How do conservatives reconcile their cultural tastes with their partisan politics? I don’t mean generally, because generally the answer is they don’t think about their media consumption any more than your average liberal. I mean specifically, that is, when they do consider how the media they consume intersects with the beliefs they profess, what happens? Thanks to Andrew Breitbart,
we now have a daily glut of valuable insight into what it is to be a
conservative for whom music, literature and film don’t nadir after
Beethoven, Shakespeare and Bogart. Admittedly, some of the revelations
are old hat, as with Breitbart’s confession of how certain conservatives really feel about the working poor:
Whoever cast the Boston grotesques that littered the
film, my hat’s off to you. These profoundly ugly people really created
a backdrop that made you want to root for the kid not to be found and
brought back to her natural origins.
But most of Big Hollywood is so awesomely counter-intuitive
Walter Benn Michaels wouldn’t touch it with your ten-foot pole. Exhibit
A: Evan Sayet’s post on Bruce Springsteen’s secret conservatism, in which he claims
that, while Springsteen the multimillionaire, rock star
with the mansion in Beverly Hills may be a Liberal, Bruce Springsteen
the poet is one-hundred percent Republican.
Those of you currently reading Dante in your sophomore English
classes take note: Sayet someone out. Not that I need to tell you this,
but the Commedia is written by Dante the Man about Dante the Pilgrim as narrated by Dante the Poet. The Poet is the fiction’s conceit—the character who remembers and recalls what happened after he found himself per una selva oscura—and
is not to be treated coextensive with Dante the Man. I invoke Dante
here because Springsteen, like Dante, is frequently confused for his
narrators by people who should know better. No one reads “Caliban upon Setebos”
and mistakes the theological musings of Prospero’s deformed manservant
for a definitive statement of Browning’s philosophy; whereas with
Springsteen, every word his narrators utter is an expression of his
personal beliefs even when he opens with a lyric like “[m]y name is Joe Roberts.”
Because a real American would’ve planted his platform right smack in front of the Liberty Bell, yes he would.
This isn’t to say I’m still waiting for the folks who attack Obama for his connection to Ayers to acknowledge that the man who financed the Annenberg Challenge—a.k.a. Annenberg—was a close, personal friend of Ronald Reagan. Because they won’t, you know.
Wouldn’t suit “the narrative.”
The fact that it’s Annenberg who gave Ayers the $50M these folks
claim is proof of Obama’s ideological kinship with the Weather Underground is
irrelevant, because, well, because. Reagan was a patriot.
Played “Born in the U.S.A.” at every—I mean, it’s not like that
guitar-totin’ fellow in the picture knows jack about Philadelphia—
—Obama is a terrorist, alright? Just vote for McCain already and I’ll shut up. Ain’t that motivation enough?
A talking head on CNN tonight argued the issues most important to minority voters would be 1) Iraq, 2) the Bush administration's response to Katrina and 3) illegal immigration. My mind, being mine, immediately constellated the three and returned a memory of the perfect lyric:
"Hey kid, you think that's oil? That ain't oil that's blood." I wonder what he's thinking when he hit that storm—
Or was he just lost in the flood?
Then:
And some kid comes blastin' round the corner, But a cop puts him right away.
He lays on the street holding his leg screaming something in Spanish,
Still breathing when I walked away.
And somebody said, "Hey man did you see that? His body hit the street with such a beautiful thud."
I wonder what the dude was saying— Or was he just lost in the flood?
It sounds better than it looks. But doesn't it look topical? A song about a veteran returned back from the front; the mistaking of blood for oil; a tale about overzealous police employing excessive force. It could be topical.
It isn't. Not in the least. But damn is it ever evocative:
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