Culture

Culture

Crimes of the Future is David Cronenberg at his best

Canada’s all-time greatest writer-director has come a long way since his film Videodrome proclaimed “Long live the New Flesh” nearly forty years ago. Because his films are often horrifying, many mistake David Cronenberg for a purveyor of horror films, and to be sure he singlehandedly invented the now-fashionable “body horror” genre. But only a few of his films are horror movies per se, and they are way in the past. The subsequent fifteen aren’t so much scary as disturbing: think the experimental gynecological implements in Dead Ringers. And a couple are unapologetically transgressive: think the death-by-car-accident fetishists in his 1996 adaptation of J.G. Ballard’s Crash.

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Reclaiming the free and capable man

About two weeks after I graduated college, I realized I was pretty much useless. I was in North Carolina for a friend’s wedding, getting ready with the rest of the groomsmen, and I was having a hell of a time ironing my dress shirt. The shirt itself had an ungainly shape that I struggled to map onto the board, and each stroke of the iron seemed to create new creases. My mother handled the laundry at home, and in college I rarely had to dress formally. When I did, I’d transfer my shirts directly from dryer to closet, and that was usually good enough. Finally, I gave up and asked my friend John for help. John, a confident, capable guy who always made me feel inadequate, agreed.

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How secular humanism is ruining drag

The fanfare over “drag queen story hour” has resurfaced again, this time with New York City mayor Eric Adams throwing his support behind the controversial new trend. “Drag storytellers, and the libraries and schools that support them, are advancing a love of diversity, personal expression, and literacy that is core to what our city embraces,” Adams said. In a metaphysically challenged age such as our own, it can be difficult to recognize the implications of drag, which traces its roots to the phenomenon of the eunuch — the sexual outsider, whose proclivities lie outside the boundaries of the “normal.

Does ‘BDE’ mean masculinity isn’t ‘toxic’ anymore?

There’s an expression that’s been mainstream for a couple years now that most people refer to in its abbreviated and more G-rated form as “BDE.” (I am too proper to write it out, but you can be enlightened by HuffPost here.) The term, denoting the magnetism of the manly, “strong silent type,” has apparently been around since at least 2020. But it’s been trending over the last month as Kari Lake, the Republican Arizona gubernatorial candidate, and Kim Kardashian, the reality star who recently beat Hillary Clinton at a legal knowledge trivia game (it’s not her fault; the laws don’t apply to her) both used it.

I regret my promiscuity

Upon opening Louise Perry’s new book, The Case Against the Sexual Revolution: A New Guide to Sex in the 21st Century, I’m moved to tears by the dedication: For the women who learned it the hard way Unlike many other people who have read and reviewed Perry’s work, reading her book wouldn’t be some academic exercise in contemplating how liberal feminism has let women down. It wouldn’t be evaluating what those poor sluts over there have endured in the wake of the sexual revolution. Reading her book was personal. I’m one of those sluts. I’m a case study for her thesis. A cautionary tale. I knew this book was going to be difficult. And it made me realize it’s time to finish this essay — one I’ve been trying to write for four years.

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Are genital checks inevitable?

Eighty-year-old Julie Jaman has been banned from her local YMCA swimming pool in Port Townsend, Washington, where she’s been a member for thirty-five years. Why? She “discriminated against” and “harassed” a transgender employee who was in the locker room by asking “Clementine Adams” “if he had a penis” and demanding he leave the ladies’ room. The disturbing incident has sparked a controversy and way more uproar than should ever exist over something so bizarre and perverse, leading one to wonder: are genital checks inevitable? Jaman recounted to the media: “I heard a man’s voice, very distinctive. I saw a man in a woman’s bathing suit where two toilets are and there were two little girls standing there taking down their suits to use the toilet.

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Four vectors of danger for America and the West

Fifty years ago, everything seemed to be breaking down, kind of like it is now. In fact, it can feel like the 1970s redux. Searing issues of war, ecology, race, and “malaise” have never really disappeared. A silent majority, political schism, limits to growth, and price inflation — all are here. Yet there are new uncertainties too. Even to optimists, debt-induced fragility clouds the economic horizon. Investor Charles Munger notes that bitcoin actively undermines the Federal Reserve System; any gain comes from trading, not from creating products, crops or rents. As fantastic as non-binary sexuality, cryptocurrency points to additional contemporary follies.

Demi Lovato’s pronoun-based self-deception

Recently, Demi Lovato has been feeling more feminine. The singer and actress a few days ago told “Spout Podcast” host Tamara Dhiaan that when it comes to pronouns, she’s “adopted she/her again.” Lovato, who came out as nonbinary in 2021, explained her decision: “I’m such a fluid person.” “Fluid” would be one word to describe Lovato, whose Instagram profile since April has read “They/them/she/her.” Cue the confusion from even woke media, though podcaster Dhiaan followed up the interview with this very helpful clarifying tweet: “For the record: Demi Lovato did NOT say she is abandoning they/them as her pronouns, she simply said she is adding she/her.” The Washington Post also chimed in to help make sense of this very important celebrity announcement.

Philip Guston in the padded room

It was once a cliché of modern art that its principal aims included shocking its audience. Aesthetic aggression was the correlative of class warfare. It’s no accident, as the Marxists say, that avant-garde comes from the military lexicon. In painting, Gustave Courbet’s 1866 “L’origine du monde,” a rudely realistic, closely cropped view of an anonymous woman’s nude genitals, is often hailed as an early shot across the bow. Five years later, the artist would lead the Paris Commune in toppling over the Napoleonic Vendôme Column. For pugnacious creatives like Courbet and his descendants, consciousness-raising was always going to be a little bit uncomfortable. One can imagine how easily this gets out of hand.

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North Star

Ukraine in black and white

Displays of wanton brutality and heroic resistance in the Russo-Ukrainian War of 2022 have prompted some in the West to proclaim a moment of “moral clarity.” Some caution might be wise here, since moral clarity in world affairs is not always as clear or as moral as its claimants think. It was Soviet ideology, succeeding czarist imperialism, that for so long smothered Ukraine, along with the other captive nations consigned to Stalin at Yalta. As Ukraine may now be slipping captivity at last, the West rejoices. But how clear is the clarity? History’s players sometimes switch roles even from one act to the next. It has not, for example, always been brutal Russians that heroic Ukrainians went up against. Eighty-one years ago, it was brutal Germans.

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Arcade Fire: the last of the art-rockers?

After I saw the Canadian band Arcade Fire on tour in London in late 2010, I began my review of the gig by quoting Psalm 98: “Make a joyful noise unto the Lord, all the earth: make a loud noise, and rejoice, and sing praise.” My abiding memory of the evening was that it was fun. Despite the apparent solemnity of many of the act’s songs — several of which had been taken from their debut album, Funeral, and revolved around death and despair — the concert had a celebratory and upbeat aspect. It concluded (as virtually all of their shows had done) with a euphoric singalong of what has become their signature song, the cathartic “Wake Up.” A decade later, matters have changed. The world is in a considerably more anxious state than it was.

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The underrated Kenny Dorham

Kenny Dorham was one of the jazz greats. The closest player in modern times to his intimate sound is probably Roy Hargrove, who, like Dorham, hailed from the Lone Star State. But despite all the accolades from the jazz cognoscenti, there is something plaintive about his career, down to the liner notes for his own albums. Indeed, right from the first sentence. Take the 1956 album Kenny Dorham and the Jazz Prophets on the ABC-Paramount label: “Kenny Dorham is one of those artists who have not as yet been accorded their deserved share of recognition.

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SoHo’s downtown drawings

Pity the poor Drawing Center. Founded in 1977 — or, rather, “born into the petri dish of the SoHo art scene in the 1960s and 1970s” — the Center was the pet project of Martha Beck, a former curator at the Museum of Modern Art. She felt that the medium of drawing, being underserved by the arts establishment, needed its own specialized venue. Over the years, this downtown gallery has proved its mettle, mounting a variety of historical and contemporary exhibitions, as well as making a point of reaching out to working artists, some of whom later went on to greater recognition. But that petri dish? It’s changed mightily since the heyday of industrial lofts rented on the cheap.

New York City wants to rename monkeypox because racism

Color Cockburn shocked that the medical establishment is once again enforcing political correctness. The New York City Department of Health and Mental Hygiene recently issued a letter begging the World Health Organization to rename the highly contagious monkeypox virus. Why? They were concerned the word “monkeypox” was offensive to minorities. Cockburn — and Twitter for that matter — know this is a misalignment of priorities. Some names are purely innocent and playing PC police is not the job of the NYC Department of Health. Also why is it that New York authorities hear “monkeypox” and immediately think about black and brown people? Physician, heal thyself! And how far are we supposed to take this?

Why can’t a woman be a man?

Sex and gender were supposed to be allies in the identitarian march of the feminist left. But gender, it appears, keeps butting up against the reality of sex. "I will say this and everyone's gonna hate me,” singer Macy Gray recently told Piers Morgan, “but as a woman, just because you go change your (body) parts, doesn't make you a woman, sorry.” (She subsequently apologized for her comments.) Bette Midler also elicited censure for her recent tweet: "WOMEN OF THE WORLD! We are being stripped of our rights over our bodies, our lives and even of our name!" (She later qualified that her comments were not intended to be “transphobic.”) Women, generations of feminists have been telling us, are supposed to be powerful. They’re supposed to be capable.

Charlie Rose, comeback king

For some of us, Charlie Rose serves the same function as Proust’s madeleine. His eponymous public television interview program, which began airing in 1991, was a fixture of the pre-millennium media landscape, a halcyon age in which newspapers carried the news, Amazon was a mere purveyor of books, and “woke” referred to a state of wakefulness rather than political correctness. Such nostalgia augurs well for the carefully managed reemergence of the disgraced broadcaster, who has ended his exile with new conversations thrown up on his website, charlierose.com. But we’re getting ahead of ourselves. Five years ago, Rose — by then, also the co-host of CBS This Morning — first became the subject of sexual misconduct allegations.

Judge swats down Amber Heard’s demand for a mistrial

While Cockburn already covered the Johnny Depp-Amber Heard verdict a month ago (live from the courthouse!), he notes that Ms. Heard hasn’t moved on. She's since resurfaced, with her lawyers attempting to throw out the ruling against her or declare a mistrial on the basis of a single juror, Juror Fifteen, supposedly being fraudulent. On Wednesday, Judge Penney Azcarate issued her decision: no. Azcarate wrote: Juror Fifteen was vetted by the Court on the record and met the statutory requirements for service. Fifteen was vetted by the Court on the record and met the statutory requirements for service. The parties also questioned the jury panel for a full day and informed the Court that the jury panel was acceptable.

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No one wants to join the military anymore

Last week marked the 246th birthday of the United States. This year also marks, according to Lieutenant General Thomas Spoehr of the Heritage Foundation, when we “question the sustainability of the all-volunteer force.” As reported in late June by NBC, all branches of the military are falling short of their 2022 recruiting goals. The Army, for instance, has met only 40 percent of its enlisted recruitment target for the fiscal year, which for the military services ends on September 30. Those in the Pentagon tasked with attracting candidates have listed reasons they are struggling to meet their mission: lack of eligibility, Covid restrictions putting a damper on outreach, competition from a robust civilian employment market, and a lack of a desire to serve.

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Bad-faith readings are damaging our discourse

The Eragon fantasy series I enjoyed as a child isn’t very good, but one aspect of its magic system is pretty interesting. Wizards use magic by speaking in an enchanted language, but the literal meaning of the words trumps the magician’s intent. A single word mispronounced during the blessing of an infant turns the child into a “shield against misfortune” rather than one “shielded against misfortune.” The child grows up to lead a hellish life, haunted by an irresistible compulsion to take the suffering of others upon herself. This is the stuff of fantasy precisely because it’s not how language actually works. People get tongue-tied. They use terms that have different meanings in different contexts. They open their word-hoards and pull out the wrong ones. It happens.

The one-note wonder

Art museums normally organize career surveys or thematic exhibitions, but this spring the Museum of Modern Art has departed from this practice to focus on a single work. Matisse: The Red Studio examines the pivotal painting of the same name that Henri Matisse (1869-1954) created in 1911. Exhibitions are normally years in the making, so while this one was in the works long before the Covid-induced lockdown, it offers a model for institutions struggling in the wake of the pandemic. Rather than expending scarce resources on an expensive blockbuster loan show, do a deep dive into something in your own collection. And what a dive this is.

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A concert begun in darkness

It was all glitter at Blues Alley in Washington, DC when the trumpeter Terence Blanchard, who is the composer of a widely hailed opera called Fire Shut Up in My Bones that was recently performed at the Met, appeared in March with his E-Collective band as well as the Turtle Island Quartet to play several sets. Blanchard wore iridescent tennis shoes and played a miked trumpet with extra reverb that almost looked as though it was glowing in the dark. Periodically, he would tap his right foot onto an electronic device on the floor that manipulated his tones to extend them into the ether. Indeed, his audacious high notes lingered on long after he had stopped blowing. The collective is Blanchard’s foray into the world of deep funk. It definitely makes an impact.

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How green is your Soylent?

In 1966, when Harry Harrison penned his dystopian thriller Make Room! Make Room!, which began life as a serial in Impulse magazine, he predicted that by 1999, there would be more than 7 billion people on earth, and a robust 35 million in New York City alone. The 1973 film adaptation of Harrison’s novel, Soylent Green, altered several aspects of Harrison’s novel, including the year in which the thriller is set: 2022. Now that we’re there (and decades past 1999), it’s worth asking: did Soylent Green director Richard Fleischer and his writer, Stanley R. Greenberg, get things right?

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Why did no one see The Northman?

The American director Robert Eggers has had an auspicious early career. His first two movies were smash hits in the arthouse world: 2015’s The Witch, which launched the career of Anya Taylor-Joy, and 2019’s The Lighthouse, which starred Robert Pattinson and Willem Dafoe. Both films were produced on small budgets by indie powerhouse A24, and both have already achieved a kind of cult status among horror buffs and cinephiles alike. So when news broke that New Regency was offering the auteur director a budget of around $70 million for his third film — a Viking revenge epic starring Alexander Skarsgård, Taylor-Joy, Ethan Hawke and Nicole Kidman — movie geeks went wild. Just not quite wild enough to buy actual tickets, apparently.

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Macbeth on Broadway: a Very Modern Scottish play

The new Macbeth on Broadway starring Daniel Craig ends up about where you’d expect: a Macbond unhinged and raving about Birnam Wood come to Dunsinane, splattering the castle walls with the gore of his enemies and pummeling Macduff mercilessly until the showstopping reveal that the latter was “of no woman born” but, in fact, “from his mother’s womb/ untimely ripped.” Omit the full-cast kumbaya circle at the end (a too-sweet cherry atop a bloody sundae), and the denouement essentially gives you Shakespearean drama at its most unimaginative — as a Hollywood action blockbuster. This isn’t to say that Shakespeare cries out for bold reimagining. Nor is there anything wrong with giving people what they came to see. It is Daniel Craig, after all.

Michael Gerson’s descent into liberalism

Not all pro-lifers are happy with the Supreme Court’s overturning of Roe v. Wade. In a column at the Washington Post, former George W. Bush speechwriter Michael Gerson acknowledges that Roe was “poorly argued,” but says he is “more comfortable with the gradualism” recommended by Chief Justice John Roberts. Gerson ends even more soberly: “The abortion debate — with all its tragic complexities — has been returned to the realm of democracy. And there is little evidence our democracy is prepared for it.” Why? Because the “GOP has become captive to an ideology of power.” Anyone who has been following Gerson over the years will not be surprised by these comments.

The right to keep and bear fireworks

The political arena is hotter than ever with fights raging over rights and freedoms and all that good American stuff. But one topic missing from these debates only gets the attention it deserves for about a week every year each July: the right to keep and bear fireworks. It's a right heavily restricted in sixteen states and straight-up illegal in Massachusetts. Yes, Massachusetts, home of the Boston Tea Party, that act of defiance that sparked our patriotic tradition of blowing things up. In the Pennsylvania Wilds — the romantic name a tourism agency gave to the hick region of the state where I reside — things go boom year-round.

This great ungovernable country

Back in 2020, the oozing governor of California, Gavin Newsom, took it upon himself to all but cancel the Fourth of July. Newsom issued a statement encouraging towns and cities across his state to shut down any fireworks shows they might have planned, so as to prevent people from congregating and spreading Covid. The reliably meddlesome Los Angeles County then went a step further, banning displays of fireworks altogether. The people of LA considered this. They stroked their chins. And they said, "You know what? I don't think this is for me." The night of the Fourth, Angelenos sent up so many fireworks that the next day a local authority had to issue an air quality warning.