SHORTER ROD DREHER: See how introspective this nice Chinese millionaire is! Why can't our Negroes be like that?

(Number umpteen in a series. )

AMERICA'S LOVE OF CHOCOLATE ICE CREAM DOOMS DEMOCRAT. Tom Maguire follows the hostage drama at a Clinton campaign office:

Setting aside the human toll, my instant guess is that the political impact of this will be bad for Hillary in a way that would not be true for another candidate. This may all change when we get the perpetrator's story but right now Ms. Clinton carries the heavy baggage of a huge favorable rating and this incident will remind people that she is the candidate that enrages a sizable slice of the public.

More pathetic and politically inert details come in. Maguire's take:

It's bad for Hillary.

Interesting colloquy in the comments:

It's bad for Hillary.

I'm not sure I agree with this. I don't think it matters one bit. It looks as if this is just a poor soul and has no effect on Hillary. At least it doesn't change my view of Hillary either way.

I guess I just don't see it.
...

You don't see because you don't want to see.

Hillary is bad and therefore everything that involves -- or doesn't involve -- Hillary is bad. Bad for Hillary.

Hillary drove that man to drink and caused his life to become meaningless.

Tom understands.

I'm glad someone else has a sense of humor about this; I was beginning to think the world had gone mad, again.

NO COUNTRY FOR OLD MEN: ADDENDUM. Sometimes I worry that my film reviews may not be up to snuff, so thank God Jonah Goldberg occasionally steps up to make me look like Manny Farber:

For example, I'm kind of surprised that the movie left no lasting impression on Steve Sailer. First and foremost it made me want to read the novel.

High praise indeed. I wonder if Goldberg has ever read Everything You Always Wanted to Know About Sex But Were Afraid to Ask.

But more importantly, I think you can find some very rich commentary on the American character and predicament in the movie (as Ross suggests in his review in the magazine but, I think, doesn't explore enough). The fatalism, determinism (philosophically speaking), the rejection of cant and the waving away of nostalgia, were all powerful ingredients of the film, at least for me.

Determinism, philosophically speaking! No Country For Old Men is an excellent chase film with twangy talk about the persistence of evil inserted at puzzling intervals. Something that's more like what Goldberg is imagining is John Huston's The Asphalt Jungle. Everyone in it speaks a mannered pulp argot, which gives them enough rhetorical headroom to comment in high style on their own "predicament" whether at rest or in action. This keeps the highflown thoughts wedded to character and threaded into the plot.

In No Country, Chighur's conversations are a little in that vein, but the pronouncements of Sheriff Bell and Ellis are closer to the tedious lecture Commissioner Hardy gives the reporters near the end of The Asphalt Jungle: an insertion that is supposed to radiate meaning onto the action from the outside. In Jungle this comes off as a quick gloss or a way of getting around the Hays Office, and is followed by a more appropriate, though downbeat, spurt of narrative; in No Country the Hardys just hang around the periphery being premonitory until near the end, when they surge to subsume and kill the story. This is the real "dismal tide": geezers talking about good and evil (and what do they say, exactly, besides good sure is good and evil sure is evil?) till their chatter drowns out a perfectly good action picture.

Of course Goldberg ends with his own dismal tide:

Anyway we can revisit later. But one last quick point: I've been surprised more people haven't compared it — favorably or unfavorably — to A Simple Plan which I've long argued was one of the most conservative movies made in recent times. The plot alone is remarkably similar (though hardly identical).

Like anything that made Goldberg forget his popcorn for a moment, it has something to do with his politics. I wonder why he goes to the movies at all: doesn't he have a "Star Trek" boxed set and a microwave?

UPDATE. Today's No-Prize goes to Scott C.: "For Goldberg I believe [ars gratia artis] translates literally to farts for farts' sake."

With respect to the Coens, I must say it is rather cheap of me to associate cosmic readings of No Country with Goldberg. For a much worthier essay, see Glenn Kenny.

BACK IN MY DAY... James Poulos on some new movie where a shrink convinces several young stars to get it on:

What’s a blogger to say? Forget gay marriage, frazzled Christian soldiers. This is the door to doom. The pathetic and preposterous conceit of having therapeutic authority set this ‘plot’ into motion is, of course, unnecessary, as many of the LA Times’ own readers must know... Now the authority of monstrosity has been replaced by an authority vacuum. Our orgies today are lame attempts to patch up the cracks in the psyches of damaged little emotional orphans by collective ‘friend incest’. The latchkey aesthetic reaches its nadir...

I admit I am so confused by this passage that I had to check three times to make sure it wasn't written by Reihan Salam. I can say with some certainty, though, that Poulos has never heard of The Harrad Experiment. But doesn't he even remember the porno film Travis took Betsy to see in Taxi Driver ("My parents were very strict...")? The therapy-driven sex romp seems to have endured as a cinematic form. Aren't conservatives supposed to revere tradition? God bless America, I say, and bring on the nubiles!

UPDATE. In comments, ifthethunderdontgetya™³²®© wins Spot the Reference. I go hot and cold on the Stranglers. Here's my favorite, via a video in which Cornwell kind of looks like Hugh Laurie:



.

THE NEW FRONT. Greyhawk at Mudville Gazette:

This is not to say that Iraq is a safe place - just that it is fast becoming one. But make no mistake about it, if the troops were brought home tomorrow all hell would break lose, in a manner as yet unseen even in this part of the world.

So that's what victory looks like! He goes on:

The next crucial step in creating the world where many of those troops can come home is exactly this - a steady inflow of folks with skillsets other than combat arms who can help create an environment where fewer guns are needed. We are at the entry point of an upward spiral; increased security sets the stage for improved quality of life for Iraqis which means less need for security forces to maintain that quality of life; without despair people have less incentive to sow chaos.

Guess what specific "skillset other than combat arms" he's talking about in this post? Diplomacy.

I admit that when I first heard the stories (recounted by many of my fellow milbloggers, in fact) of [Foreign Service Officers] wetting their pants at the thought of serving in Iraq I was deeply concerned - but one thing I reminded myself at the time is the ability of journalists to find exactly the one quote from some maladjusted member that isn't representative of the majority of the group to which he can only pretend to belong and trumpet said quote as exactly that which it isn't. After all, they do it to the military all the time.

Actions from folks like Brian Heath confirm my impression, and give me renewed hope that we can and will make that charge.

First, it is strange to hear Greyhawk admit that his "fellow milbloggers" are as credulous as other journalists when it comes to the treasonous meme of the Wet-Pantsed Diplomat. Second, I look forward to the exiting combat troops and the entering diplo corps reenacting the final scene of Battleground, with added dialogue:

"Awright, you diplomugs, we done our part -- now it's up to you!"

"Agreed in principle; we'll draft a preliminary resolution. Where's the tennis court?"

NO THIRD WAY. I've been too busy to climb ladders and must content myself with low-hanging fruit. Gates of Vienna is always easy pickings. Here's a review of Robert Spencer's Religion of Peace? What Christianity Is and What Islam Isn't, which review, before it gets to the attacks on Islam any fan of the blog may expect, takes a good deal of time to dispense with some unfortunate myths about Christianity. The reviewer repeats the Goldbergian story that the Church was actually very nice to Galileo all things considered. Our Gater can't let bad enough alone, and goes on to say that the Spanish Inquisition was also pretty mellow:

The Inquisition wasn’t a proud chapter in Christian history, but it should be remembered that its number of victims has been wildly exaggerated, and pales in comparison to the evils of modern totalitarian movements...

One thing you have to understand about these guys is that they don't even really like Ayaan Hirsi Ali -- because, notwithstanding her frank condemnations of Islamic fundamentalism, she's an atheist with an understandable aversion to all religious schooling, including the Christian variety. One of the Gatesians has even gone so far as to say that Ali be denied Dutch protection from local Islamic thugs, ostensibly on the grounds that her cooperation with Theo van Gogh's Submission invited such thuggery ("Actions have consequences, and this one is hers").

That defenders of the satirical Mohammed cartoons would abandon Ali to lynching seems odd until you consider that the Gaters really do think we're in a "clash of civilizations." But it's not about the West vs. the East. In their view the combatants are Islam and Christianity, period, and they expect the unchurched to either take up the cross or go down with the other heathens. No wonder they're working on a new spin for the Inquisition.

UNCLEAR ON THE CONCEPT. Ken McCracken says the fact that John Ashcroft was willing to be waterboarded proves that the practice doesn't constitute torture because "no one ever volunteers to undergo real torture."

I assume he believes being nailed to a Volkswagen or having one's hand roasted isn't torture either. And that suicide proves there's no such thing as murder.

Why do these people have such difficulty with the concept of consent?

ANOTHER SUCH VICTORY AND I AM UNDONE. The new idea is that the War in Iraq has been won. Actually that war was won in May of 2003. The subsequent occupation has been a dicier proposition. This too is supposed to be going much better, but we can see the problem in one of the victory declarations:

Do the Iraqi’s like us? Hard to say, but so long as they’re not killing us, let’s be thankful for these small victories and let's pray that the trend continues.

The emphasis, here and elsewhere, on the Iraqi citizens' turn toward the U.S. Armed Forces for protection from militants does not suggest a state of democratic equilibrium, but a Mexican standoff.

It is certainly good news that fewer people are being killed. But Petraeus wants to withdraw the surge troops by July 1. We are still down for a lengthy and (thus far) slow reconstruction, and Administration supporters are downplaying the role of democracy in keeping the lid on. How is that supposed to work?

The aforementioned author says: hearts and minds, and let's take it to Afghanistan (where, we are informed, things ain't going so hot). It seems strange to put such faith in propaganda when the only demonstrable positive effect so far has been achieved by increased force of arms, especially as we are preparing to reduce them.

The Vietnam echoes that Bush resurrected when he announced the surge persist. No one wants a helicopter rooftop scene, so we adjust troop levels, first higher, then lower, in hopes of finding a Goldilocks mean. Conservatives are enraged by the Archbishop of Canterbury's assertion that the U.S. just isn't very good at imperialism. There's a backhanded compliment in there, but I'm afraid the fiddlers of our occupation don't know how to take it.

IN PLAY. Hillary Clinton isn't my favorite candidate but Jeez. Even the nice rightwing college boys are going for the lesbian laughs. The Perfesser plays the angle shot, per usual. Further down the evolutionary scale, the bare notion of celebrity girl-on-girl stirs wistful contemplation of female sexuality among the Acettes:

Do women bother doing that? I never thought of women as having much use for paid escorts.
...

Yes, powerful, driven women have their lusts -- and better sex toys. I would bet Hillary gets off as much as we do at the thought of having someone beautiful pleasuring her.
...

I was in Kenya in 1984 and there were plenty of older German women running around with young men. Strapping young men...

As an aside, that's when I found out that topless beaches are not always that great. Sure, there were some hotties, but there was also Cellulite Woman and a lot of grandmothers who.....

I'll stop there.

M-m-m-me too. Forget "Are we ready for a woman President?" or even "Are we ready for a lesbian President?" The real question is: can we establish some Federal standards for sex education? Because I know a bunch of guys who could benefit from being "taught to the test," as it were.

UPDATE. The barrel has no bottom:

You read it at Atlas first here back on Halloween. Drudge has it now. I am not reporting it because it is a lesbian thang, I am concerned and distressed that a Muslim raised in Saudi Arabia would have such intimate access to a would be President.

Can't they extend the submission deadline for the Republican YouTube debate? As entertaining as the expected question about whether black people are as smart as white people will be, a question about what, as President, the candidates would do about Islamosapphic terrorism might just get people interested in politics again.

ROSEBUD. I keep trying to tell you kids what it was like back in The Day. Here's a little nugget from the pre-Giuliani era: Da Willys at what I believe is the old Crystal Palace on the Bowery. You could buy Night Train over the bar, and put it in a bag and take it outside. On the other hand, we didn't have as many condominiums or cops as we do now. You tell me which Apple you prefer.

MONGOLOID, HE WAS A MONGOLOID, ONE CHROMOSOME TOO MANY. Chuckling observes the state of creationist play:

Today’s New York Times Magazine has an interesting article about a new breed of scientists who firmly believe that the earth is eight thousand years (or so) old. They believe this because they have read the bible and added up the lives of the biblical characters. It’s not as easy as it sounds since some of those ancients lived as long as 900 years. You see? Honest scientists may disagree. The planet could be 7990 years old. It could be 8010. More research is needed. All reasonable people agree.

According to the Times, this new breed of scientists are a heroic bunch. Like cowboys, “laconic but certain” and “deeply committed.” these intellectual outlaws, outlaws in a good outlaw kinda way of course, are “taking on the central tenets of the field” by “resisting mainstream science.“ Beyond that, they are hung like Harvard: “a gathering of elites, with an impressive wall of diplomas... master’s or Ph.D.’s in the sciences from respectable universities.”

You know the type. Total dumbasses.

Indeed I do, which is why I am adding Pharyngula to my blogroll, and about goddamned time.

NO COUNTRY FOR OLD MEN. For about two-thirds of the movie, I was completely on board with all the critical acclaim. It manages to preserve tension despite a glacially slow pace; dread slips under the viewer's skin, and even the occasional laugh (a Coen trademark in such situations) exacerbates rather than relieves it. Every set piece -- the bright-lights pursuit of Moss in the desert, the coin-toss in the gas station, and especially Moss' first confrontation with Chighur -- is up there with Hitchcock's. Even the gnomic utterances of Sheriff Bell seem to but gently slacken the strings in preparation for further tightening. I thought the Coens had outdone themselves.

[warning: spoilers]

But the last third is a disaster. Instead of paying off the tension, the Coens opted to pay off the bullshit moral commentary. Not only do they let Bell ramble on, they undercut the narrative drive, and when those strings are let loose everything falls apart. They kill two major characters offscreen; Bell's showdown at the motel is impossible to follow; even Deputy Wendell, a brilliant minor character in the first part, becomes tic-ridden and dramatically incoherent. The more people drawl about good 'n' evil 'n' right 'n' wrong, the sloppier and less convincing the film becomes. I haven't read the book, but it looks like the Coens tried to cram a bunch of philosophical literary stuff into the final passage, as if the painful, protracted hunt were not itself the best carrier of the grim vision. Chighur's escape (I told you there would be spoilers!) is typical. The car crash is dramatically sound -- live by the coin toss, die by it too, an unexpected but just resolution. To have him stumble off into the suburbs as the Undying Embodiment of Evil is unsatisfying even if you're not looking for a Hollywood ending: to avoid resolution is not the same thing as removing its necessity.

I can't not recommend it. It's got too much good stuff in it. All the craftwork is first-rate. The Coens ought to write cinematographer Roger Deakins into their wills: every shade from the corpse-blistering sun to the shot-shattered night is exquisitely rendered. And the acting is downright noble. Josh Brolin is quietly amazing, a good-enough man in a bad place, pursuing his mission to the full extent of his capabilities and the bitter end, never accepting the full cost of his foolhardy gamble. Sheriff Tommy Lee Jones and Deputy Garret Dillahut are Texas true 'til the Coens cut them off at the knees. Woody Harrelson and Stephen Root keep the second story alive despite all difficulties; Kelly Macdonald finds the dignity in a dishrag character.

And if Javier Bardem had not made his monster Karloff-scale believable we wouldn't even be having this conversation. This is the greatest kind of acting -- the kind that suggests its own backstory. I can see him as a hollow-eyed, beaten boy, silently absorbing evil and taking all his lessons from it, growing into a creature that cannot be stopped or swayed, but still must have his little games to prove, in the face of uncomprehending fear (his or theirs?), that he has been right all along. Bardem's performance is eternal in a movie that could have been.

UPDATE. Glenn Kenny of Premiere has a very good demurrer. I encourage any interested party to read it all, but herewith the money shot:

The first is the emphasis on the idea of Chigurh as an actual supernatural figure. By the time the killer, so fantastically incarnated by Javier Bardem, strides into the office of Stephen Root—whose character is merely billed as “Man Who Hires Wells”—with that enormous gun at his side, even a filmgoer who’s not one of “The Plausibles” (as Hitchcock derisiviely referred to plot nitpickers) might well ask “How did he get past reception?” But the ugly galvanic action kicks in before the question can finish, and then there’s the exchange with the fellow from Accounting, who finally asks, “Are you going to shoot me?” To which Chigurh replies, “That depends. Do you see me?”

A little later, after the motel massacre, discussing Chigurh with “local law enforcement,” Bell muses, “Sometimes I think he’s just pretty much a ghost.” In the book, Bell summons local law when he thinks he’s got Chigurh locked down at the motel...which he figures by watching the cars in the lot. The film places him in much closer physical proximity to Chigurh, to much more mysterious effect.

Bell goes back to the motel, through the crime-scene tape; he looks at the door and sees the blown-out lock. In a subsequent shot, we see Chigurh himself inside the room; the hole in the door is the only source of light, and Chigurh’s gazing at it, expectantly. We still can’t place him in the room...

You get it. The movie has swung around to where it began, as Sheriff Ed's story, for which the plot is just the major piece of information, not necessarily real, that motivates his abdication. Chigurh is a symbol, the embodiment of all the stuff Ed can't figure, which finally turns him away from crime-fighting.

In answer I would cite two films. Arthur Penn's Alice's Restaurant has a literally dizzying ending: the camera turns completely around Alice, fixing her in a time and place, removing her from everything that's gone before. But the whole movie has been about dislocation: Arlo's, the communards', everybody's. The ending is extraordinary but expected. Though it hits you hard emotionally when it happens, you sort of knew all along it was coming to something like this.

And there's the shift at the end of If.... I recall (though I can't find the source) that Harold Pinter objected to the moment when Mr. Kemp is withdrawn from a bureau drawer to shake hands with the rebels. Pinter or no, it's a palpable shock to audiences with whom I have shared it, and thereafter the film decisively changes tone: there's no more patty-fingers, no more public-school metaphor, only bloody insurrection.

I am always very careful about saying that anything that is not easy to explain in a work of art is false. But this is, after all, a movie we're talking about, and one in which the full power of traditional narrative cinema has been employed by very sophisticated filmmakers to make the Moss-Chighur battle as vivid and visceral as it can possibly be. If you want to turn it around and say that it's effectively all in somebody's head, you have to answer for the painstaking verisimilitude that came before. Frankly, despite all the signifiers Kenny has turned up (I am especially impressed by his reading of the motel conversation, particularly in view of its weird blackout ending), I don't see it. And without making extravagant claims for my own perception, I think that the Coens had the means to bring me up to speed if that was their intention. Sometimes a work of art fails not because it is difficult, but because it is a failure.

THREE FOR THE FUNNY. Politics, ugh, so discouraging. I want to do something fun. Not in real life -- on my stupid blog! So here's the mission: name three unjustly neglected film comedies. And by "comedies" I mean funny, not necessarily life-affirming goatsongs or anything like that.

I propose:

Slither. This caper film is sort of the comedy version of those 70s paranoid thrillers. Riddles wrapped in engimas. Ominous black vans. Nerve-jangling musical stings. Except they all end in laffs. James Caan's Dick Kanipsia, who walks out of prison into a poorly managed big-money scheme, is a ridiculously diffident hero -- maybe stupid is a better word -- whose journey, artistically speaking, is to figure out that he's finally had enough of this shit. The pace is shambling, with lots of ridiculous digressions (e.g., discussions of the family connections of the various Polish characters). And the climax is one of the all-time great cinematic non-sequiturs. Nothing meta about it -- just a good time on the film company's dime. Slither was indie before there was indie.

A Guide for the Married Man. I take a very strong position on 60s sex comedies, the best of which are so intoxicated by the sexual promise of the era that they achieve delirium. There are cases to be made for the deranged misogyny of How to Murder Your Wife, the SoCal surrealism of Lord Love a Duck, and of course the all-around strangeness of the films of Rock Hudson, Doris Day, and Tony Randall, the Mercury Players of the Priapean Age. Guide covers all the bases and then some as it follows Walter Matthau's attempt, goaded by a Mephistophelean Bobby Morse, to cheat on Inger Stevens. The dramatic stakes are purposefully reduced to Topic A essentials: Matthau's motivation is absurdly slight -- no bitterness, no discomfort even, just a craving to get with what he's convinced everyone else is getting. He's so charmed by Morse's apparent authority that he's oblivious to his more sinister agenda ("And you know how I feel about Ruth"). Morse's lessons, conveyed in celebrity blackout sketches ("That reminds me of a guy...") are the 60s Hollywood equivalent of Godard's alienation devices. I think they're much cleverer than Godard's. What Matthau takes as helpful hints, the viewer will see as rancid jokes on the American way of sex-life. As in all these movies, equilibrium is restored, but with a little more bite than usual: Matthau learns nothing but fear and compliance with old social norms. Guide will remain the capstone of the genre until some genius makes the Lockhorns movie.

A New Leaf. Here's Walter Matthau again (I love Walter Matthau), this time in a spectacularly bad wig, an aging playboy who has run out of money and has to find a rich wife. Though without funds, Matthau retains a high opinion of himself, and is oblivious to most external realities -- as the scene in which his accountant tries to convince him of his bankruptcy ("Just what are you trying to say?") demonstrates. When the fact finally penetrates his thick skull, he drives past Manhattan's palaces of plenty, mournfully crying "Goodbye!" Then he finds his chance: a botanist flush with cash but completely lacking in social graces, or even skills, played with adenoidal vigor by our auteur, Elaine May. Matthau, who is at first utterly uncharmed by May ("She has to be vacuumed every time she eats"), plans to marry, then murder her, but May is a holy klutz and cannot be killed. Eventually this wears Matthau down, and they reach an accommodation that may be something like love. The rich-boy humor is much better than that found in Arthur: the world of wealth is not, as in that film, a nest of vipers from which the hero insulates himself with drink, but a silly if stylish counter-reality that he cannot bear to leave, something more like the fantasies of old screwball films than the vulgar villainy seen in our present social comedies. You could say that about A New Leaf in general: it has a lot of that 30s sparkle, with just a spritz of 70s cynicism for body. The public has never developed a taste for it. It's for connoisseurs.

UPDATE. Speaking of connoisseurs, our commenters bring some exciting dishes to the potluck, some known to and even reviewed by me, some surprising (Ishtar, really? Conventional wisdom sucks). I am happy to see a groundswell for Albert Brooks, and would add Modern Romance, a comedy of solipsism that makes "Seinfeld" look like "Friends," and Defending Your Life, the first and most successful of the later, positivist Brooks films.

Premiere's Glenn Kenny schools us that Godard got his schtick from American comedy rather than the other way around. Julia of Sisyphus Shrugged nicely encapsulates the moral of A New Leaf. And SamFromUtah clues us to the Lockhorns trailer, which gives me hope for the American cinema.

AS YE SOW... Using the word "scream" for words on paper is usually a conservative trope, but I think we can fairly characterize this New York Post headline as a real screamer:

'BLAME U.S. FOR 9/11' IDIOTS IN MAJORITY
'PLOTS' THICKEN IN SHOCKING POLL
By ANDY SOLTIS

November 24, 2007 -- Nearly two-thirds of Americans believe the federal government had warnings about 9/11 but decided to ignore them, a national survey found.

"Blame U.S. For 9/11"? Seen from a less hysterical angle, the poll result seems like a merely uncharitable reading of the findings of the 9/11 Commission ("'the system was blinking red' during the summer of 2001...")

"Ignore" is a strong word for the government's inaction. Maybe the poll respondents were insensitive to the difference between mishandling and ignoring. If so, this may be attributed to a growing lack of faith in the government -- as we have seen elsewhere.

Government isn't the only institution that's rapidly losing credibility, as the Scripps-Howard summary suggests:

At a time when the price of crude oil has neared $100 per barrel, 81 percent of Americans also said it was "somewhat likely" or "very likely" that oil companies conspire to keep the price of gasoline high.

"It shows that the oil companies are not trusted by a lot of people," said Tyson Slocum, director of the Energy Program of Public Citizen, the consumer watchdog organization founded by Ralph Nader.

Record-breaking quarterly profits stir the pot, too.

"People look at the huge profits and put two and two together," he said. "'Those high prices I'm paying are fueling those profits.'"

Why the decline in benefit-of-the-doubt? It's interesting to look at Scripps-Howard's 2006 summary of a poll that foreshadowed these trends:

The survey also found that people who regularly use the Internet but who do not regularly use so-called "mainstream" media are significantly more likely to believe in 9/11 conspiracies. People who regularly read daily newspapers or listen to radio newscasts were especially unlikely to believe in the conspiracies.

It is suggested that these malcontents are affected by truther websites. But that hardly explains the high oil, Kennedy assassination, and UFO conspiracy credulousness.

Of course, if you want to read about what rascals lead us, and how everything they tell us is bullshit, there are plenty of other popular web outlets that do the job.

I am usually unconvinced by triumphalist claims that online alternative media will trounce the MSM dinosaurs. But I am beginning to suspect these stupid things are at least having an effect -- that the daily internet hammering of institutions has in fact helped poison the outlook of many ordinary citizens who have heeded the call and unmoored themselves from the consensus wisdom of the Main Stream Media. But the Scripps-Howard poll suggests that this effect isn't taking the shape that the blogosphere's rightwing cheerleaders like to predict -- unless their purposes are even more sinister than my black little heart can conceive.

Of course you can look at it the other way, and say our institutions are so thoroughly rotten that bad faith is the only possible response.

Not for the first time I am reminded of the Journal-Affiche.

COME ON, GOP CLASS-WARRIORS: WALK THE WALK! The Washington Times is spreading the word that the Democrats are "the party of the rich." The source is a "study" by Michael Franc of the Heritage Foundation -- though I can only find this, which seems to closely track Fred Siegel's Commentary rant, which was treated here earlier, and only works if you restrict yourself to the sort of "political demography" that shows rich people concentrated in blue states, and ignore the median incomes of Republican and Democratic voters. You can dig through the study that started it all, or see Tom Hilton for a good roundup of sources.

In other words, this WashTimes/Heritage thing is a con job, but still a tonic for the troops. Confederate Yankee whoops, "A bit hypocritical for them to label themselves the party of the poor as they carefully sip overpriced bistro coffee to keep from spilling it on the leather interior of their late-model European sedans." Way to class-war, comrade! Maybe he'll join the WashTimes in questioning the Dems' go-slow approach to tax reform:

A "stopgap" bill authored by Mr. Rangel to tax hedge-fund compensation at 35 percent as regular income rather than the current 15 percent capital-gains rate, which passed the House Nov. 9, appears to be going nowhere with Senate Democrats.

Here's a political opening if they're serious: Confederate Yankee and Sun Myung Moon can up the ante and call on Republican Presidential candidates to push the 35 percent rate. Then we'll see who's the party of the working man!

SCIENCE VS. POLITICAL SCIENCE. Having read the William Saletan articles about how black people have lower IQs than white people, and having noted the gleeful agreement of rightwing honkeys that black people have lower IQs than white people, I can say this:

I expect that the march of science will continue to uncover many wonders of the human mind, toward the end of improving all our lives, which is of course what science is for. That will lead along some thorny paths. For example, it looked for a while as if embryonic stem cells were the best way to go in solving a number of medical problems. Now it seems science may have found a less controversial alternative.

This has led some political types to complain that because science did not get there fast enough, its practitioners were bent on the destruction of human life. Such judgments are not surprising, considering the source, because in politics, history is only a series of anecdotes to be exploited for propaganda purposes, whereas science supposes a continuum of educational events, sometimes called experiments, to be used as building blocks toward a better life. There is such a thing as pseudo-science, but the free exercise of the scientific method over time obliterates such fallacies. Politics is much less reliably self-correcting. In fact, many political actors are deeply invested in sustaining ancient errors if they think it will help them retain power.

The historical record leads me to suppose that as cognitive scientists continue their work, they will sometimes come up with findings that politicians can exploit, but they will also learn things that do us all of us a great deal of good. So the IQ debates are a good thing as science. As politics, they are more or less useless except as fodder for racist cranks.

Which can also be a good thing. I am sneakily pleased to see conservatives excited by the current state of play, and encourage them to sing out loudly about it. Let them tell the world that their favored candidates' positions on race show that they agree that black people are less intelligent than white people. Let them tell the world that affirmative action is useless because black people are genetically incapable of benefiting from it. Eventually they will get around to discussing the genetic inheritances of Barack Obama. What a forum that will be, with Andrew Sullivan and John Derbyshire explaining that the most attractive features of Obama's platform come from the white side of his brain!

We may get a new government out of it, and conservatives can use their leisure to play with calipers and brains of varying races. Win-win, as far as I can see.

IT'S TRAD, DAD. It's never a good idea to get conservatives talking about music.

Gangster rap is crap. Yes, there are some interesting bits and pieces. Yes, there is buried amidst the steaming piles of rationalized b.s. a few trace elements of sociologically interesting ore. Sure, it takes some technical savvy to do it. Uh huh, right, right, right.

It's still crap. Here's how I put it last year in a column about Kanye West...

It's the holiday season so I'll spare you. Anyone who thinks "sociologically interesting ore" is any kind of reason to listen to music has a tin soul. Oh, he also gets around to the indecent dances young people are doing today.

The fracas is built around David Brooks bemoaning the passing of Led Zep and Ed Sullivan, and pimping a restoration via Little Steven platoons teaching Schools of Rock. A National Review correspondent cannot resist the call of the Konservetkult:

I think Brooks and Van Zandt are actually staking out a conservative position here: the importance of common culture, defining it and promoting it...

The problem is that America's cultural and political elites don't have the will, popular capital or sense of need to identify or promote any kind of Americal cultural canon in any area of liberal arts whatsoever.

But get those kids cranking "Born to Run" on the quad again, and Western Civ is saved.

This is the sort of thing that sends me back to the classics.

TO BRIGHTEN YOUR HOLIDAY. Courtesy of Dr. Helen, the mother of all awful-liberals yarns -- not told by one of those legendary taxi drivers, or even Alan Bromley, but in my judgment outstripping them all:

My sister and brother-in-law are D.C. area residents and wear their politics on their sleeves. I quit arguing with them some 20 years ago when they stated that Reagan was responsible for the Yellowstone Park forest fires. I realized then I could not have a rational discussion with them.

The problem I have with this stuff is that my brother-in-law starts yelling. Who wants to converse with someone who’s attracting attention from all the other diners in a restaurant. I finally decided that he doesn’t really want a reasoned conversation. He just wants to shout down anyone who disagrees with him, so why bother?

So far, so what, you may be thinking: we've seen better in any old Dr. Helen comments thread. But hang on -- the guy's just getting warmed up:

My dad is as mean as a snake. All 8 of his kids bear the scars and deal with them in different ways. The last time I saw him was 5 years ago at the rehearsal dinner for my younger brother’s wedding. He was picking on my niece, and she not being used to that treatment slapped him in the face. I told my Dad to knock it the f—k off. He took exception and we started a fistfight in the restaurant. My dad was so bent out of shape that somebody stood up to him that he didn’t show up for the wedding, and I gladly stood in for him, next to my Mom, in all of the wedding pics.

I cherish Christmas with my family: A day with the estrogen poisoned females of my clan; children yelling and grubbing for the bounty that comes with the crass commercialism of the holiday; the ever present fear that my brother, four Christmases banished from the family for alcohol related lunacy, will crash his drunken, six foot, four inch body through the front door and spray the room with lead. Ah, Christmas! I strap an Officer’s Compact Colt .45 into a pancake holster on my hip in case the door comes off its hinges at the party, pack up my hastily purchased gifts, and I wade into this thing called Christmas. Ho, ho, ho, who wouldn’t go?

And now the kicker:

Through the years of Republican bashing followed by Kumbaya sing alongs (I kid you not), I have found the best strategy is to simply keep my mouth shut.

Surely you see the genius of it. Instead of trying to seed little quotes and anecdotes throughout the story to preserve the political through-line, our author veers into seemingly unrelated tales of spectacular family violence, and at the climax, with a last sneer of contempt for the enemy, retreats into Norman Bates muteness...

Wait -- what? These paragraphs are separate anecdotes?

Well, maybe it's like Casy says -- maybe a Dr. Helen commenter ain't got a soul of his own, just a little piece of a big soul, the one big soul that belongs to every Dr. Helen commenter. Maybe the individual miseries of the poor wretches who come to Dr. Helen's door for a bowl of soup and maybe some rational emotive behavior therapy are hopeless by themselves, but together they gain stature, dignity, and hilarity.

May all of you enjoy a Thanksgiving free from fistfights, gunplay, and Kumbaya. Unless, of course, that's your idea of a good time.

UPDATE. "Guys," says commenter Craig, "that block quote from Dr. Helen is four different anecdodes from four different respondents. Don't try to mash them all up."

Admitted and addressed in the original post. (See the last three grafs.) And what's wrong with mash-ups? Larry Lessig would approve!

CONTEXTUAL READING. Ed Driscoll thinks you should stop reading the New York Times, but notes that he has just linked to two Times stories. Cognition doesn't get much more dissonant than that, even among fierce opponents of Blue Statism who nonetheless spend all their time in the bluest territories.

I read the New York Post most every day, largely because it is cheap and easy to read even before coffee. I would find it insulting to be told that I should give it up because I am bound to encounter writing in it with which I am inclined to disagree. That is all of its charm.

Driscoll quotes in defense of Times avoidance Rush Limbaugh, who says, "I found myself questioning the accuracy of the paper based on my own knowledge. I too often wondered, ‘Hmmm—is that true?’” Fancy being turned off by that! Just today I read the Post TV critic Linda Stasi in high dudgeon:

Speaking of changing the face of late-night TV and black men, in a move worthy of Michael Richards, in another skit, [Frank] Caliendo channels Charles Barkley but does so without changing his skin color or donning a wig! Every other character wears wigs and makeup. Caliendo has said on radio that TV stations freak out when they see a white man in black face. Talk about racist! Would they expect Eddie Murphy to play a white guy without changing his skin color? But here we've got poor Caliendo doing an exact impression of Barkley, but sitting there in his big, pasty face and beige hair. It's ludicrous and the worst type of reverse racism: politically correct racism!

Stasi's bizarre outrage over a lack of blackface ("worthy of Michael Richards"!) brightened my day, not because I agreed with it, but because it reminded me of the mad variety of human existence. That Stasi was declaiming it, not from a ward for the mentally ill, but in the pages of a popular newspaper, merely sweetened the jest.

You miss a lot by only reading things with which you may expect to agree.

THE GREAT ROCK 'N' REIHAN SWINDLE. Reihan Salam is very high (as is his colleague James Poulos*) on an essay by Kevin Barnes, a rock star who hit the jackpot, sees no need to apologize for it, and thus decrees that there is no such thing as selling out. I am somewhat in sympathy with Barnes, less so with the American Scenesters. The tradition of complaining about complaints that one is selling out is a venerable one that extends from time immemorial ("Better to be a rich man's dog than a poor man's saint") to Black Francis. Barnes is merely flicking off, with more style than most, some impediments to his enjoyment of success; he is not paid to be a deep thinker, and may be excused from that noxious responsibility.

Salam and Poulos*, though, are supposed to be some sort of intellectuals. Yet they take at face value, for example, the rock star's claim that "the pseudo-nihilistic punk rockers of the 70’s created an impossible code in which no one can actually live by." I guess it's possible that they have never read Emerson, but they might have phoned a friend; ambivalence about conformity goes a hell of a lot further back than 1977. Poulos* seems to misread his own subject, who states

It's impossible to be a sell out in a capitalist society. You're only a winner or a loser. Either you've found a way to crack the code or you are struggling to do so. To sell out in capitalism is basically to be too accommodating, to not get what you think you deserve. In capitalism, you don't get what you think you deserve though. You get what someone else thinks you deserve. So the trick is to make them think you are worth what you feel you deserve. You deserve a lot, but you'll only get it when you figure out how to manipulate the system.

This is not quite coherent (whence come the "too accommodating" sellouts if selling out is impossible?) but it at least hints at some awareness of the difficulties of making a living, which is admirable in a young rock star. Salam thinks it "an insightful meditation on the ethics of commercial life," and Poulos* reads this into it:

The smart today are those who can contextualize themselves as fleeting market actors without despairing, who can maintain, without resolving it, the contradiction between writing ‘authentic’ music and selling it obviously inauthentic corporations. The agony of resolving the contradiction on terms that sacrifice one or another benefit goes away, and Barnes’ manifesto seems to suggest that, with a little practice, we can more perfectly eliminate the big uptick in anxiety that has been our modern tradeoff for trying to minimize agony.

In both tone and content, this is much arty-fartier than what Barnes provides, and more evasive. What Barnes portrays as stark choices in an unsympathetic world -- "you're only a winner or a loser" -- Poulos* describes as a Jedi mind trick. He talks about minimizing "agony" and "despair," but doesn't explain how to do it if you don't have a big recording contract... or a prime slot on the punditocracy fast-track.

One of the advantages of youth is that it keeps the possibility of failure remote. It may be relatively easy for 20somethings to "contextualize themselves as fleeting market actors," assuming they have enough liberal arts education to comprehend those terms, because they are inclined to expect early returns on their generous self-assessment. But even for the young and confident, getting the market to agree is no snap. Though they may find the droopy-drawers non-conformity of ancient punks irrelevant, they may also find that the reality with which they are eager to conform is out of their reach. Despite the optimistic claims of the digerati, not everyone can be a rock star or a pundit; your MySpace music page or blog competes with thousands of others, and over time your may be forced to reckon with the odds.

History is not the only thing written by the winners. They write pop psychology, too. Salam's and Poulos'* concordances to Barnes' essay comprise a self-help tract for educated kids who, despite their natural vigor, are vaguely haunted by early warning signs that the future may not be all they have been trained to expect. These hauntings, Salam and Poulos* tell them, are a Marxist humbug; think positive. Contextualize yourself, eliminate the uptick in anxiety, and find your inner rock star. The possibilities are endless, not only for you but for America:

Because the world is profoundly unfair, those of us born into the US middle class are extraordinarily fortunate, and I tend to think we thus are almost obligated to task risks in pursuit of happiness. The very poor face different constraints, and my hope is that we one day construct the kind of enabling state that will give all Americans, and hopefully all people, the freedom to do the same.

Napoleon Hill couldn't have put it any better.

*UPDATE. Being insensitive to the singularities of their respective styles and new to the Safari "tabs" feature, I confused Salam' and Poulos' contributions in the original. Thanks to Mr. Porrofatto for the correction.