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PaperclipPerfector  4mo ago (text post)   29974 thread views

Culture War Roundup for the week of July 1, 2024

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I imagine the motive here is to further deny the white public from admiring their supremacy in any way. It is a reminder that you can’t have white heroes or stories, not in the foundation of the Republic (what we saw a few years ago) and not even in the misguided women’s rights movement, and certainly not in pseudohistorical entertainment (Bridgerton, Hamilton). You have to let them know that every white achievement is stained in blood and evilness. So to have a musical — the culture of the wealthy liberal base — extol heroic white women is a faux pas that must be balanced by blackening their reputation. Expect an update story and cast in future productions. At least to me this genuinely has the most predictive power for which things are criticized and altered. It’s not actually about purity spiraling, as we know (for instance) that MLK was a pro-rape plagiarist [2]. There won’t seriously be change to the connotation of MLK because of this.

It's egodeath for a lot of minority interests to have to essentially acknowledge that the majority of equal rights concessions came from Western Whites essentially opting to concede them

Now explain why progressive whites - who actually possess the bulk of the power in situations like this - indulge it.

This is "indulgence" indeed. Land acknowledgements without giving the land back. Bitterly complaining about historical whites without giving up their good job for a non-white person.

These people pay no personal cost for indulging in this. They gain social cachet if anything.

Bitterly complaining about historical whites without giving up their good job for a non-white person.

Yes, this is the standard explanation but I don't think it can fully explain the situation.

White people do lose out on positions. Most progressive whites aren't at the top of the stack, able to ride out issues like AA and so on until retirement. Even those that are can suffer from cancellation when they violate a new rule.

When the Leopard does eat their face they tend to pivot, just minimal situational awareness until that moment actually occurs.

Because we don't care about shit like this. There are yacht parties to go to.

I think a little bit of the MLK discussion stems from a desire to use something like the legal "fruit of the poisoned tree" idea, since many of the bad things we know about him were, though in many (not all) cases true, were also the result of a racist and politically-motivated smear campaign by Hoover's FBI. I'm a little sympathetic. The other angle, of course, is that hero worship never went away, it just changed targets for a little bit.

The balance of how much as a society we "allow" hero worship is still a major point of debate. Personally, I feel we've swung too far on the hate and criticize side of things, to the point where some of my friends are saying things like we shouldn't teach patriotism too much in schools because it could be dangerous or is dishonest or something. I think that since it's generally harder to build up than it is to tear down, maybe we should lean a little bit towards letting hero worship alone. Or even, in the case of public schooling, both deliberately start with positive indoctrination, and then deliberately add some critical nuance a little later. Neither of those two sequential steps are optional, it doesn't work without both. For adults where it might be "too late", the question is more like what's worse, cynicism or idolatry? I actually don't know. I think we could use some passionately wrong people in today's society more than we need cynical nothings.

In this case, given how little the general public knows about the suffrage movement, I think it's probably completely and totally fine to go all-in on a production even if it lacks context or is exclusionary or whatever it is. The lower the knowledge, the more tolerance for simplistic narratives, that's kind of just how we learn, for better or worse.

IMO heroes are not quite the issue. The Left has heroes, they are just continually written into and out of the political story. Their heroes come and go like musical productions. Obama was a hero, now he is not, and AOC is a hero for those who “subscribe” to her but one day she won’t be. What the Left doesn’t have is any permanent hero, definitely not any old white ones from the white tradition. I mean… Marx? I don’t know. The parasocial relationship that young left Americans have with Hasanabi is pretty indicative of “hero worship” — watching for hours, imitating, buying merch, as an example.

My apolitical opinion on hero worship is that it’s an essential biological feature of humans that will never go away, because it’s shared social imitation. Ideally we should appreciate the specific virtues of specific heroes and not care about about the rest, and possess a large repertoire of heroes to pull from. For a culture, it’s optimal to have a number of heroes as points of reference in conversation and as stories for the young and as “self-checkups” for our own conduct — that’s kind of what the medieval virtues were all about.

Hmm, that's really interesting. So you think having a common set of hero cultural touchstones is nice, and that we should attempt to deliberately cultivate a set of heroes with some very well-exemplified virtues? Does that mean, for example, that you'd like to see MLK there, but only if he were accompanied by a good and (diverse?) set of other people in a larger pantheon, rather than getting special and rare privilege?

Absolutely + absolutely; the third question is bit complicated for me — if he did demonstrate a virtue closest to perfection (there’s no one better at universally important skill x) and if I subscribed to the idea of a “general American” pantheon then yes. IMO this is the best use of our instinct to like heroes. Flaws in heroes can then help us to remember the inevitable flaws of all humans (our own Achilles’ Heel). If I could extend the ideal further for no reason, the “special and rare” virtue of the pantheon is social humility, the great untold heroic quality behind every civilization. People love this quality, eg the internet loved when the owner of Arizona Iced Tea talked about purposefully keeping the price a dollar. Now maybe the owner lacks the virtue of prudence but that’s another digression.

So to have a musical — the culture of the wealthy liberal base — extol heroic white women is a faux pas that must be balanced by blackening their reputation.

I think there is some merit to the opinion that a Broadway musical is not an appropriate venue to tell such controversial stories. It's am entertainment product, first and foremost. It exists to make money before anything else. Perhaps it would be more appropriate to put such a show on as a truly non-fictional retelling at a museum or non-profit cultural center, where they have staff that can evaluate the script, characters and cast, sets, music etc. to be period correct and sensitive to context.

Women's suffrage is controversial?

Controversial in the sense that its history not exactly cut and dry. It's certainly not controversial that all women should have the right to vote.

I guess that depends on the group of people your asking. On this website? Probably a bit. Within the general public not at all.

Normies will say stuff about race before they express opposition to women's suffrage.

I would agree. I would also assert that while a lot of normies are more racially aware than is PC to admit I don't think there is any hidden opposition to women's suffrage in a significant amount of people. (IE I can't imagine <5% of the population seriously think women shouldn't vote) I could be wrong about that but I don't think that I am.

You also have to factor in people with alternative ideas to universal suffrage that aren't about taking the vote away from women but would effectively lead to that for the vast majority of women in practice. I.e. those who support the idea of limiting the franchise to those who are net tax contributors.

Male normie republicans will, after a drink or two, admit they think women's suffrage was a failed experiment to a friend, in private, about half the time. So maybe low double digit percentage of the population at the high end? Definitely a much smaller one than will openly advise a young woman not to date black men because they'll beat her, or who don't trust homosexuals near children, or who think the government did 9/11 to take our rights away.

Male normie republicans will, after a drink or two, admit they think women's suffrage was a failed experiment to a friend, in private, about half the time.

Maybe this is a regional thing? I am from the northeast and know more than a few people who have and share with me some, let's call them, charged opinions and even they don't think that. In my experience "women shouldn't have rights" is an opinion that exists solely in the reactionary corners of the internet vs IRL.

Chiming in from the rural Midwest, I’d say the number is definitely way under half, but I’ve heard a fair number of both men and women say that they think women’s suffrage was a mistake. I’d guess maybe 10% of older women and 20% of men of all ages (EDIT: speaking only of red tribers, not the general population). Red tribe women are, in my experience, far more opposed to female politicians, however, even more so than the men.

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None of these people will argue for, say, women not having the right to drive. Some might think dress codes should be stricter but nobody wants Franco-style bans on women wearing pants in public. They let their daughters marry who they want, eventually, even if they don't like the guy too much. They don't think husbands should have the right to use corporal punishment on their wives, or men should marry teenagers, or women shouldn't be allowed to work outside the home(although I wouldn't say many of them encourage it). They think young women living alone is normal and not scandalous.

They're not arguing for Iran-style women's subjugation. They simply think that this particular right was a bad idea we're stuck with. Conservative ideas about gender relations are probably more common and closer to the mainstream in the Texas exurbs than in the northeast, but I was explicitly referring to red tribe normies there.

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New England Republicans tend to lean moderate to slightly right of center. It is rare to encounter one who supports Trump.

I'm taking a history of modern (well, post-1600) theater class right now, so come back in a week or two and I'll have something more specific to say about this! My initial impression of what we've talked about so far in class is that telling controversial stories was in fact a central component of at least one modern theater movement, but overall, the history of Broadway seems to be more rooted in American melodrama more than anything else, of which your opinion is a fairly typical representation. So that's a fair take. But more broadly, "making money" and "entertainment first" are not general theatrical principles, and they tend to be more American-specific than universal. What form and content these kind of performing arts have taken and included is usually more closely linked with what society is going through.

For example, there's this fascinating history in England of a few successive movements and genres that reflect the anxieties, restrictions, and feelings of the era. You had Puritans take over for a while who absolutely and passionately loathed theater, and then when the monarchy was kinda-sorta restored and theater was legal again, you had a few interesting things happen. One, you had people who were tired of the super-strict puritan stuff as well as civil war, they wanted happy endings. So several Shakespeare plays were rewritten to have happy endings (Lear survives, Romeo and Juliet are together, etc). They also let women start to act, and "restoration comedy" ended up getting quite raunchy. Then, Enlightenment ideas start to become all the rage. You had this result in some "comedy of manners" and related genres, where plays started reflecting things like "marriage is a social construct/contract". Also, you get "sentimental comedy" as a sort of backlash against the excesses of restoration comedy, where they really weren't very funny but were often set up as a means of preaching moral lessons to people to make better choices. But wait! Enlightenment ideas started to lead to some crazy revolutions and unrest, paired with the beginnings of industrialization and urbanization. Cue Romanticism! Now we're back to emotion over intellect, instinct over reason, basically angst about Enlightenment ideas that seemingly made a mess of things. Shakespeare makes another comeback, plots grow more fantastical again, and this dovetails with advancements in the spectacle and technical side of the stage and increasing popularity.

It is only within that context of changing ideas of "why should I watch theater" and "who should watch theater" (which are extensive and beyond the brief overview here) that soon melodrama was born. In fact what would later become musicals first became popular because, bizarrely, in England for a long time only two (and a third in the summer) theater companies were licensed to do theater, and other play performances were illegal. Yet this only applied to spoken text, so if they threw in some songs here and there, it no longer counted as a banned play, but instead something, uh totally different. Yes your honor, totally different. As another side-note, technically an entire field called "dramaturgy" exists and is exactly what you describe where scripts, cast, sets, etc. are evaluated in context! These people are often attached to theater companies directly, though there are also some in academia, etc. How much they are employed or utilized, well this depends. However, they exist already within the theater community, so this idea that "oh that's the nonprofit realm, get away from my entertainment" is not very accurate.

I think there is some merit to the opinion that a Broadway musical is not an appropriate venue to tell such controversial stories.

This is that ship, sailing away at high speed.

To me, that's an exception to the rule. Hamilton has a diverse cast and a unique style of music (and written by a non-caucasian man) that made it extremely marketable.

I don’t quite understand your position here. To summarize, a Broadway musical might not be an appropriate venue for a controversial story, unless the cast and author are non-white, in which case it’s okay because it will make a lot of sales. If the cast and authors are all white, the play should be relegated to a museum, where the story can be told with sensitivity (i.e., told in a way that makes its worst critics happy), regardless of profitability.

You seem to be subtly merging two different criteria (ethical and financial) to judge whether a play is appropriate to perform on Broadway. No one would disagree that an unpopular play shouldn’t be performed on Broadway; the question is whether a financially successful play that upsets leftists should be allowed to be performed. In other words, the question is one of censorship, not popularity.

There's been immense/intense backlash in the decade since, though.

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