Over at Salon (no surprise), a theory that evangelical obsessions with sexual purity aren't about sexual purity or women so much as about white evangelicals fretting about the loss of their hegemonic death grip on culture.
Sexual purity movements, past and present, are not ultimately about promoting a biblical view of sexuality. They are about explaining large-scale culture crises (e.g. Anglo-Saxon decline, the Cold War, changing gender roles and sexual mores) and providing a formula for overcoming those crises.
Today’s movement is laden with a therapeutic rhetoric that presents these choices as the best choices for those who seek to conform their behaviors to God’s will. It promises that those who conform will enjoy spiritual, physical, and emotional satisfaction in their marriage relationships. Other scholars have parsed these claims in more sophisticated ways than I do and many other writers have demonstrated that these expectations are anything but a path to personal well being. What I’m saying is that sexual purity has never been about personal well-being for evangelical adolescents— or anyone.
Each historical example I analyze demonstrates that purity work and rhetoric has emerged at moments when socially conservative evangelicals seek to assert and maintain their political power.
For some reason Coates writing at The Atlantic on organic black conservatism comes to mind ...
Rolling Stone getting a new managing editor.
David Byrne (remember him?) "Open the Music Industry's Black Box"
This weekend is the opening for yet another Fantastic Four film that is probably just another reason to watch Brad Bird's The Incredibles again.
What was going to be a review of Andrew Durkin's Decomposition has mutated into more an incubating series of posts inspired by the book that are reacting to shortfalls in the book. Since I'm taking the book as meant to be a conversation-inspiration rather than either an actual philosophy of music or a manifesto the failure of the book to be either of those things does not need to be held against it.
And there's some more stuff incubating about Legend of Entitlement (more officially known as Legend of Korra). There's this thing in genre fiction known as retroactive continuity and seeing as we've hit the tenth anniversary of Avatar: The Last Airbender this year, it seems worth blogging about how the success of the earlier series highlights the travesties of the successor. Way to go transforming Asami Sato from the Q for James Bond (Korra) to the Bond girl, folks. Take away the muscular woman of color character design and focus on the scripting and character arc and you find you get a "Korra" who acts like Tom Cruise in Top Gun. The reward for saving the day is the hero gets to go on a vacation and have sex with the hottest woman on the planet as a reward. Why were people claiming the Korrasami pairing was progressive? Korra has come across as Tom Cruise's Maverick with ovaries and is about as likeable (and, in case you hadn't spotted this earlier, I don't like the character Tom Cruise played). Korra's more likeable than Maverick in a whole lot of ways but she embodies the Maverick trope.
If we were to describe Korra in Jedi terms she's easily seduced by quick and obvious results, i.e. the Dark Side of the Force ... but we'll have to get to that some time later.