DE GUSTIBUS NON EST DISPUTANDUM, MOTHERFUCKER.

I've said more than once that the "culture war" is a war on culture but, as pithy an aperçu as that is, it doesn't draw the whole picture of what's wrong with culture warriors. Sure, many of them are brutes who are frightened by the power of art and think it must be some kind of ordnance liberals possess that they should try to steal. That's why they're so excited by the Harvey Weinstein thing  -- not because they give a shit about sexual harassment, but because they think it's an angle they can use to break Hollywood's alleged spell over the masses and grab it for themselves; you can hear it in the exultations of Kyle Smith ("Hollywood’s image of itself as a morally enlightened congress of tribunes of the people has been destroyed") and Jim Geraghty ("Hollywood, you don’t get to lecture us about anything anymore") who seem to think this has been achieved.

Sometimes I think this ties in with Trump's war on the NFL; Trump clearly envies the violent passions football excites and hopes, by portraying it as traitor-infested, to transfer that passion to himself.  For conservatives of the modern type, the ideal state would be one where citizens are driven away from sports and movies and, indeed, any traditional form of recreation, and instead spend their leisure hours on megachurch services and MAGA rallies.

 But there's also the aspect of culture war that's sad as well as weird, because it shows just how damaging it is to the warrior. Get a load of an article by Theodore Kupfer at National Review called "Conservatives Should Reconsider Their Opposition to Hip-Hop." It begins:

Most conservatives don’t like hip-hop. The typical conservative case against the genre amounts not to music criticism, but to...

Ha ha but come on, though, you didn't really think they'd cop to it?

...the charge that it promotes dangerous behaviors in the culture.

Well, the dog heard it. (Another thing about these guys: With them it's always "the culture" instead of culture -- just as for Putin it's always "the Ukraine" instead of Ukraine.)

Kupfer says his fellow wingnuts, apparently on the strength of a 30-year-old N.W.A. record, believe "most rap... feeds the violent loop that mars inner cities, whose residents scorn the justice system and settle scores outside it." But Kupfer -- look at him, the fightin' conservative who knows how to rap with the kids! -- begs to differ.

The first track on Straight Outta Compton is a clue that the critique might be wrong. The song begins with the sobering reminder that, “When somethin’ happens in South Central Los Angeles, nothin’ happens. It’s just another n**** dead,” letting that last word echo before the music kicks in. In other words, N.W.A., which became infamous among conservatives for glorifying violence, began its first album by noting how pervasive such violence is in their hometown, and how little anyone seems to do about it.

Sure, they talk about violence -- but they think it's bad! And they clearly don't think the state is the answer -- why, it's just a short leap from that to support for enterprise zones.

It goes on like that -- Nas has a tune about how much he loves his son, and we're all about family values, right?  It might be touching coming from a prep school student trying to explain to his ofay teacher what rap is, but at National Review it's just some young "Fellow" trying to make conservatism a little more millennial-friendly -- NatRev and chill -- and the comments section reveals that actual National Review readers aren't going for it  ("97% of it is garbage and probably an even higher percentage is liberal").

But him being a clueless honky isn't the big thing. It's the ending that gets me:

This remains an unfortunate blind spot for a political movement with a checkered record on race. Reform-minded conservatives have convincingly argued that the path up from white-identity politics runs toward a civic nationalism that is pan-ethnic, one that celebrates the shared cultural and artistic achievements of all Americans. If they’re right, then the conservative mind ought to rethink hip-hop, a sometimes-great and always uniquely American art form.

What is "the conservative mind" and why should it be argued into liking a form of music? What has one's tastes or desires got to do with being "reform-minded" or "a civic nationalism that is pan-ethnic"? You might just as well write an article about why, on the strength of recent trends in The Movement, conservatives should embrace sweet potato pierogies. And Kupfer's if-you-believe-this-you-should-enjoy-that formulation implies that conservatives are hypocritical not to like rap. This isn't like opposing gay marriage publicly while picking up men in toilets privately -- this is music, and it is beyond dispute.

I have friends who don't like rap, and/or country, and/or other musics I love. Hell, my wife can't stand most of the music I like. But that is, to those of us whose minds have not been turned to glue, the way of the world and something we can live with, if we have attained a certain very basic degree of perspective. Imagine being the kind of person who felt the need to argue someone into enjoying the music they liked. Sure, the famously ugly John Wilkes said that when he was trying to get laid he could talk his face away -- but, well, he was trying to get laid. What's Kupfer's excuse?