See the previous installments in Mark Ellis’s exploration of Adam Carolla. From January 21, 2015: Adam Carolla: The Quintessential Counterculture Conservative?. And from February 6: President Me: Adam Carolla Vs. the Scourge of Narcissism.
Submitted again for consideration, Adam Carolla, born as his very cohort, Generation X, was beginning in 1964.
Joining him in this chapter is writer Chuck Palahniuk, born in 1962, another prominent Gen X cultural figure.
Consider now, as the swath of humanity that followed the boomers reaches full majority, in fullest possession of its powers, how variant Carolla/Palahniuk countercultures confront what we see on the horizon. How will the legacy of Generation X be written from this point forward?
How will a generation’s power-players and cultural icons impact, for example, policymaking on healthcare, strategies for dealing with the radical Islamist threat, and the social landscape that the millennials following them will inherit?
In September 2013, PJ Lifestyle editor David Swindle, riffing on Strauss and Howe’s Millennials Rising: The Next Great Generation, laid out his self-described “oddball” take on generational theory. Swindle argues for more detailed time-frame specifications in generations, recommending five year break-downs in place of the usual twenty — “boomer-leaning Gen-X-ers,” “Millennial-Gen-X blends,” “Gen-X-leaning Boomers,” “Millennial-leaning Gen-Xers” and so forth.
However you want to slice and dice the decades — for the sake of this discussion, Carolla and Palahniuk are instructive examples of the reactions, rebellions, and disillusionments of a generation shaded by oblique pathos.
On the earliest cusp of X, Carolla is part of the generation that inherited a choice between three ideological frameworks: progressivism, reactionary traditionalism, and unaffiliated rebelliousness.
Palahniuk predates the official kick-off of X, but is arguably too young for the boom. He served as a transitory figure, a harbinger of Gen X‘s devastatingly critical, tribal quest for definition.
Adam Carolla and Chuck Palahniuk, an unlikely duo but for their Gen-X lineage, hold claim to tributary subcultures that were natural responses to the boomer counterculture that rejected button-down corporatism and neo-Victorian social mores.
Where Palahniuk twists culture to his visionary fictional ends, Carolla goes hammer and tong to make sense of it.
My first adult experience with Gen X came primarily from two sources. First, when I met younger parents from across the socieo-economic spectrum in my children’s schools. Second, when I hired or began to compete with young guys coming up in the paint-contracting trade.
Something I noticed about both cohorts right off: Gen-X cynicism on the subject of national pride, a rejection of the reflexive patriotism that I had been inculcated with since birth.
We said the Pledge of Allegiance, with God and without irony, every morning at Hillview Crest Elementary School in Hayward, California. This ritual recitation was not yet under assault when Carolla and Palahniuk were schoolchildren in the late sixties and early seventies, but criticism of the Pledge on grounds of church/state separation was coming.
Another noticeable difference I discerned between my fellow boomer kids and many in the generation supplanting mine was a devolved sense of the wisdom and integrity of the elders. Though we’d rebelled against parental and societal units, they were intact units for most of us, and thus recipient of residual respect.
X was rebelling against the failure of the units. Who can blame them for skepticism about narratives handed down in the midst of social transformation?
Another striking thing about the Gen-X parents with millennial children: they were having fewer kids. At least in my neck of the woods—white suburbia around Portland, OR. Gone were the large families I remembered from the grade schools of my youth, with three, four, and even five children. There were lots of single moms in the mix, many with only one child.
Even as Gen-X emerged from the flatlands of generational history, predecessors found the crop coming up to be at a vague, not-immediately-readable disadvantage. There was the sense that despite the boomer legacy of conformity as fifties children and upheaval as sixties teens, somehow the squarely situated boomer-kids had it better than their children.
Palahniuk summed things up in Fight Club, when antagonist (if the term even applies here) Tyler Durden says,
Our Generation has had no Great war, no Great Depression. Our war is spiritual. Our depression is our lives.
Though Palahniuk’s theme of alienation and purposelessness can be extrapolated universally, Durden’s morose dictum is understood to most apply to the generation stuck between the boomers’ long fade and the heel-snapping millennials.
The Greatest Generation had Pearl, the boomers had JFK. September 11, 2001, belongs to all of us, but history bequeaths it to the millennials.
Applied mythos for Gen X doesn’t focus on any history-making date.
Their crisis moment is like Palahniuk’s depression, which moves from functioning to acute. They came from broken homes, the first, true Children of Divorce.
Tyler Durden again, “a generation raised by women.”
Divorce and the ascendancy of feminist theory combined toxically in the era’s primordial soup; norms which boomers only dipped their toes into, Gen-Xers became immersed.
As we move towards a near future as threatening as any that contemporary observers have seen, what is the result of the experiment?
Irony in Carolla’s generation has always aspired to an intellectual gravitas out of proportion to its value as an assessment mode for the human condition. Humor, in the hands of either Carolla or Palahniuk, is internally targeted, at an irremediable state of disenchantment, a diaspora of disillusionment bred by failing social institutions into their very bones.
Though boomers were concurrent in history with social upheaval and the erosion of traditionalism, such counter-ideology had not yet become ingrained into the culture. Boomer kids with positive associations to traditionalist America benefitted from a durable connection, which proved decisive for many with the Reagan Renewal.
But too many Gen X progeny approaching adolescence and young adulthood in 1980 missed the Gipper’s wave. Raised by culturally progressive parents and academic liberals, they flocked underneath the nanny state’s skirts.
Palahniuk’s associations to visceral fear–violence versus ennui, terminal support groupiedom, soap-rendering from fat, corporatism as the ultimate evil–are different from what boomer kids feared in their gut.
Nobody at Hillview Crest Elementary School got divorced. Parents stayed together, for the kids, and we liked it. Crawling under elementary school desks and lore about Khrushchev’s hammering shoe sat heavily in our stomachs. Boomer kids inherited the potential for being incinerated thirty minutes after war broke out.
Carolla and Palahniuk were born into that, but the possibility of death from above peaked with the Cuban Missile Crisis in 1962. Threats from within domestic body-politic were coming home to roost. Gen X could still be atomized by the Russians, but were more imperatively left with the fallout created by existential threats to the pillars of society: marriage, faith, the social contract, industry, and national sovereignty.
There is no generational exactitude. Generations flow; there are overlaps, demographic choke points, trail scouts, and cave fighters. The decimations of disease and war skew the transitions. But there comes a point in life when a person realizes that generational culture has overtaken them.
Songs that boomers lauded as visionary Gen-X anthems are now twenty years old.
“American Pie” was written as a paean to the sudden demise of Buddy Holly, Big Bopper and Ritchie Valens in 1959. At that time, McLean was a boy, delivering newspapers, hence the line, “February made me shiver/with every paper I’d deliver”. Otherwise, he’s been remarkably cryptic about the exact meaning of the lyrics, but has said he will finally reveal their true meaning when the original manuscript for the song goes on auction next month.
1. Don Mclean – “American Pie”:
— Jason (@Vision365) February 14, 2015
Last week social media jumped on the story of a woman who supposedly decided to have a late-term abortion specifically because she found out she was having a boy. Based on a near-anonymous comment posted on an Internet forum, the story is highly questionable at best. Nevertheless, both pro- and anti-abortion advocates pounced on the missive. The dialogue generated took on a life of its own, inspiring the following comment from feminist site Jezebel:
“The virality of this story is sort of a nice reminder about confirmation bias: when something fits our preferred narrative just a little too snugly, it’s probably time for skepticism,” wrote Jezebel’s Anna Merlan.
How, exactly, does gendercide “fit our narrative” in the West, especially in relation to boys?
This year you could spend your Valentine’s Day in a theater full of middle-aged women oozing over a hot-bodied twenty-something whipping his blindfolded secretary to the point of striking blood in the name of “love.” Daytime television loves to play up to the Soccer Mom demographic (a title first dubbed to describe Clinton fans, ironically) seeking fantasy fulfillment in the form of sexual fiction. It was corny enough when shirtless Fabios graced the covers. Now that the most popular sex trilogy focuses on a woman who willingly allows herself to be sexually abused, is pop culture humoring those bored housewives too much?
While the majority of Fifty Shades fans are typical middle-aged marrieds dissatisfied with their partners (or even themselves), anywhere from 5-25% of Americans “show affinity” for BDSM (Bondage/Domination-Discipline/Sadism/Masochism) in the bedroom. On an issue that poses a particular sexual threat to women, feminists are split 50-50 between being against sexual abuse and for a narcissistic “if it feels good, do it” sexual ethos. Hence, a pervert who trolls Fanfiction.net (the original home of Hobbit-inspired Elvish/Dwarf porn) can turn her twisted sexual fantasies into an overnight sensation. After all, it’s all about love in the end. Or is it?
For hacks of a certain vintage, the name “Rod McKuen” served as a effortless go-to punchline ingredient, the way “Sarah Palin” or “Justin Bieber” does today.
Zillion-selling author and lyricist McKuen was the Thomas Kinkade of poetry.
His death last week left me decidedly unmoved, except that I was quite distressed to learn this, from Mark Steyn:
And yet it is a melancholy fact that Frank Sinatra, a singer with matchless taste in music, nevertheless recorded more songs by Rod McKuen than he did songs by, to pluck at random, Duke Ellington, Dorothy Fields, Noel Coward, Bacharach & David, Leonard Bernstein, Vincent Youmans, Cy Coleman, George Gershwin… He recorded as many songs of Rod McKuen as he did of Jerome Kern – 13 apiece. And he never made an entire album devoted to Kern (or to Porter or Berlin or Rodgers) as he did to McKuen.
That was the only obit I read, so my next weird discovery was purely accidental…
I continue to pickax my way through a massive, eclectic “mix tape” sent to me by a longtime reader, and recently alighted upon tunes from a compilation called Las Vegas Grind Vol. 3. (Think of the slightly raunchy, faux jazz music you hear in 1950s and 1960s B-movies.)
One song caught my ear. Wait a minute: That’s…
It was listed as “(I Belong to) the Beat Generation” (1959) by Bob & Dor.
But I knew that melody — played on this record, stubborn rumor has it, by no less than Bill Haley and the Comets — from another source:
Now, I’ve always been far more enamored of British punk than its American — more specifically, New York City/CBGB’s — iteration.
So that’s why I’m the last to know:
Not only did Hell lift his punk anthem directly from McKuen — the “Bob” of the ’59 duo — but he didn’t even share the writing credits (and therefore royalties, puny as they probably were) with the old guy.
Naturally, Hell dumped McKuen’s satirical lyrics — Beatniks being so easy to spoof by “squares” that there were probably more ersatz ones about in the fifties than living specimens — and substituted his own:
They’re a cry from a typically tortured, self-pitying but precociously gifted adolescent, if Pete Townshend’s “Jimmy” had read Baudelaire.
What always struck me about those lyrics was the first line’s “As I was saying…” flavor, as if the spirit of punk had been in the womb or in a coma and had finally reawakened or been born, unaware of how long it had been in stasis.
This sensation is more acute now that I’m aware of the song’s lineage.
Anyway, maybe McKuen found the whole thing too flattering or funny to sue over. And yeah, he was rich anyhow.
So what? you ask. Well, this:
[Malcolm McLaren] had already spotted Richard Hell, a New York poet and musician, who had been in the groups Neon Boys and Television and would go on to write the punk anthem “Blank Generation”. “I just thought Hell was incredible,” he recalled. “Here was a guy all deconstructed, torn down, looking like he’d just crawled out of a drain hole, covered in slime, looking like he hadn’t slept or washed in years, and looking like he didn’t really give a **** about you! He was this wonderful, bored, drained, scarred, dirty guy with a torn and ripped T-shirt. I don’t think there was a safety pin there. This look, this image of this guy, this spiky hair, everything about it. There was no question I’d take it back to London. I was going to imitate it and transform it into something more English.”
And so he did.
— WPEC CBS 12 News (@CBS12) December 4, 2014
For a while now, my editor David Swindle has been plaguing me to start a series on Jewish identity. Like any good family we disagree with each other about practically everything, cultural and religious identification included. I can’t think of one Jewish setting in which I wasn’t directly or indirectly accused by fellow Jews of being a “bad Jew” for some mundane reason or another. One incident involved the infamous “pepperoni pizza at a Hillel event, for or against” argument. (Truly the greatest Jewish American struggle of our time.) Joseph’s brothers beat him up, threw him in a ditch, and not much has changed since, attitude-wise. Need further proof? Check out the latest argument over how Jewish Americans relate to the Holocaust.
Apparently 73% of us rank the Holocaust as our top-rated “essential” to being Jewish. This disturbs renowned academic Jacob Neusner who’s made a career out of entwining himself into the vines of the Ivy League. Neusner’s argument boils down to the concept that American Jews have no real sense of or connection to their own identity. Therefore, they need to go outside the geographical box to find themselves, either through the Holocaust or Zionism.
Self-dubbed “meninists” have gone on defense after a Superbowl commercial inspired women to proclaim to the world the power of being #LikeAGirl. Ironically, the sexism inherent in their response pales in comparison to the gender bias expressed in defense of the commercial. Once again, gender feminists out themselves as a group bent on erasing gender, specifically female gender, from American culture. The problem is that they are so bloody brainwashed in indoctrination that they don’t even realize they’re doing it.
In an attempt to defend the pride a woman should take in acting #LikeAGirl, gender feminists only manage to uphold the notion that women are weak and oppressed and need public approval in order to be “empowered.” Moreover, in order to gain that much sought-after public approval, women must take on androgynous appearances, hobbies or careers that require them to leave their femininity at home under lock and key.
“Black” has become an idol. Oddly enough we learned that lesson through the making of Selma, a film focused on the accomplishments of Dr. Martin Luther King, Jr. who boldly declared, “I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character.”
Director Ava DuVernay defended the rewriting of history into what amounts to a black power narrative (mythical kneeling blacks before white cops and all), stating, “This is art; this is a movie; this is a film. I’m not a historian. I’m not a documentarian.” The mainstream media jumped on the bait thrown out by the film’s star David Oyelowo, who declared that ”parallels between Selma and Ferguson are indisputable.” The fact that neither the Academy nor filmgoers fell march-step in line only acted as further proof of the conspiracy against “black and brown people” in Hollywood.
— Max Blumenthal (@MaxBlumenthal) December 7, 2014
The race war fomented in the rise of the Black Power movement (the nasty “alternative” to King’s civil rights movement) continues unabated. In fact, it has opened on a new front, one that ties racial strife with national security and even international relations. Playing on strong ties to the Nation of Islam, Black Power now has its eye set on the Palestinian territories and places like Ferguson, Missouri, and the like are set to become the next battleground in the Israeli-Palestinian conflict, making way for the planting of hotbeds of radical Islamic terror.
But, to tell the story of Ferguson and Florida’s black activists traveling on solidarity missions to the Palestinian territories is to exact the same kind of indecent omissions as DuVernay. There are blacks out there who support Israel and who, in fact, draw inspiration from the civil rights movement in doing so. The primary difference between these black Zionists and their Black Power counterparts: They are motivated by Jesus, not Islam.
…in 2006, Cornetta Lane an African American at Wayne State University, even went as far as expressing this support by singing Hatikvah in front of an anti-Israel protester who claimed that Israel was a racist state.When Jewish students asked at the time why she sang Hatikvah, Cornetta replied that her pastor, Glen Plummer, explained that Jews significantly helped out African Americans during the Civil Rights Movement, and that Jews contributed significantly to both the NAACP and the Urban League, and were advisers to Dr. Martin Luther King Jr. Thus, when she saw that there was going to be an anti-Israel rally, Cornetta decided to take this step.
Much like Cornetta Lane, Chloe Valdary has drawn on her uniquely Biblical Christian upbringing and study of the civil rights movement to develop her own brand of Zionist activism. Dubbed “the Lioness of Zion,” Valdary started a pro-Israel student group on her college campus that garnered national attention, turning the college student into a speaker for a variety of Zionist organizations, including CAMERA and CUFI:
The parallels’ between the black struggle during the civil rights movement and the Jewish people today insofar as the legitimacy of Zionism is concerned is staggering. Martin Luther King Jr. [was] a Zionist but more importantly he realized that we must advance our duty when advancing the cause of human rights today. If he were alive today, he would surely be pro-Israel. This is one of the reasons why I am such a staunch Zionist.
Valdary is not alone. Dumisani Washington, a pastor and music teacher in Northern California, has formed the Institute for Black Solidarity with Israel, an organization “dedicated to strengthening the relationship between Israel and the Jewish people, and people of African descent through education and advocacy.” Raised a Christian, Washington had a strong interest in the Old Testament and Hebrew history at a young age. Growing up in the segregated south, he drew inspiration from the Exodus as well as Martin Luther King:
Dr. King was a staunch supporter of the State of Israel and a friend of the Jewish people. Many who know of his legacy know of his close relationship with Rabbi [Avraham] Joshua Heschel as well as the Jewish support for the Black civil rights struggle. Many are unaware, however, of the negative push back Dr. King got from some people. Particularly after the 1967 war in Israel, international criticism against the Jewish State began to rise. Dr. King remained a loyal friend, and made his most powerful case for Israel almost 1 year after the Six Day War – and 10 days before his death.
Both Valdary and Washington have raised the ire of pro-Palestinian organizations like Students for Justice in Palestine (SJP), an organization that misappropriates black history and depicts black supporters of Israel as the Uncle Toms of the 21st century. Contrary to the Black Power impetus forging the Ferguson-Palestine relationship, Washington has outlined the differences between the Palestinian liberation and civil rights movements, and in an open letter to SJP, Valdary condemned the organization, writing:
You do not have the right to invoke my people’s struggle for your shoddy purposes and you do not get to feign victimhood in our name. You do not have the right to slander my people’s good name and link your cause to that of Dr. King’s. Our two causes are diametrically opposed to each other.
Americans remain blind to these modern day civil rights/Zionist activists because, contrary to the preaching of Dr. Martin Luther King, Jr., we have been made into a color-centric society by the Black Power movement and its contemporary descendants. Race has become an idol. Black Power has created the mythical “black and brown faces” to be honored through tokens of affirmative action while sacrificing living human beings on the altar of ghetto culture because of the color of their skin. To remain blind to the idolatry of race is to remain blind to the real struggle for civil rights in America, the struggle to be viewed as a human being instead of a race-based demographic or a color-based “minority.” This is the struggle that unites rather than divides us on issues of economy, quality of life, and yes, even national security and the threat of terrorism.
1. “For What It’s Worth” (featured on) 10 Classic Rock Tracks From the End of the ’60s
2. “Expecting to Fly“
3. “On the Way Home”
Editor’s Note: Over the spring and summer of 2014 we experimented with the PJ Lifestyle Music at Midnight feature, highlighting reader suggestions for great songs worth featuring. One contributor’s infectious enthusiasm and good nature won us over. He’s since expanded his music recommendations to a series of list-article-mix tapes. Now in this daily feature we’re going to start drawing from his lists (and growing an archive of them) to discuss the songs and artists included.
Updated plan for 2015: the songs from Allston’s lists will each serve as the basis for musical debates. Just as in the morning we’ll weigh one classical composer against another, in the afteroon we’ll do the same with the 20th century’s rock ‘n’ roll and other popular music genres. From now on, each Rock-Out will feature at least 2 tracks pitted head-to-head with with encouragement for dialogue about them. Each afternoon weigh in on behalf of your favorite artists, bands, and songs. Also offer your own suggestions for who should be featured next and what mix-tape lists you want to see next in Allston’s fun series. Who should be included next? What ideas do you have for music or other culture or lifestyle ideas you’d like to see discussed at PJ Lifestyle? Get in touch DaveSwindlePJM AT gmail.com or @DaveSwindle on Twitter.
Here’s Allston’s archive so far, but he’s got more list-mix-tapes in the works:
The War Music Series
- 10 Classic Songs from the World War II Era
- 10 More World War II-Era Classic Songs
- 10 Songs of the Korean War Era
- 10 Songs That Embody the Vietnam War Era
- 10 Songs That Embody the Wars of the 1980s
By Artist and Band
- 5 Terrific Tracks from Horace Silver, Jazzman Extraordinaire
- The 5 Musical Periods of the Yardbirds
- Your 6 Song Introduction to Traffic
- 5 Creative Musical Acts You Probably Haven’t Heard of But Should Know
By Decade and Era
- Alternative 1980s: 15 More Songs Millennials Must Hear
- 15 Classic 1970s Songs Millennials Should Know
- 15 More Classic 1970s Songs for the Millennials
- 15 More 1970s Songs Showcasing the Decade’s Wide Range
- 10 Classic Rock Tracks From the End of the ’60s
- Your 15 Song Introduction to The New Wave Punk Sound That Ended the 1970s
- 15 Early Punk And New Wave Songs Bridging the 1970s to 1980s
- 7 Spooky Halloween Tunes
- Ranking the 5 Most Excellent Bluesmen
- 10 Songs That Remind Me of Summer
- 12 Wonderful Christmas Songs
As last week’s epically embarrassing “James Taylor” fiasco demonstrated, the Western establishment acts like the Sixties never ended.
All that “peace and love,” “soixant-huitard” stuff comprised but a slender slice of the 1960s, and much of that was bogus, a cynical scam that ruined millions of lives.
“OK,” some of you have said in the comments, “but at least that decade had a hell of a soundtrack!”
Yeah, about that…
Don’t let the stereotypical G.I. lunks distract you with their butt-smacking, “don’t you need to file something” portrayal of 1940s masculinity. Marvel’s Agent Carter is far from your oh-so-played-out second wave feminist portrayal of manhood – and womanhood, for that matter. Which is why it’s the best show going on television for feminism today.
For every lunk there’s a hero, Carter’s colleague Agent Sousa being one of them. One brilliant expository exchange sets the tone, demonstrating exactly how appealing real men find Carter’s fearless independence:
Carter: “I’m grateful. I’m also more than capable of handling whatever these adolescents throw at me.”
Sousa: “Yes, ma’am. Doesn’t mean I have to like it.”
Carter: “Well that’s another thing we have in common.”
Carter is a fully empowered female. Sousa knows it, respects it, and likes it. And Carter likes him for it. This kind of His Girl Friday exchange gets equity feminism the screen time our culture so desperately needs. Unlike her Avengers’ counterpart the Black Widow, Agent Carter isn’t squished into slicked up body suits and forced to perform gymnastic feats in order to intrigue her male audience. And unlike gender feminists, Carter draws authority from her sex and uses it to save the day.
Last year I read three books that challenged the mainstream view of the 1960s.
(Herewith I’m employing the folk definition of “The Sixties” as that stretch between the Kennedy assassination in November 1963 and the May 1975 fall of Saigon.)
I say “mainstream” because I haven’t entertained many illusions about what really happened during that overlong Baby Boomer idyl since I was a kid.
In the first place, I grew up “soaking in it,” in the dishwashing liquid commercial catchphrase of the era, and I hated almost every minute.
In the second, as an adult, I discerned certain disruptions in the official “peace and love” narrative.
Being a bratty pest by temperament, I’ve made a minor career out of helping debunking the myth of the selfless hippie, the noble white liberal, the enlightened radical, the powerless housewife and the era’s other stock characters.
(I’m also rather fond of rehabilitating the laughingstocks of the age.)
This year, I read three books that, to various degrees, reinforced my view that what we call The Sixties — an allegedly Edenic era that canny progressives continue to evoke when crafting 21st century policy — was a Potemkin village of the imagination, or, in the words of the narrator below, “a mass hallucination”:
Corinne Fisher and Krystyna Hutchinson, two wannabe-famous New York twenty somethings, teamed up to talk sex via their “running soap opera,” “almost reality TV show” podcast Guys We F*cked. Broadcasting under the “anti-slut shaming” banner makes Guys We F*cked appealing to the contemporary feminists at Salon who never turn down the chance to normalize twisted sexuality. Salon assistant editor Jenny Kutner sat down with the comedy duo more commonly known as “Sorry About Last Night” who, as they enter season 2 of their famed podcast, are looking to crowdsource funds from fans while noting that their careers are “…getting better because of the podcast, which is really exciting.”
Performing an editorial feat, Kutner defines the duo’s narcissism as “comedy with a purpose” in her attempt to define the two as feminists. In doing so, the assistant editor at Salon exposes exactly why contemporary feminism is failing 21st century women: Today’s feminists have worked to sever feminism from its historical roots as a biblically-grounded movement for women’s independence. What they’re replacing it with, a “social media feminism” as artist and feminist April Bey has dubbed it, is a mere mask for narcissistic, death-obsessed, goddess worship.
The “Christmas single” phenomenon is unknown in the U.S., unless you’ve ever watched Love, Actually.
It’s sort of the “Black Friday” of the British music industry. Since so much music is sold (or, at least, used to be) during the holiday season, having the #1 song on the charts during that time gives one lucky record company a financial boost.
After Slade took the top spot in 1973 with their “Merry Xmas Everybody” — beating out “I Wish It Could Be Christmas Everyday” by Wizzard — “an emotional attachment to the Christmas countdown has developed, and for many [in the United Kingdom], it is part of the fabric of their childhood.”
So I doubt many American readers care that there’s a campaign to get Iron Maiden’s old chestnut “The Number of the Beast” to the top of the charts in time for Christmas, “for a laugh.”
What’s really funny (sort of) is that, during the early 1970s, such a campaign would have been denounced on the front page of every British tabloid, and remarked upon within American newspapers’ “entertainment” sections, at the very least.
Because culture-watchers would see it as yet another sign of the satanic takeover of the culture, and the world — the one I wrote about last week.
The Drudge Report remains one of the most accurate barometers of what’s happening right now.
But can we augur near-future trends by sifting through that site’s headlines?
Lately, Drudge has posted lots of news stories about “the devil” and “exorcism”:
Camera captures exorcism performed on shrieking woman “possessed by devil:
Church Turns to Exorcism to Combat Suicide Increase… Archbishop: “Satanism has spread among young people”
BILLY GRAHAM: In Our “Lawless and Wicked Age We’ve Taught Philosophy of Devil”
Aside from the uptick in stories like these, I’m not sensing a resurgence in interest in all things diabolical, a new version of the “occult” fad that helped make the 1970s so miserable, and led to the “satanic panic” of the 1980s that was almost as bad.
Peter Bebergal doesn’t agree.
According to him, “we’re currently experiencing ‘an Occult Revival in rock music and popular culture.’”
He’s penned one of the year’s most talked-about books, Season of the Witch: How the Occult Saved Rock and Roll.
“My argument is that the spirit of rock and roll — the essential rebellious instinct of rock and roll — is certainly social and sexual and political, but it’s also a spiritual rebellion,” Bebergal explained. “And the way in which it expressed that spiritual rebellion was through the occult imagination.”
That “occult imagination” conjures everything from Ouiji boards to Christian and Jewish symbolism to LSD trips to “alternative spiritual practices.” Bebergal says it ultimately helped rock bands like Led Zeppelin, Pink Floyd and Black Sabbath save rock from sounding too poppy, sappy and mainstream.
“…the stage where Johnny Rotten unveiled his baleful stare has given way to a Harry Potter section.”
The venerable St. Martins School of Art having moved to a new campus, another esteemed institution took over its old building this year:
Traditionalists grumbled that this new Foyles was altogether too slick, nowhere near as dusty and quaint as the original store.
But when discussing this doubly-historic move, the one talking point almost everyone settled on was revealing.
St. Martins School has, over the course of 150 years, produced a number of distinguished graduates.
Its sculpture department was once called “the most famous in the world.”
Yet headlines trumpeting the famous building’s transformation from respected art school to glossy media megashop were almost all variations on a single theme:
“Foyles to open new flagship bookstore on site of Sex Pistols’ first gig”
In his 1970s prime, Cat Stevens looked like Russell Brand just thinks he does.
Neither fellow is quite forlorn or angular enough to be my type, but I can certainly understand the appeal of the former, if definitely not the latter. (Ugh.)
As Dennis Miller still likes to muse sometimes on his radio show:
Can you imagine how many women were throwing themselves at Stevens back in the day?
(Except not in those words.)
Stevens has been Miller’s bete noir for a while now.
And former folk singer Cat Stevens, now known as Yusuf Islam, came out this week and said he advocated the assassination of Salman Rushdie. So much for that “Peace Train” crap, huh, Cat? … Yeah, I could see this comin’ years ago on his old album, Tea for the Killerman. You, uh, you remember the big hit:
I’m being followed by a big Muslim
Big Muslim, big Muslim
Big Muslim, big Muslim
Big Muslim, big Muslim
How can I try to explain
When he do I turn away again
But it’s harder to ignore it
If they were right, I’d agree
But it’s them they know, not me now
There’s a way and I know that I have to go away
I know I have to go
Oh, baby, baby, it’s a wild world!
Twenty-four percent of married couple families with children under 15 have a stay-at-home mom. Ninety-nine percent of stay-at-home moms in the movies get a really bad rap. Search “Best Movie Moms” and you’ll get lists that include Shirley MacLaine in Terms of Endearment, Sigourney Weaver in Aliens, Shelly Duvall in The Shining, and more than a few mentions of Psycho. The majority of movie mothers are either widowed or divorced, careerists or working class, alcoholics or impregnated by UFOs. The closest you’ll get to a stay-at-home mom in post-1940s cinema is Kathleen Turner playing the psychotic Serial Mom or Michael Keaton taking on the role so his wife can pursue her career in Mr. Mom.
In fact, outside of Sandra Bullock in The Blind Side there hasn’t been a truly admirable middle-class, white, stay-at-home mother on the silver screen in over 50 years. Which is probably why Mom’s Night Out received such a negative critical reception when it premiered last spring. We have been acculturated out of believing in the power and purpose of stay-at-home moms. Yet, the criticisms leveled at Mom’s Night Out for its “depressingly regressive” spirit and “archaic notions of gender roles” were not applied to a similar film about a stay-at-home mom released only two years prior. This Is 40 received mixed reviews, but praise for yielding “…some of [Judd] Apatow’s most personal observations yet on the feelings for husbands, wives, parents, and children that we categorize as love.”
So, what made This Is 40 palatable in a way that Mom’s Night Out wasn’t? Is there, perhaps, a culturally acceptable way to be a stay-at-home mom?
A story about two old Jewish ladies is making the rounds in the Jewish press, but not for the reasons you may think. Sure, they’re bubbes. They’re children of a Holocaust survivor to boot. But the real reason they’re attracting so much attention is that they happen to be retired professional whores.
Dutch twins Louise and Martine Fokkens (probably not their real last name, since “Fokken” is a Dutch term for “old whore”) have become international celebrities since the 2011 release of their biographical documentary Meet the Fokkens. Women’s magazines like Cosmo picked up on their story shortly after the film’s release, publishing quick little details like:
Louise and Martine (mothers of four and three respectively) became prostitutes before the age of 20 in order to escape violent relationships.
It’s an interpretation that, at best, qualifies as a half-truth. Louise was forced into the sex trade by an abusive husband. Martine, however, became a prostitute out of spite:
Martine followed her sister into the trade, working first as a cleaning lady at brothels before she began turning tricks herself. “I was angry at how everybody around us shunned Louise,” Martine said. “I did it out of spite, really.”
Both women eventually divorced their husbands, whom they now describe as “a couple of pimps.” But they continued working in the district “because that had become our lives,” Louise said.
“Our life in the business became a source of pride, a sport of sorts,” Louise added.
In retrospect, both women say they regret becoming prostitutes.
Reading their story, one can’t help but wonder if mainstream feminist advocates for slut walks and “Yes Means Yes” legislation would condemn the pair for regretting the life they chose. After all, their body, their choice, right? They took control of their bad marriages, divorced the husbands they referred to as “pimps” and chose, fully of their own volition, to remain in the sex trade after their exes were fully out of the picture. Martine and Louise, it would seem, are the originators of the Slut Walk.
The hippies started small:
That guy who invented Earth Day killing his girlfriend, hiding her body in a wall and taking off for France.
(Remember: More people died in Ira Einhorn’s apartment than at Three Mile Island.)
The stupid Weathermen succeeded mostly in blowing themselves up.
Then it eventually dawned on hippies (probably during some pot-fueled rap session):
They needed to think big, like their totalitarian heroes — Mao, Che, Castro.
Forget this penny-ante nihilism and creative destruction.
Sure, the Bible might be mostly b.s., but that stuff about the Four Horsemen of the Apocalypse was trippy:
Pestilence, War, Famine and Death.
Editor’s Note: See part I here in Amelia Hamilton’s series exploring the transformations in feminist history and ideology: The Relevant and the Ridiculous: A Guide Through Feminist History
The third wave of feminism got started in the 1990s as a reaction against the second wave fought by their mothers (both figuratively and, sometimes, literally). There were some central tenets at the heart of third-wave feminism, and they can be illustrated in contemporary music. Join me on a walk through ’90s music, and the ways in which these songs illustrate third-wave feminist ideals.
1. Third-wave feminism went beyond legal equality for women, but empowered women to fight for other social issues as well.
One key way in which third-wave feminism differed from earlier waves was that it wasn’t just about women. Take, for example, the Third Wave Direct Action Corporation, founded in 1992. One of the founders was Rebecca Walker, daughter of second-wave feminist Alice Walker. In 1997, the group became the Third Wave Foundation, and was not only dedicated to traditional women’s rights issues, but worked to “explicitly connect women’s issues to issues of race, sexuality, class, and ability.” This was bigger than simply legal equality for women.
Arrested Development’s “Mama’s Always on Stage” (1992)
Mama’s always on stage
Can’t be a revolution without women
Can’t be a revolution without children
Each time I put one of these up it acts as a sampling of what you might’ve heard on any major radio station during that particular decade. Needless to say, the genres and songs will vary. I’m deliberately trying to not be too systematic about it, save by year. Although I may at some future date post some articles on the specific genres of this time – funk, southern rock, pop, etc. If any of you think that might be a fun idea, please let me know.
I suppose it would be fair to say that in songs such as this, early on, are the roots of progressive rock. Certainly this doesn’t fit the mold of end-’60s rock.
1. Genesis – “The Knife” (1970)
Recently, Susan L.M. Goldberg posted this aforementioned list. It is a good list, don’t get me wrong, but I politely disagree that these songs typify the sound and feeling of the 1980s generation, as it is only one narrow “slice” of them (and a very “top 40 Pop” one at that). So here is an alternate list of our music for the millennial. Disclaimer – I am a member of this ’80s musical age group, so I am biased in this. Sue me, I got’s nothing.
To correct a misnomer, many people of my age-group generally do not hear Bruce Springsteen and connect with him. He is, and always was, far too generic, raspy “Pop” Rock for our tastes, background noise in a sea of great tunes. Remember, a big part of the thrust of this genre was to stake out a musical claim that was different than our recent forebears, not just copy them.
If we wanted to listen to 80s “Rock” done our way, we’d probably listen to something like this. These guys are basic and generic, yes, but they were ours -
1. The Smithereens – “Only a Memory” (1986)
Sure, you know how to write an assertive cover letter and you have a wardrobe of freshly pressed black and navy blue suits. But, just because you’re doing everything the manual tells you doesn’t mean you aren’t going to make a mistake in your job search. From my other life working in human resources, I give you the ten best mistakes applicants have made in pursuit of a job.
10. Want to include the fact that you taught an adult education course on photography on your resume? Don’t dub yourself “Adult Photography Instructor.”
Language matters. In the age of social media and Google, applicants should understand that lying on their resume isn’t an option. Just be sure you aren’t getting so creative with your wording that you make yourself sound more qualified for porn than a professional environment.