, authors, yogis, meditators, the famous and well over 8,000 fans from 40-odd states and five continents? Take a look at a day in the life of The Fest.
Beatles author and historian Bruce Spizer opened Saturday with a presentation on how the Beatles conquered America, no thanks to Dave Dexter, Jr., the Capitol Records guy who rejected hits like ”Love Me Do” and “Please Please Me” because they had “too much harmonica.”
Dear Prudence Farrow spoke about her spiritual journey in India with the Maharishi and the Beatles before leading an introductory transcendental meditation session. The room, dubbed the Ashram for the occasion, was so packed that more chairs had to be brought in for the standing room only crowd.
Good Ol’Freda Kelly, secretary to Brian Epstein, manager of the Beatles, and president of the original Beatles fan club, is signing autographs! Quick, get in line!
Still down to earth after all these years, Freda hates being the center of attention but enjoys being with the fans. Her grandson, a toddler, was happily drawing next to her. “Would you like Nile’s autograph?” she casually asked, to which I happily agreed. Good Ol’Freda is the Queen of Beatles Fans: regal, royal, lovely. Her documentary Good Ol’ Freda is a must-watch.
We on the Right may find ourselves tempted at times to look at the failures of Obama’s presidency and think that we’ve won. We may think that we’ve proven, once and for all, that stifling statism and stealth socialism cannot prevail in America.
Have you stopped to think that what we think of as failures may instead be part of a grand radical strategy? Former Florida Congressman Allen West has, and he shared his thoughts on Fox News:
West, a Republican, said he recently reread the Cloward-Piven strategy, proposed by two sociologists and political activists in 1966. The purpose of the strategy, offered to Democrats at the time, was to overload the welfare system so that people could be given “a guaranteed annual income and thus an end to poverty.”
Obama’s economic policies may be intended to do something similar, West hinted during a Wednesday appearance on Fox News Channel’s ”On the Record with Greta Van Susteren.”
“We’re seeing an incredible growth of the welfare nanny state; we’re seeing the poverty rolls explode; we’re seeing the food stamp rolls explode; we’re seeing more dependency on government largesse and programs,” he said. “We’re seeing a desperation and a despondency out there that’s being created by this administration.”
Authors Richard Andrew Cloward and Frances Fox Piven proposed a plan to end capitalism quickly by overloading bureaucracy with dependents so that the system would collapse under its own weight.
They proposed a “massive drive to recruit the poor onto the welfare rolls.” Cloward and Piven calculated that persuading even a fraction of potential welfare recipients to demand their entitlements would bankrupt the system. The result, they predicted, would be “a profound financial and political crisis” that would unleash “powerful forces for major economic reform at the national level.”
Their strategy involved a radical tactic known as community organizing (sound familiar?) to whip the poor into a frenzy and drive them on to welfare rolls. Voting-rights drives and a push for a “living wage” factored in to the Cloward-Piven strategy as well. Cloward and Piven were also reportedly behind the controversy in the 2000 presidential election.
Does all of this sound far fetched? Bear in mind that, like President Obama, Cloward and Piven were disciples of Saul Alinsky.
I sure hope I’m wrong, but if Obama’s policies thus far are part of a Cloward-Piven styled strategy, 2014 is more crucial than ever in terms of stemming the tide of stealth socialism.
She is an unabashed liberal. In a culture increasingly governed by Marxist Nomenklatura masking itself as “liberal”, conservatives should be bold enough to reclaim that much maligned political descriptor as one of our own. We are, after all, the ideological descendants of classical liberals, making the outspoken once Liberal Democrat, now Libertarian Camille Paglia the perfect match for contemporary politically conservative feminists.
Can’t possibly imagine the lady who, even when she smiles, gives you a look that says, “I know you’re full of s**t,” could possibly fit in the ranks of the right wing? Here are 10 reasons why you need to throw out the stereotypical baby with your lukewarm bathwater thinking and get hot for the fast-talking, heavy thinking, pop culture-loving Camille Paglia.
“The entire elite class now, in finance, in politics and so on, none of them have military service—hardly anyone, there are a few. But there is no prestige attached to it anymore. That is a recipe for disaster,” she says. “These people don’t think in military ways, so there’s this illusion out there that people are basically nice, people are basically kind, if we’re just nice and benevolent to everyone they’ll be nice too. They literally don’t have any sense of evil or criminality.”
“We need a revalorization of the trades that would allow students to enter [manual trades] without social prejudice (which often emanates from parents eager for the false cachet of an Ivy League sticker on the car). Among my students at art schools, for example, have been virtuoso woodworkers who were already earning income as craft furniture-makers. Artists should learn to see themselves as entrepreneurs.”
“…it is capitalism that ended the stranglehold of the hereditary aristocracies, raised the standard of living for most of the world and enabled the emancipation of women. The routine defamation of capitalism by armchair leftists in academe and the mainstream media has cut young artists and thinkers off from the authentic cultural energies of our time.”
“In my view, comparing the evidence of the 20th century, that socialism in a nation ultimately does lead to economic stagnation and eventually of the creative impulse, in terms of new technology and other things.”
A PJM colleague, who can out herself is she so chooses, posted on Facebook about how Call the Midwife is doing well while Downton Abbey‘s ratings are going down and how this was possibly due to the fact that Call the Midwife doesn’t have plots centered on sex.
I’m the last person to write about TV shows. I rarely watch TV (or movies); when I do, it’s usually because I’m exercising and it’s something that’s available for free on Amazon Prime. I know my husband watched the first two seasons of Downton Abbey and enjoyed it, but I figured the historical aspect of it would drive me batty, particularly as I’m right now researching that era with a view to writing a mystery series set then.
My colleague made some comment about how we seemed to be increasing the sex in our entertainment exponentially (or perhaps I just read that into her posting), and we had an exchange over what was causing the more and more sex-driven plotting in all our entertainment from TV to books.
Again, I don’t know anything about the internal process of TV and movie plotting. What I see as similarities to the fiction writing field might be completely spurious, and the result of my projection. I do see the same creep in movies and TV, though, as well as a certain amount of repetitiveness and lack of originality.
To make it clear, I don’t have anything against a sex-driven plot in its place — which is mostly, I would assume, in erotica. (Yes, there can be sex-driven literary works — Romeo and Juliet comes to mind — but usually the whole point is not getting it on. There is a deeper exploration of the human condition.) And I don’t have anything against sex in books. Some books need a sex scene or two to advance the plot.
I do have an objection to sex-drive plots, when that seems to be the only thing the writer finds interesting about his characters. And I’ve been seeing more and more of that in my fiction and — by report — in TV and movies. I noticed this creep myself in sitcoms, back when I watched a lot of them right after 9/11. (I went through about a year; that’s all I was good for.) Compared to the last time I’d watched a lot of sitcoms (mid ’80s), all of a sudden every joke/situation/motive was about sex or implied sex.
So what do I think is driving this creep?
My colleague Walter Hudson recently ripped into the ignorance of Jesse A. Meyerson’s Occupy-hipster treatise, “Five Economic Reforms Millennials Should Be Fighting For.” The article was published in Rolling Stone magazine, the flagship publication of Wenner Media, a privately owned company. To clarify: ”Privately held companies are not required to file financial disclosure documents with government regulators such as the SEC, so detailed financials usually are not readily available to the public.”
In other words, the publisher of the magazine that prints articles informing readers they should advocate for:
- “Job guarantees” through the non-profit (i.e. taxpayer funded) sector
- A “universal basic income” funded through (taxpayer-based) Social Security
- The creation of a “simple land-value tax”
- A taxpayer-funded “sovereign wealth fund”
- Taxpayer-funded state-owned public banks
doesn’t need to tell you one darn thing about the amount of taxes they do (or don’t) pay. Who knows? Wenner Media might just qualify as one of Meyerson’s despised “megacorporations”. The fact that the company’s co-founder, Rolling Stone publisher Jann Wenner, is worth a cool $700 million makes you think twice, unless you’re some twentysomething hack who has a proclivity for overusing the word “blow.” Did the editors have to cut out his Beavis and Butthead-like chuckles from the text? No wonder the guy is advocating for a government-funded job watering that fern in his Williamsburg apartment (or, as he prefers to call it, “urban farming”); the only reason he managed to swing a writing gig is because he’s a glorified mouthpiece for the same yuppie political hucksters he claims to be fighting against. That’s right, Meyerson’s a Tool for the Machine. Huh-huh-huh, I said tool.
Forget the fact that the guy who thinks we have an unemployment problem because available jobs are “menial” and “boring” is also the same guy who believes putting every adult on an auto-pay system will actually improve individual well-being, stimulate the economy, and spark a cultural renaissance in “painting murals.” You can’t reason with stupid. You can only laugh at the irony of a Marxist hippie ideology being parroted in a magazine created by a Marxist hippie that has become a pathetic homage to ideas so dense and ridiculous that their owners, like Jann Wenner, long ago left them in the dustbin to pursue successful truths, like capitalism, the free market, and the ability to own private corporations.
Congratulations, kid, you’ve been duped. But at least Mr. Wenner and the 30% of Rolling Stone readers whose income exceeds $100,000 a year were kind enough to redistribute some of their money your way.
Working sure feels good, doesn’t it?
Or more accurately, they object to military jets escorting Santa’s Sleigh because “military=bad.”
In response to this commercial:
the left’s brigade of joyless anti-militarists are saying the following:
The Boston-based Campaign for a Commercial Free Childhood said the video brings violence and militarism to a beloved tradition. Others had similar criticism. Blogs and Twitter lit up with volleys from both sides.
Josh Golin, the coalition’s associate director, reiterated his criticism in an interview with The Associated Press — but he called the brouhaha “a media-manufactured controversy.” The coalition hadn’t known about the fighter jet video until reporters called, he said. “Nobody in my organization was out there protesting,” he said.
Except the jets are Canadian and unarmed.
We suggest that the Boston-based Campaign for a Commercial Free Childhood and their allied brigade of scolds-bothered-by-other-people-having-fun take a powder, or they risk their face freezing like this:
Remember, remember, the fifth of December (1933) and that even a bad constitutional amendment could be repealed.
So might it happen with all bad laws.
According to This Day In History:
…..Congress passed the Volstead Act on October 28, 1919, over President Woodrow Wilson‘s veto. The Volstead Act provided for the enforcement of Prohibition, including the creation of a special Prohibition unit of the Treasury Department. In its first six months, the unit destroyed thousands of illicit stills run by bootleggers. However, federal agents and police did little more than slow the flow of booze, and organized crime flourished in America. Large-scale bootleggers like Al Capone of Chicago built criminal empires out of illegal distribution efforts, and federal and state governments lost billions in tax revenue. In most urban areas, the individual consumption of alcohol was largely tolerated and drinkers gathered at “speakeasies,” the Prohibition-era term for saloons.
Prohibition, failing fully to enforce sobriety and costing billions, rapidly lost popular support in the early 1930s. In 1933, the 21st Amendment to the Constitution was passed and ratified, ending national Prohibition. After the repeal of the 18th Amendment, some states continued Prohibition by maintaining statewide temperance laws. Mississippi, the last dry state in the Union, ended Prohibition in 1966.
The West Coast has a pretty solid reputation for leftist politics. Calling some of their more kooky leftists “socialist” is a bit of a cliche, but let’s face it — there’s so much truth to the stereotype. Take Seattle, for example. This is the city where police passed out Doritos to attendees of the annual Hempfest, where Occupy protesters dumped $5,000 out a hotel window, where lawmakers closed a budget deficit with $5 billion in tax hikes. And now this year, we have a literal socialist making inroads in a city council election.
Following the latest ballot count Tuesday night, Kshama Sawant had a 41-vote lead over 16-year incumbent Richard Conlin.
Given Washington state’s mail-in voting system, a winner won’t be named for days or even weeks after the Nov. 4 election.
Still, the strong showing by Sawant, a college economics professor and prominent figure in Seattle’s Occupy Wall Street movement, has surprised many people.
Sawant, 41, drew attention as part of local Occupy Wall Street protests that included taking over a downtown park and a junior college campus in late 2011. She then ran for legislative office in 2012, challenging the powerful speaker of the state House, a Democrat. She was easily defeated.
This year, Sawant’s platform includes raising the minimum wage to $15.00/hour, rent control, and levying higher taxes on millionaires to pay for public works. She has seized on what she calls “economic inequality” to get the attention of her fellow leftists:
“This is one of wealthiest cities in the wealthiest country in the world,” she said. “For people to struggle for basic needs is absurd.”
City Council races are technically non-partisan in Seattle. Sawant, however, made sure people knew she was running as a Socialist, a label that would ensure defeat in many areas of the country.
The last time a self-declared Socialist ran for office in Seattle was 1991, when Yolanda Alaniz emerged from the primary in second place but was easily defeated in the general election.
“There were certainly populist candidates,” said Cline, the city archivist. “I don’t think any of them you could remotely call Socialist. Certainly there has never been anybody who has run as strongly as Sawant has.”
Go figure. At a time when the rest of the country appears to be turning more toward conservatism, we can count on Seattle to keep the stereotype of the loony Left Coast alive.
The closest a Christian comes to hearing the literal voice of God is when their familiarity with scripture evokes verses in answer to life’s queries. For instance, when confronted with the Washington Post’s profile of “tatted up, foul-mouthed” Lutheran minister Nadia Bolz-Weber, something like 2 Timothy 4:3-4 comes to mind:
For the time is coming when people will not endure sound teaching, but having itching ears they will accumulate for themselves teachers to suit their own passions, and will turn away from listening to the truth and wander off into myths.
The Post provides little from Bolz-Weber which passes for theology. Most of her quotes wash past vague and incoherent. The Blaze provides a thumbnail sketch:
While there is a growing group of believers interested in Bolz-Weber’s message, not everyone will be so enamored. For one, her use of what The Washington Post called a “frequently profane dialect” will certainly turn off more traditional church attendees. Still, she’s piquing the interest of others who are more theologically progressive in nature.
From nothing more than this habit, “frequently profane dialect” from the pulpit, we can assume with confidence that Bolz-Weber knows not of whom she speaks.
Why shouldn’t a pastor use foul language? Is criticism of folks like Mark Driscoll, a professing evangelical known as “the cussing pastor,” informed by a kind of Puritan asceticism? Does swearing make a Christian “real” or “relevant”?